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Finale (The Office)
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"Finale"
The Office episode
Episode no.
Season 9
Episode 24/25
Directed by
Ken Kwapis
Written by
Greg Daniels
Production code
9024/9025[1]
Original air date
May 16, 2013
Running time
52 minutes
Guest appearance(s)
Steve Carell as Michael Scott
B. J. Novak as Ryan Howard
Mindy Kaling as Kelly Kapoor
Andy Buckley as David Wallace
Michael Schur as Mose Schrute
Bobby Rae Shafer as Bob Vance
Nancy Carell as Carol Stills
Sendhil Ramamurthy as Ravi
Mark Proksch as Nate
Spencer Daniels as Jake Palmer
Jackie Debatin as Elizabeth
Matt L. Jones as Zeke
Rachael Harris as Rachel Martin
Dakota Johnson as Dakota
Joan Cusack as Fran Hannon
Ed Begley, Jr. as Martin Hannon
Malcolm Barrett as Malcolm
Devon Abner as Devon
Eric Wareheim as Gabor
James Urbaniak as Rolf
Jennifer Celotta as Jen Celotta Schrute
Jennie Tan as herself
Bill Hader as himself
Seth Meyers as himself
Episode chronology
← Previous
"A.A.R.M." Next →
—
The Office (U.S. season 9)
List of The Office (U.S. TV series) episodes
"Finale" is the last episode of the American comedy television series The Office. It serves as the 24th and 25th episodes of the ninth season, and the 200th and 201st episodes of the series overall. The episode was written by series developer and executive producer Greg Daniels and directed by Ken Kwapis, who directed the series' pilot episode. It originally aired on NBC on May 16, 2013, preceded by an hour-long series retrospective.
The series—presented as if it were a real documentary—depicts the everyday lives of office employees in the Scranton, Pennsylvania, branch of the fictional Dunder Mifflin Paper Company. In the episode, which takes place almost a year after the previous episode "A.A.R.M.", present and past employees of Dunder Mifflin gather for the wedding of Dwight Schrute (Rainn Wilson) and Angela Martin (Angela Kinsey), during which Michael Scott (Steve Carell) returns to serve as Dwight's best man. In addition, Pam Halpert (Jenna Fischer) and Jim Halpert (John Krasinski) finally decide to pursue Jim's dream of working in sports marketing. Finally, everyone comes together for a final round of interviews and goodbyes.
The initial idea for the finale, involving the Q&A, was thought of by Daniels during production of the third season. The episode features the return of many recurring characters, as well as Carell, whose return was kept secret for many months. Many members of the show's crew—such as episode writer Daniels—made cameos in the episode as various background characters. Jennie Tan, the founder of the largest Office fansite OfficeTally appears in the episode as a fictional version of herself asking the members of the office questions.
The episode was viewed by an estimated 5.69 million viewers and received 3.0 rating among adults between the ages of 18 and 49, making it the highest-rated episode of the series since the eighth season installment, "Pool Party". "Finale" received critical acclaim from critics and fans, with many critics complimenting the writers for wrapping up the storylines for most of the characters. Critics also praised Carell's cameo, with many arguing that it was perfectly executed. This episode received three Primetime Emmy Award nominations for the 65th Primetime Emmy Awards, and won for Outstanding Single-Camera Picture Editing for a Comedy Series.
Contents
[hide]
1 Plot
2 Production
2.1 Writing and filming
2.2 Casting
2.3 Deleted scenes
3 Cultural references
4 Reception
4.1 Ratings
4.2 Reviews
4.3 Accolades
5 References
6 External links
Plot[edit]
One year since the documentary has aired, the crew has returned to gain more footage for the DVD bonus features. Dwight Schrute (Rainn Wilson) and Angela Martin (Angela Kinsey) are about to get married. Andy Bernard (Ed Helms), after being humiliated with his talent show audition tape going viral on the internet, has found a job at his alma mater Cornell University in the Admissions Office. Darryl Philbin (Craig Robinson) has helped expand Athlead, now named Athleap, opening a branch in Austin, Texas. Stanley Hudson (Leslie David Baker) is enjoying retirement in Florida and Phyllis Vance (Phyllis Smith) tries to get Stanley's replacement Malcolm (Malcolm Barrett) fat on chocolates to make him look like Stanley. After being fired by Dwight, Kevin Malone (Brian Baumgartner) bought a bar and Toby Flenderson (Paul Lieberstein) started a career as an author in New York City. Nellie Bertram (Catherine Tate) has moved to Poland. Creed Bratton (Creed Bratton) had faked his death but was then revealed to be a wanted fugitive, so Dwight replaced him with former employee Devon White (Devon Abner). Oscar Martinez (Oscar Nunez) is preparing to run for a State Senate seat and is now Phillip's godfather. Andy, Darryl, Stanley, Toby, and Nellie return to Scranton for the wedding as well as a panel for the documentary.
