Carlo Collodi’s children’s fantasy novel, a Catholic parable published in 1883, is the world’s third most translated book. It has been adapted many times. The definitive version remains Walt Disney‘s1940 animated masterpiece, a technical tour de force, climaxing with a ginormous whale thrashing about in the sea and making a frightening splash.
The story has now been turned into a large-scale ballet specifically for children by Anna Hop to music by Mieczysław Weinberg. The conductor is Marta Kluczyńska. The costumes are by Katarzyna Rott and the set design is by Małgorzata Szabłowska.
Anna Hop is a dancer in the Polish corps de ballet. Her ballet lacks Collodi’s darkness and moralising and becomes a showcase for introducing children to classical dance, its solos, duets, trios, ensembles and tutus. Over 70 dancers are involved.
Hop fills the stage with colourful movement. There’s a lot going on all the time, but much of it is not going anywhere. There are too many tiny episodes and too many dances for dancing stake. Pinocchio is sidelined and under-characterised. The ballet lacks focus and needs a dramaturg.
Pinocchio, a wooden puppet boy brought to life by a fairy, wants to be a real boy, and he should be played by a boy dancer and not an adult dancer pretending to be a boy, if he is to be believable. Here he is played by three different dancers as he ages. The lead dancer is Diogo de Oliveira.
The cigar-smoking Fox and Cat are a vaudeville act. A trio of pink pigs, danced by lumpish ballerinas, provide pantomime humour. The Field of Miracles, with its dirty money flying everywhere, is a dramatic finale to act one.
The Cricket is nothing like Walt Disney’s memorable scene-stealing comic creation, Jiminy Cricket, who was voiced by Cliff Edwards. He is acted and danced by Marko Juusela on his own distinctive and appealing terms.
Poland National Ballet’s Pinocchio can be watched free on the OperaVision channel.