La Fille Mal Gardée is presented as an English ballet ideal, inspired by an 18th century French original but distilled through Frederick Ashton’s 1960 choreography, Osbert Lancaster’s naturalistic designs, and Ferdinand Hérold’s descriptive score. The story centers on Lise’s persistence against Widow Simone’s opposition to Lise’s marriage to Colas, ending in a joyful resolution. Ashton’s influence helped define a distinct English ballet style marked by unbroken elegance, wit, musical responsiveness, technical difficulty, fast intricate footwork, soft upper-body movement, and characteristic épaulement. Dancers trained in England absorb the style readily, while some foreign-trained principals have become noted for it. Patricio Revé, joining The Royal Ballet as a principal, is gaining experience through guest appearances and is expected to debut Ashton’s work with his Cuban athletic virtuosity.
"Though inspired by an 18th century French original, Ashton's 1960 version, framed by Osbert Lancaster's naturalistic designs, and set to a gloriously descriptive score by Ferdinand Hérold, distils the idealised essence of his beloved English countryside, lush, sunny, joyous and innocent. Up to a point: the titular daughter, Lise, is savvy and persistent enough to overcome her daunting mother, the Widow Simone's opposition to marriage to the cheeky Colas; his persistence matches hers, and all's well that ends well, as they say."
"Along with Dame Ninette de Valois, who appointed him The Royal Ballet's founder choreographer, Ashton was key in developing a specific style of English ballet, and the Ashton style is still spoken of with reverential awe. You know it when you see it: its unbroken elegance, wit and flowing response to the music, its technical difficulty with very fast, intricate footwork, accompanied by soft upper body and the famed épaulement tilt of head and shoulder."
"English-trained dancers absorb it like mother's milk, though it's only fair to say not all ever master it completely. Some foreign trained dancers, namely Marianela Núñez and Vadim Muntagirov, Royal Ballet principals and veterans, who opened this season's first run of Fille performances back in the autumn, have become noted Ashtonians."
"In the second tranche of Fille performances of the season, now underway at the Royal Opera House, much interest has focused on Patricio Revé, who will join The Royal Ballet as a principal in the coming season, but has been finding his Covent Garden feet with a number of guest appearances. Trained in the famously athletic, virtuoso Cuban method, Revé"
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