Jim Halpert (John Krasinski) has been appointed best man at the wedding and proceeds to plan a series of "good surprises" ("Guten Pranken") for Dwight during his bachelor party, which consists of most of the current and former male employees. At the bachelor party, the group has Dwight fire a bazooka and receive a lap dance from Elizabeth the Stripper (Jackie Debatin), though Dwight thinks she is their waitress and remains oblivious. At the bachelorette party, with the current and former female employees plus Angela's sister Rachael (Rachael Harris), the group is shocked to see that the stripper hired for entertainment is Meredith Palmer's (Kate Flannery) son Jake (Spencer Daniels). Angela is then kidnapped by Dwight's cousin Mose (Michael Schur). After hearing about Angela's kidnapping, Dwight and the male employees visit the bar that Kevin owns, where Dwight, at Jim's insistence to bury the hatchet, is forced to apologize to Kevin and confirm that his firing was not personal but based solely on his job performance, which cheers him up. The two decide to make amends. Mose then leads Dwight and Jim out to his car where Angela is stuck in the trunk and finally let out.
The following day, a panel is held for the office so that audience members can ask them questions. Dunder Mifflin CEO David Wallace (Andy Buckley) openly states his distaste for the documentary. Pam Halpert (Jenna Fischer) is pressed with questions about why she did not allow Jim to follow his dream after he has paid her so many romantic gestures. Jim attempts repeatedly to disperse the resulting tension. Erin Hannon (Ellie Kemper) finally meets her birth parents (Ed Begley, Jr. and Joan Cusack) who had put her up for adoption.
At the wedding, Kelly Kapoor (Mindy Kaling) arrives with her husband Ravi (Sendhil Ramamurthy), where Ryan Howard (B. J. Novak) surprises them with a baby, his son Drake, that he had with a former girlfriend who then abandoned them both. Jim tells Dwight that under Schrute tradition, he is not allowed to be best man as he is younger than him. Jim surprises him with the arrival of Michael Scott (Steve Carell). The wedding proceeds in Schrute tradition with Michael as Dwight's new best man. At the reception, Michael shows Pam pictures of his kids with Holly Flax, and Pam notes that he is paying for two phones just to hold all the images. Ryan deliberately gives Drake an allergic reaction so that Ravi, a pediatrician, can attend and Ryan can steal Kelly away. Kevin tells Ravi that Ryan wanted him to keep Drake so that Ryan can have Kelly and the two can start a new life together. Ravi then gives Kevin the baby to give to Child Services before leaving, but Nellie, who has still been wanting a child, takes Drake instead.
When Jim and Pam briefly return home, Jim is surprised to find Carol Stills (Nancy Carell) showing their house to another couple. Pam comes clean and admits she has been showing the house for two months. She wants to repay Jim for all his romantic gestures and says she wants him to go to Athleap in Austin, at which point the couple seeing the house make an offer. Jim and Pam go to an after party at the warehouse where they inform an elated Darryl of their plans, with Jim being able to rejoin the company with no change. Pam unveils a new painted mural featuring the history of their branch. A final picture is taken with the employees and the camera crew before the employees go back up to the office for a final toast. Jim and Pam tell Dwight they are quitting, but Dwight fires them instead so he can give them hefty severance packages, as a last gesture of friendship. The employees are surprised to find Creed, who has been living in Ryan's old closet since faking his death, in the office. Creed sings a song on the guitar for the office before being arrested. The employees give one last round of interviews before leaving, with Pam taking her watercolor of the office building that Michael bought from her in the third-season episode "Business School".
