The flashy and the fantastic Elton Fan

Taking on the life of Elton John would be no easy task, which is likely why Alberta Ballet's Jean Grand-Maitre opted to choreograph a semi-biographical piece on the pop star instead of a concrete biography. Sir Elton John, frankly, is larger than life and the burden on the dancers who portray his character would be immense as they would have some onerous acting to do. Thankfully, Grand-Maitre had the good sense to allow the music to inspire movement rather than force movement into imitating real life.

The dance program started with a flashy, jazzy Bennie and the Jets, complete with rotating stage and metallic cobalt blue bats. Cheers to Kelley McKinlay who managed to perform on the rotating stage for nearly the entire program and still maintain the ability to stand up straight and, even, throw in some grand jetes and saut de basques. Ladies (men?) in black catsuits, complete with feathered shoulders and Charlie Chaplin style hats sauntered about the stage after Elton Fan, transitioning somewhere into the "inner demons", feeding Elton Fan cocaine and caressing him lustily. The costumes are breathtaking and effective: leather thong cups for everyone? Gender bending was the name of the game and the game was highly entertaining. Rocket Man was both playful and impressively technical. Sustained and repeated lifts lit the stage in an unearthly red glow as the dancers futuristic costumes winked at the audience in near darkness.

Yukichi Hattori, who played Elton Fan at the Calgary premiere of Loves Lies Bleeding, is admittedly a better jumper than McKinlay and oozes theatricality out of his pores, but McKinlay truly came alive during the duet between Elton Fan and "Dave" (Mark Biocca). In just white shirts, the men kiss passionately at the beginning and the end of the number, setting the stage for a moving and tortured pas de deux. The extension and the height of McKinlay's jumps seemed to grow as Cross the Bridge crescendoed and Biocca stayed as solid as ever. I found myself grasping at my chest at the end of the number - the choreography, the dancers, the emotion of John's voice was perfectly synced and heartbreakingly moving.

Finally, I feel as though I should stand and whoop for Patrick Doe's energetic and death-defying drag queen performance in six-inch stripper heels. The entire time, I was gnawing at my fingernails, thinking I was going to watch his ankles break, but he managed to do not only pirouettes but Cabrioles and land them both solidly. The whole company received a standing ovation from the sold out house that night, but Doe received thunderous applause and more than a few cheers upon taking a bow.

Some criticize the company for losing the technique and the artistry in ballet by pandering to a commercial, mass media audience but I think the versatility and the eclectic, diverse talents of the Alberta Ballet were showcased in a unique and fun manner through Love Lies Bleeding. True, some sequences seemed a bit repetitive and mildly forced to look like a cabaret, but those were only minutes long and there was always another spectacle happening simultaneously to dazzle the eye. The ballet was never lost but neither was the feeling of being star-struck by the life and music of Sir Elton John and Bernie Taupin.

Who knew such a show could take place and succeed in the heart of staunchly conservative Alberta, with only modest provincial arts funding? I congratulate Grand-Maitre, the Alberta Ballet, its partners and collaborators, and Sir Elton John on a spectacular production. I wish AB the best of luck in seeking permission to tour the performance internationally and hope that this inspired production can be shared with the rest of the world. As at the performance at the Olympic opening ceremonies, I think AB will be well received on an international stage and they deserve to be recognized for their tireless efforts to push the boundaries of dance and performing arts into new and exciting frontiers.

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