Despite the innovative choreography and some standout performances, the Northern Ballet's version of John Boyne’s The Boy in the Striped Pyjamas just doesn’t work, says Jane McGowan
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John Boyne's novel (on which the ballet is based) has divided opinion since its publication in 2006. Some see the tale of two German boys who form a friendship across the barbed wire of Auschwitz with tragic results as a touching fable, in which the honesty and innocence of youth shine out against the dark Nazi forces of power and evil.
However, there are many others who view the novel as an affront to the memories of those who suffered during the Holocaust, branding its mishandling of the facts as a casual misrepresentation of one of the darkest events in modern history.
And it is because of this dichotomy that in my opinion the subject just does not work as a ballet. For me this was typified by the taking of the bows at the end of the performance. A minor matter you may think. But no sooner had we watched the curtain fall on the harrowing sight of bodies lined up in the gas chamber, than the performers come bounding on to the stage to whoops and cheers from the audience as if we have just watched a riotous production of Jack and the Beanstalk. And although the applause was deserved, I think a more sombre reverie may have been more appropriate or even a minute’s pause before the curtain is raised.
Aside from my reservations about the subject matter, there is a lot to admire about the piece by choreographer and director Daniel de Adrande. The story is told with simplicity and the movement perfectly represents the essence of each character from the coquettishness of Bruno's older sister Gretel to the arrogance of the over-enthusiastic young Nazi officer. Adrande has also managed to capture the purity of the friendship between the two boys Bruno and Schmuel – and I must say both dancers Matthew Koon and Filippo di Vilio danced beautifully, their duets bringing momentary joy during the long periods of discomfort and impending tragedy.
Other noteworthy performances included Mlindi Kulashe as The Fury, which as in Boyne's original is a representation of the Fuhrer, who in turn is represented by a taloned, futuristic monster. Kulashe’s agility is admirable as his lithe body twists and turns spreading evil through the minds and deeds of the Nazi officers. And as The Fury stands unashamed and unbowed in the final scenes, we are left with the sense that many more deaths may be yet to come – a sentiment that wasn’t lost on the audience in today’s turbulent times.
Ahead of this production, I interviewed Daniel de Andende for the Richmond Magazine and he told me he had wanted to do the story of Anne Frank but had been persuaded by artistic director David Nixon to read The Boy in the Striped Pyjamas before he made his decision. On reflection, I think the truth and hope as personified through Anne's story may have made for a better ballet, if one must do a Holocaust ballet at all.
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