Production[edit]
Writing and filming[edit]
"Finale" was written by series developer and showrunner Greg Daniels, making it his second writing credit for the year, after the season debut "New Guys", and his 12th writing credit overall.[2][3] The episode was directed by Ken Kwapis. Kwapis had originally directed the series' pilot episode.[4] Daniels joked that Kwapis was "the country vet who birthed this puppy" and had come "back to put it down".[5] His last directorial credit for the series, prior to "Finale", however, was the fifth season episode "Company Picnic".[6] The initial idea for the finale was thought of by Daniels during production of the third season, described as "a reunion show", in the fashion of the post-competition cast rehashes familiar from reality shows like Survivor".[7] Daniels, at one point, approached Jeff Probst, the host of Survivor, to appear in the finale as a moderator for the fictional reunion, although he declined.[7] The initial table read for the episode took place on March 4, 2013.[8] Filming commenced on March 6.[9] According to Jenna Fischer, the episode took nine days to film, with the cast devoting 12 hours a day to the episode.[10] The finale was described as "ambitious", featuring multiple location shoots, including one in an AT&T Office Building, which stood in for the Scranton Cultural Center.[7] Filming for the episode and series as a whole came to an end on March 16, 2013.[11] Wilson later tweeted a picture of the empty set after all filming had been finished.[12]
Originally, the episode was supposed to be the 23rd and 24th episodes of the season, which would have meant that the series aired exactly 200 episodes. However, the series' penultimate episode was elongated into 2 separate episodes, resulting in "Finale" being the 24th and 25th episodes of the season. This meant that the last part of "Finale" is the series' 201st episode.[13] Once filming finished Daniels, in an interview with TVLine, expressed his hope to expand the episode, stating, "I was very excited with the footage we got ... It's very big. I'm going to beg NBC to super-size it or extend it."[14] Daniels later commented that when the editors cut together the first act, it was 23 minutes long; this is much longer than a normal first act for an hour long episode of television.[15] In response, OfficeTally—the largest fan site for the series—started an online petition to supersize the finale, similar to the petition to expand the second-season finale, "Casino Night".[15] By May 2, the petition had received over 20,000 signatures.[15] On May 7, it was announced that NBC had extended the episode by 15 minutes, meaning that the episode would air in a 75-minute time slot.[16] The episode is approximately 52 minutes in length.[17]
Casting[edit]
Widespread speculation about former star Steve Carell returning to the show preceded the airing of "Finale", as the character appeared in several cameo appearances via stock footage in episodes leading up the series finale. After much anticipation, Carell's character, Michael Scott, did in fact appear in the episode.
The series finale guest stars Rachael Barrett, Dakota Johnson, Joan Cusack, Ed Begley, Jr., and Malcolm Barrett.[18] The episode features the return of several of the series' actors and actresses, including former series writers and stars B. J. Novak and Mindy Kaling, as well as Andy Buckley, Robert R. Shafer, Michael Schur, and Matt L. Jones.[18] Other minor recurring characters also make appearances, such as Nancy Carell as Carol Stills (who played the recurring role as Michael's real-estate agent and short-time girlfriend), Sendhil Ramamurthy as Ravi (who first appeared in the eight season episode "Angry Andy"), Eric Wareheim as Gabor (who first appeared in the earlier ninth-season episode "Junior Salesman"), James Urbaniak as Rolf (who first appeared in the fifth-season episode "Company Picnic"), Jackie Debatin as Elizabeth (who first appeared in the third-season episode "Ben Franklin"), Devon Abner as Devon (who was a former Dunder Mifflin employee fired in second-season episode "Halloween"), and Spencer Daniels as Jake Palmer (who first played Meredith's son in the second-season episode "Take Your Daughter to Work Day").[3][19][20] The episode also features Bill Hader and Seth Meyers playing themselves.[3][20]
Many members of the show's crew made cameos in the episode. The documentary crewman's voice that speaks to Dwight was played by camera operator Matt Sohn. The "frat boy" who mocks Andy at the restaurant was Greg Daniels' former assistant, Jonah Platt. Jay Falk, a script editor for the series, and his wife stood in for the couple buying Jim and Pam's house.[20] Jennifer Celotta, a series writer and director, makes an appearance at Dwight's wedding. The episode's call sheet listed her character as "Jen Celotta Schrute".[21] Producer and writer Graham Wagner also makes a cameo in both Mose's group, as well as at the wedding.[20] Many of the individuals who asked questions were writers on the show: Brent Forrester asked about seeing their lives on TV, Amelie Gillette asked the question regarding Jim giving up Athlead, Steve Burgess asked if the camera changed the characters' behavior, Steve Hely asked if life has no meaning, Allison Silverman made the statement that Jim is attractive, and Dan Sterling asked what was in the teapot. Daniels' wife, Susanne Daniels, was the Q&A moderator.[20][22] Daniels himself appeared during the documentary after-party along with executive producer Howard Klein, editors David Rogers and Claire Scanlon, script supervisor Veda Semarne, first assistant director Rusty Mahmood, prop master Phil Shea, and casting director Allison Jones. The remaining extras in the scene were members of the crew of The Office.[19][20]
Jennie Tan, the founder of the largest The Office fansite OfficeTally appears in the episode as a fictional version of herself asking the members of the office questions. She initially emailed Daniels, asking if she could appear in the background in one of the scenes. He, however, hired her as a day actor and wrote her seven lines. During the filming, Daniels re-wrote part of Tan's line to make it more "pointed".[22] Tan called the experience "surreal", because she was "playing [herself] but talking to Jim and Pam", rather than Krasinski and Fischer.[22]
"I figured the character would go back and visit everybody, but he wouldn't do it on camera at this point. I think he had grown past the idea of being in the documentary, that was my take on it. That [Michael Scott] had said goodbye to that aspect of his life, that that's not what was important to him. I just thought, yeah he'd go back and visit, but he wouldn't want the camera crew to be documenting it."
