Loosely based on the famous Byron poem’ Le Corsaire’ follows the story of Conrad and his pirate pals setting out to rescue the beautiful harem girl, Medora, from a life in golden chains. The story might be a little thin but this production with its ravishing set and heart-stopping dancing is an exotic treasure chest of delights. Bob Ringwood’s designs drawn from painting and drawings of the 19th century orientalist movement are romantic and perfumed with an extravagance that perfectly suits the Coliseum.

At a moment in time where ‘stripped back’ contemporary productions are the norm this is a chance to fall in love with the immaculate excess of theatre all over again. When the curtains rose on a billowing sail, the pirates swaying at the helm of a ship on the high seas it took me back to a state of childish wonder. The dancers float, spin and glide effortlessly through palatial arches and sea-side caves, dressed for hot nights in Indian silks, rich turquoises, pinks and golds. Not usually a fan of dream sequences or stages teaming with dancing children, I felt I’d had a puff of the old king’s hookah myself and by Act 3 was happily lost in this irresistible vision.

Yes, this production revels in the past but it is not dated. In fact this epic Russian ballet, first staged in 1850 has been completely re-staged by Anna Marie-Holmes for the ENO. The patchwork score has moments of magic in the later stages and gives the dancers a swelling wave to ride on. Visiting star Brooklyn Mack and his servant played by Junor Souza carry the action forward on their seamless leaps and pirouettes. Whilst the male ensemble compete playfully for their chance to shine as swashbuckling pirates, there are moments of breath-taking grace from the Odalisques and sylph-like Medora, played by Laurretta Summerscales.

Tamara Rojo’s production is in short, an unapologetic thing of extravagant beauty. And why not celebrate just that in this period of seeming eternal austerity.

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