REVIEW: The National Ballet of Japan's "La Bayadere" 2024

The National Ballet of Japan (NBJ)'s "La Bayadere" started on April 27, 2024, in the New National Theater, Shibuya, Tokyo, and ended on May 5th. This production was re-choreographed by the former artistic director, Asami Maki. The ballet relates the drama of an Indian temple maiden (bayadère), Nikiya, who is loved by Solor, a noble warrior. After seeing it six times, with each of the four casts, and comparing it to other performances of "La Bayadere," their production expressed a sense of Japaneseness so much more.

Principal dancer Yui Yonezawa, who was the gold medalist of the Varna International Ballet Competition and a former principal of the San Jose Ballet in the US, danced the main role of Nikiya. She resembled a Japanese Miko, a shrine maiden, because she didn't express any Indian cultural essence. However, she moved beautifully with the music, showing us a mysterious Japanese-style elegant ballet.

Principal dancer Takafumi Watanabe, who previously danced at the Ballet du Capitole under the era of Kader Belarbi, portrayed the role of Solor. His character is a warrior, but he looked more like Prince Desiree because of his remarkable beauty and nobility. He danced gracefully and acted well, but I'd love to see a more humanistic aspect of him on another day.

On another occasion, Miho Naotsuka, former second soloist of the Stanislavski and Nemirovich-Danchenko Theatre and now a Soloist of NBJ, danced the role of Gamzatti. Her technique is amazing as always. She never fails to execute any combination, resembling the presence of a king’s daughter. In terms of ballet technique and flexibility, I can definitely guarantee she is the number one.

Besides main characters, several other dancers gave fascinating performances. Yuzaburo Shimizu, trained at the English National Ballet school, portrayed Tloragva (Solor's friend) and a warrior, delivering amazing acting. His performance and movements made us feel as though we were witnessing a theatrical masterpiece. An essential aspect of Tloragva's character is admonishing his friend not to stray from the right path. Because of his stern and persuasive eyes, his performance left a lasting impression.

Korean-born Jaebum Cho, who played a part among the warriors, also left a powerful impression. The way he walked, acted, and waited, every move he made on stage seemed as if he was in another world, as he looked like a real warrior. I sensed how alert he was to his surroundings. He resembled a real military man, exuding an air of readiness to respond to any situation, even during a wedding. Like a true strict military man, we couldn't discern his facial expressions, and there seemed to be no wasted movement at all.

Principal dancer Kosuke Okumura, the Silver medalist of both the Moscow International Ballet Competition and the USA International Ballet Competition, was the role of the Bronze Idol. The Bronze Idol is one of the iconic characters in "La Bayadere," requiring technique and the ability to captivate an audience. Okumura moved strongly but softly, as if the smile and kindness of the Buddha statue was reflected in his dance. Mysterious and profound.

Ryosuke Morimoto, the gold medalist of YAGP and former Soloist of the Hungarian National Ballet, also portrayed the Bronze Idol. Morimoto exhibited a different style and approach to the role compared to Okumura. During his variation, there were moments when the landing of the jump slipped, but the solid, metallic strength, and hardness seemed to manifest in his dance. His movements reminded me of Morihiro Iwata, a former first soloist of the Bolshoi Ballet. Elegant and reassuring.

Japan has been a country that has incorporated surrounding cultures since ancient times and elevated them into its own unique culture.
The National Ballet on Japan gathers many dancers who have received training and gained experience overseas, building a ballet company in Japan with its own high level. The National Ballet of Japan incorporates essence from various countries and embodies a truly Japanese tradition of taking them to even greater artistic heights as its own culture.