—Steve Carell, explaining his initial hesitation to return to The Office.[23]
Early during production for the season, Kinsey and Wilson noted in an interview that the cast and crew were hoping for the return of former lead actor Carell.[24] In mid-December, Krasinski later revealed that he was optimistic about a return; in an interview with E! Online Krasinski said that the producers were supposedly "still trying to figure out [Carell's] schedule" and that the finale "just wouldn't be the same without him".[25] However, NBC chairman Robert Greenblatt later admitted during an interview that while he was "hopeful", he did not think Carell would return; he noted that Carell was satisfied with his character's exit and did not want to tarnish it.[26] On January 16, Daniels revealed that Carell would not appear in the finale in any capacity,[4] a decision that Carell later reiterated.[27] Several months later, however, TVLine reported that the producers for The Office mounted "an 11th hour effort" to get Carell to make a cameo in the show's final episode.[28] According to the article, "while no one is confirming that the final diplomatic push proved successful, no one is denying it either."[28] Carell's personal representative confirmed that Carell was on the set for the final episode, but that he did not film any scenes. However, an anonymous source close to the show cryptically said "don't rule anything out".[28] TVLine later reported on May 6, that Carell would appear in a cameo, although NBC declined to comment and Carell's representatives continued to deny the reports.[29] A month after the episode aired, Carell explained in an interview with TVLine that he "lied for months to the press, to almost everyone, really".[30] He noted that he "felt terribly for the cast and for [executive producer] Greg Daniels, because they all lied, too."[30] Krasinski, on the other hand, explained that "It was so thrilling. We all just flat-out lied... It was just one of those things that we all vowed and had to protect".[30] Even at the initial table read for the script, Carell's appearance was not revealed. In fact, his first line was not included in the read at all, and his second was scripted to be delivered by Creed Bratton.[31]
Deleted scenes[edit]
The Season Nine DVD contains a number of deleted scenes from this episode. Notable cut scenes include: more scenes from the Q&A panel; Pete discussing what he learned working at Dunder Mifflin; Angela's sister, Phyllis, and Andy giving toasts at the wedding; more scenes with Erin and her biological parents in which they reconnect; further shots of the office members reminiscing about shared memories; and the office taking one of the potted plants outside and planting it in actual soil.[32] The episode originally was scripted to begin with a different cold open; it would have entailed a prank on Dwight by Jim, in which Dwight is led to believe that he is actually living in the Matrix, a computer-simulation from the eponymous 1999 film of the same name. The scene was either not filmed, or cut from the episode and not included with the other deleted scenes. A table read of it—along with the rest of the episode—was included as a bonus feature on the ninth season DVD.[31]
Cultural references[edit]
The episode makes a reference to Creed being a member of the rock band The Grass Roots. In fact, Creed Bratton, who portrays a fictionalized version of himself on the show, actually did play with the band from 1967 to 1969.[33] The song he performs near the end is titled "All the Faces", which he wrote himself.[34] Andy mentions that both the "Double Rainbow Guy" and the "Star Wars Kid" reached out to help him after his viral video mishap.[35] Both Hader and Meyers appear in a fictional Saturday Night Live Weekend Update sketch involving Andy's viral fame.[36] After Pam compares her and Jim's relationship to a great book that never ends, Tan's character asks if it is comparable to the Harry Potter series.[22] Dwight claims that Google Inc. is actually a front for either the United States government or "the government of other countries".[37]
The episode also features several callback references to previous episodes. Oscar saying "Whazzup!" serves as a reference to a scene from "Pilot" between Michael, Dwight, and Jim.[19] Jim's description in his final talking head of his job is a direct quote from his first talking head in "Pilot".[38] Dwight hires Devon back after Creed quits, a reference to "Halloween", when Creed convinced Michael to fire Devon.[19] Pam sits at reception one final time and answers the phone, saying "Dunder Mifflin, this is Pam." This is a reference to Pam's former role as office receptionist and a common phrase that she said during the early seasons.[35] Pam's painting of the office building, introduced in "Business School", plays a prominent role in the final scene.[35]
Reception[edit]
Ratings[edit]
