PRIVATE PRESLEY. A Salute to the King. Two-act ballet directed and choreographed by Sean Bovim. Set Ulrich Binedell. Lighting Faheem Bardien. Elvis’s speciality costumes Ian West. Men’s costumes Craig Port. Womens’ costumes Klük and CGDT. Presented by Bovim Ballet. At The Baxter Theatre until November 28. SHEILA CHISHOLM reviews.
THE king of rock ‘n roll, Elvis Presley (1935 – 1977), belonged more, I assumed, to my social dancing era than Krissy’s – my young opera singer companion. Although she had, without hesitation, accepted my invitation to join me to attend Private Presley’s opening night, this surprised me. I thought her musical taste leaned more toward Verdi, Puccini or Rossini than Elvis. So, in blunt fashion, asked her, what do you know about Elvis?
“Oh! I love him,” she immediately responded. “I think he’s wonderful!. I often listen to him singing with friends. He has a three octave range. Is an exceptionally instinctive singer and, no matter what he sings, he sings with passion. Even though I’m training for opera, I’ve learnt so much about artistry from him.”
Impressed by these comments I sat back to watch Bovim’s two-act ballet through the eyes of a 24-year old. What I saw was a company of 19 dancers, headed by Henk Opperman as Elvis Presley and Kristin Wilson as Priscilla Beaulieu Presley, performing Bovim’s cut and thrust energetic, and at times acrobatic, choreography with a passion matching that of the king.
With scenes linked by JV Mattei’s comic-turn as roller-skating waiter, postman, porter and film director, Bovim takes us through Elvis’s life between the mid 1950's into the early 1970’s.
This song and dance journey highlights his early career, his stint as a G.I. in Germany in Company D, 1st Battalion, 32nd Armor; Hollywood; Graceland and Las Vegas. We see his liaisons with Natalie Wood (Simoné Botha), Juliet Prowse (Faye Dubinski), Ann-Margaret Olsson (Tanya Futter), falling in love with and marriage to Priscilla and their heartbreaking breakup ( Always On My Mind).
Choreographically, Bovim constantly taxes his dancers stamina and stretches technical parameters. Without missing a beat, lads are expected to leap, turn, split jump, turn, gyrate and perform Bovim’s rock ‘n roll variations.
They also have the difficult task of tossing, catching and supporting their partners through high speed turns, wraparound swings, horizontal spins and returning women sur les pointe after complex presages – not easy for classically trained dancers trained to alight “through the foot.” They did very well.
Because Bovim’s choreographic mind feels more comfortable creating an allegro “movement” per note style, rather than adagio romantic steps in ballads, his fast moving groups are more successful. To an extent these rely on colourful costumes and high powered execution than novel patterns. But the combined company energy and obvious enjoyment doing what they do, make floor shapes (almost) superfluous.
Bovim sometimes uses “single choreographic mode” – everyone dancing the same steps in unison. Other times men dance. Then it’s the ladies turn. When together they take up the verse, they intermingle and, once-in-a-while, operate in canon. The Blue Moon pas de six – women wearing twilight shades and configured in diagonals – showcased Bovim’s creativeness at its best.
In the Presley’s wedding night Love Me Tender pas de deux Opperman and Wilson, captured this couples emotional depth. Long-limbed Wilson is superbly trained. She has singular poise. Beautiful line. Exquisite port de bras well deserving applause for her remarkable extensions. Perhaps a trifle too elegant for a rock ‘n roll ballet, never-the-less Wilson is a joy to watch (anywhere).
In Opperman’s solo Surrender he displayed agility, virility, rippling muscles and ability to spin like a skater. This loving/passionate scene made Priscilla and Elvis’s eventual breakup all the more poignant.
Other noteworthy scenes and dancers are (bright as a button) Botha as Wood and Elvis in You’re the Devil in Disguise. Dubinski as (look-a-like) Prowse arriving at Company D barracks to visit Elvis and the graceful Futter as Olsson in I Need Somebody to Lean On– the relationship that finally broke Presley’s marriage.
High-power flowed from the male corps in G.I. Blues and Jailhouse Rock. Bovim’s sense of humour showed introducing a miming mini-Elvis puppet (dark glasses, mini-guitar et al) in Wooden Heart.
Bovim, understands how important sustaining viewers interest is. To this end, over and above quick costume changes, Faheem Bardien’s intelligent lighting plots and Ulrich Binedell’s simple sets bring back happy memories of jukebox, high-winged Cadillacs and drive-in days.
Twenty-eight years after his death, Elvis’s voice remains as relevant as ever. This Private Presley production is Bovim’s fourth successful run since premiering in 2013. This possibly accounts for props and men’s costumes looking tired. A dab of paint would quickly freshen the former; a tailor could make Elvis’s gold suit and men’s outfits fit better; drab looking shirts and tank tops would benefit by laundering (or replacing).
And a stitch or two on Elvis’s trademark glittering white-jump-suit’s collar would frame his head – as intended. Repairing these (small) details will return Private Presley to the slick, snappy, bubbling, family entertainment it has always been.
l Tickets: from R150 to R285. Pensioners get a 10% reduction. Book at Computicket 0861 915 8000.