Eonnagata proves the need for more sword fights on stage.
The powerhouse of a production that is Eonnagata highlights something missing in London dance: we need more swords on stage! This historical collaboration between the rebel ballerina Sylvie Guillem, theatrical daredevil Robert LePage and choreographer Russell 'the muscles' Maliphant is the visually striking, unforgettable story of 18th century, French, cross-dressing, swordsman, spy, the Chevalier d'Eon.
The character they've chosen to explore guarantees them drama (and sword fights) and a narrative that, if performed coherently, easily seduces its audience. And LePage has constructed a surprisingly fluid story for the stage, with elements like surtitles and voice-overs not often seen in the dance world. The performance of the story, however, is not quite as cohesive as its basic elements.
Tying together the many worlds of the Chevalier is complex enough without shoe-horning in elements of Japanese Kabuki (in which the men who take the female roles are called onnagat). Given that the Chevalier begins the first part of his life dressing as a man and his last 35 years as a woman (just for the hell of it as well as for espionage purposes) the Kabuki element makes perfect sense on paper. But the image of Maliphant emerging from a giant Japanese doll to dance with it quite sensuously, feels a little gimmicky. As does the canned laughter during moments of dialogue, and though Alexander McQueen's exquisite costumes are stunning, it's a shame they upstage the dancing.
The trio fail to make full use of Guillem, who provides some enticing monologues to introduce the exploration of identity and the notion of a split soul. Whilst these are both graceful and powerful, Guillem's dancing is better than her talking and we don't get to see enough of her dancing.
This is no riotous celebration of a brave character in a tough, elite position against the odds, but rather the Chevalier is presented as a victim for much of the show and sparks of comedy are overshadowed by his portrayal as a pawn. Nonethless, Eonnagata is full of impending danger, symbolism, delicacy and energy. It's both playful and threatening and though at times elements of it jar with the overall show, there are some brilliant scenes of swordsmanship
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