It is the age of glamour in the company of the beautiful people. Sparkling parties are plentiful and romance is always in the air. And if there are problems they can always be solved by a touch of intrigue, a lilting tune and the magic of love…

words yvonne teh

Well, that may not be life on the outside, but the dream is eternally enchanting which is probably why an operetta set in Paris by an Austrian composer of Hungarian descent has become one of the most loved works of the musical stage: Franz Lehár’s The Merry Widow has all the elements – elegance, romance, affaires du coeur and best of all, a happy ending. Although it premiered in Vienna in August 1905, The Merry Widow has since had countless successful productions throughout the world, been turned into a number of films – and a ballet.

The ballet version was originally created for the Australian Ballet by the great balletomane Sir Robert Helpmann and it is this three-act production the Hong Kong Ballet is bringing to our city with the help of their artistic director John Meehan, as part of Le French May.
An Australian ballet from an operetta by an Austro-Hungarian composer – for Le French May? But as John Meehan points out, Franz Lehár based his operetta on a comic play set in France and written by Frenchman Henri Meilhac – the original author and that 1905 Parisian setting is enough to admit this “tale of romance, money and intrigue” into the artistic programme for this year’s month of all that is French.

If we thought the connection a tad tortuous, we were fascinated to hear more about the tale and the ballet – and who better to enlighten us than John Meehan himself. Especially as he has a very special connection with the original Australian Ballet production. We first asked him why he chose to stage The Merry Widow and what is so special about this particular ballet…

First of all, I have always admired The Merry Widow as a wonderfully crafted three-act work. It is funny and touching and very romantic. I had it in my mind as something I might bring to Hong Kong at some point in the future. When my friend Yuri Ng, who was in the production with the National Ballet of Canada, said to me “You must bring this ballet to Hong Kong,” I listened to him. He knows the ballet-going public in Hong Kong very well. He assured me it was the perfect work for Hong Kong audiences so I decided to bring it sooner rather than later.

“Money, Romance, Intrigue.” It all sounds very intriguing! Please do tell us more about each of these themes with regards to The Merry Widow!
The story is about a rich widow, Hanna Glawari.‑If she marries someone from a country other than Pontevedria, her money will be lost from the country and the country will become bankrupt.‑Her romance with Danilo Danilovitch, who is from Pontevedria, will be the best possible outcome for the country. It is clear that they love each other and after much intrigue, many misunderstandings, and lovers’ spats, they end up together and everything ends happily for all concerned.

The tale of The Merry Widow is set during the Belle Èpoque. That period has been characterized as a time when romantic intrigue was rife as well as a golden age in European history. Might these two things be related and if so, how does this come across in The Merry Widow?
It was a time when society was at its most glamorous, which is a very attractive proposition for a theatrical production. This is certainly‑captured by Desmond Heeley, the designer of this production.

What should people attending a performance of The Merry Widow for the first time expect to see, and would benefit from particularly looking out for?‑
The work is first and foremost a work of the theatre. It is the theatrical nuances (glances and asides between the lovers) – and the rich detail as the characters interact and the plot develops – that are unique and interesting to look out for in this production. Watch the maître d’ and the waiters as they deal with the patrons at Maxims, even as people are dancing centre stage. Also look for the broad humour borrowed from the rich traditions of English theatre and used to great effect by the choreographer.
Would it be fair to say that The Merry Widow ballet has a special place in your affections?
This ballet has been extremely important in my career both during and after my years as a dancer. It shone a spotlight on me as a performer and served to give me experience teaching and coaching when the ballet was remounted in Canada and the US and led directly to my becoming an Artistic Director.

You played Danilo when the ballet premiered at the Palais Theatre, Melbourne, in 1975. How did you feel about the role and the production at that time?
When the production had its world premiere in Melbourne, we were all stunned by the reaction of the audience. First there was a silence and then tumultuous applause the likes of which we had never heard. It still is the most exciting night of my dance career. To have a role made for you in a production which is a success is a fantastic experience. First of all it fits you like a glove. The steps and the character work on your body and your personality as you have so much involvement and responsibility in the creation of the role. With a successful production, you get the chance to dance it many times and so you are able to develop the role over the years.

In Washington DC, New York and London, you performed alongside the then 57-year-old Dame Margot Fonteyn in her last major ballet role before her retirement from the stage. What special memories do you have of that time?
Margot was a great lady and a generous person and performer. She taught me so much on stage and off. When fans lined up for her autograph, she insisted that I stand beside her and meet her fans and sign my name as well. Whenever great stars came backstage to her dressing room after a performance, she always made sure that I met them as well. When the paparazzi were present, she insisted I was with her, often pushing me front and centre. These are just a few of the ways she clearly let me know how grateful she was to me as I responded to her as a partner and artist.

As the time for the performances near, how does it feel to be staging the ballet for the first time in Asia?
I am very proud and excited to be working with a choreographer whom I respect and admire and dancers for whom I have great affection to make the best possible interpretation of the roles in this ballet. I am excited as I anticipate the audience reaction to the piece.

More specifically, how do you feel now as the Artistic Director of the Hong Kong Ballet to put the show on in Hong Kong?
Hong Kong is a beautiful and very romantic place. I think people here will love the beauty and romance of this production.

The Merry Widow will be performed at the HK Cultural Centre’s Grand Theatre from May 18 to 20 at 7:30pm. There will be matinee performances on May 19 and 20 at 2:30pm. Tickets are from $120 to $350 from URBTIX, 2734 9009.