Fellini’s oneiric extravaganza takes a ronde de jambe through Alina Cojocaru’s stage adaptation currently playing at London’s Sadler’s Wells. Guillermo Nazara shares his views on the show, to let us know if this lush parade of fantasies did actually run like a dream.
A different language is a different vision of life… No one like the Maestro to encapsulate in one phrase the meaning of his craftsmanship, film-making, and art itself. Fellini’s lavish imagery has become a synonym for visual reverie – his stories and cinematic techniques, oozing that wondrous electricity stemming from the rhapsodic sparkle of a big child’s eyes. A sumptuous spectacle of stylized charm and candour, his iconic masterpieces are, by all means, the perfect grounds of inspiration for anyone aiming to translate the allure of his screen magic into another form – bringing back the elegance and warmth of his passe flair into new ways of expression and exploration.
Worldwide-renowned ballerina Alina Cojocaru represents the latest (and probably, one of the most refined) attempts at reassembling the Italian director’s black-and-white kaleidoscope of emotions. A pictorial tribute to the nostalgic spell of his ‘good-old-times’ zest, La Strada recoups the decadent glamour of the travelling fair, through an even more sublimed depiction of its flickering razzle-dazzle, channeled through a delicate flow of heart-felt movement.
Choreographed by Natalia Horecna, the montage excels at drawing out the sentimentality of the work, devising an intricate scheme of evocative and highly communicative gestures that enthrall both mind and spirit – simultaneously drafting a subtle line of narration. With a remarkably accomplished 13-member company, the cast skillfully manages to bolster the surrealistic enticement of the recount, working as a whole through a rendition that generally displays technical eminence and, on enough occasions, passion-rich delivery – with only a few, and quite forgettable, bumps when it comes to the synchronization of some numbers.
With tastefully designed costumes and simple but vibrantly photographic sets by Otto Bubenicek, the production’s intoxicating universe pops into the air through Andrea Giretti’s incredibly etheral lighting – underlining, all in melodic unison, the hypnotic power of the material’s soul-searching essence.
Stepping to the tuneful beats of Nino Rota’s luscious score, the illusion is enhanced by the music’s bewitching rapture. But unfortunately, such enchantment is broken more than once upon realizing that the beguilement of its symphonic sounds is, sadly, prerecorded. It is, of course, understandable that a show running for roughly a week can’t go for a full orchestra, but live players are however vital to construct a full, and satisfactory, experience. Despite the soundtrack’s genre, three instruments can be more than enough if organized properly – and that’s where the dash of a good arrangement can do not only the trick, but also elevate it to an unprecedented level.
A colourful chimera of dramatic innocence, La Strada achieves to seduce, with a soft and gentle touch, by putting the aesthetics on the top and intentionally placing its recounting rhythm aside. This, however, does not exempt it from a few, yet crucial, improvements to drive its efforts to triumph. A stronger show-stopping moment for Act One, followed by a bit of editing in the second part, will allow its pacing to be more infatuating, while also bring more content and significance to the entire account. That, combined with the use of live players, will build, secure and determine the position that the production’s potential is crying to reach, and which is only a few inches apart from fully absorbing. Its possibilities to stand out are more than tangible, but still need to be grasped and cultivated. Just as the Maestro said, “you exist only in what you do”.
All pictures credit to ASH.
La Strada plays at London’s Sadler’s Wells until 28 January. Tickets are available on the following link