"Finale" originally aired on May 16, 2013, on NBC in a 75-minute timeslot, preceded by a one-hour retrospective.[39][40] The retrospective was viewed by 4.37 million viewers and received a 2.1/7% rating among adults between the ages of 18 and 49.[41] The finale itself was viewed by 5.69 million viewers and received a 3.0 rating/8% share among adults between the ages of 18 and 49.[41] This means that it was seen by 3.0 percent of all 18- to 49-year-olds, and 8 percent of all 18- to 49-year-olds watching television at the time of the broadcast. This marked a significant increase, of over one million viewers, in the ratings from the previous episode, "A.A.R.M.".[41][42] It also ranks as the highest-rated episode of the season, as well as the highest-rated episode for the series since the eighth season entry, "Pool Party", which was viewed by 6.02 million viewers and received a 3.0/7% share.[41][43] The episode ranked second in its timeslot, being beaten by the ABC medical drama series, Grey's Anatomy.[41] NBC increased their usual ad price by 200 percent for "Finale", asking for $400,000 per commercial. This was largely due to the anticipated increase in viewership that the finale would bring.[44] Via DVR viewing, the episode was watched by an additional 2.38 million viewers with an added 18- to 49-year rating of 1.4, bringing the total to 8.07 million viewers and an 18- to 49-year rating of 4.4.[45]
Reviews[edit]
"Finale" was met with acclaim from television critics.[46] Alan Sepinwall of HitFix gave the episode a highly positive review and called it "a tremendously satisfying conclusion to a show that could make us gasp with laughter, but that could also make us cry or smile".[19] Sepinwall noted that, despite the inconsistency in the last few seasons, "the world was rich enough to fuel a lovely 75-minute trip through the past, present and future of The Office.[19] Ultimately, he noted that the "biggest emotional moments" belonged to Jim and Pam, and their final talking heads.[19] Roth Cornet of IGN awarded the episode a 9 out of 10, denoting an "amazing" episode. She was highly pleased with the final fifteen minutes, noting that "in those final moments, this series hit every note we could have wanted, without overplaying any of them." She concluded that it "was a strong hour of television [and] the finale shone and delivered on all of its promise."[47] Hillary Busis of Entertainment Weekly praised the entry, writing that "for anyone who's stuck with The Office through thick and thin ... last night's 75-minute-long finale was pretty much perfect."[48] She wrote that "the finale had no shortage of sob-inducing moments", and positively applauded all of the characters' various happy endings.[48]
Many critics complimented the way that the series was able to wrap-up the stories of almost all of the members of the ensemble cast.
Nick Campbell of TV.com wrote that the episode was "just right" for the series, and that it highlighted the fact that "the ending was more about the fact that you took a journey with these characters."[49] He wrote that all of the character's subplots had emotion, even if they appeared slightly contrived. Ultimately he concluded that "it felt okay to say goodbye because it was the right atmosphere."[49] James Poniewozik of Time wrote that the finale was "touching, sweet, funny, messy, a little manipulative. And in the end, it worked."[33] He found that "The stuff that was like latter-seasons Office", such as Andy and Dwight's antics, were "all right" but that "the stuff that recalled the sweep of the whole series was wonderful."[33] Poniewozik was slightly critical of Pam and Jim's story, noting that in the grand scheme of the show it was successful, but that it makes slightly less sense when one examines it closely; however, he felt that even "if the details don't add up, the emotions do".[33] He concluded that the episode "worked mostly as an epilogue" and allowed the cast of the series to have their final moments.[33]
Brian Lowry of Variety positively wrote that the finale "ignored" the last few seasons' missteps and was "awash in warmth and inside gags".[50] He concluded that the show "deserved to finish on top", and that while some of the scenes, such as Dwight's wedding seemed "a little bit trite", the resulting product was successful.[50] Michael Tedder of Vulture awarded the episode five stars out of five and wrote that the episode was able to provide solid conclusions for all of the characters.[35] Erik Adams of The A.V. Club awarded the episode an "A–" and wrote that "the quality of this series finale is found in the way it functions right now, in the afterglow of a TV show to which many devoted more than 100 hours of their lives. Some aspects of the episode fall flat, but when it hits, it hits."[51] Ultimately, he found that "'Finale' is not a great piece of television" but that it was the finale that "The Office needed" because it was "the right point to jump off ... the circular track", due to the series idea of thematic reoccurrence.[51] Tom Gliatto of People magazine, however, gave the episode a negative review, and wrote that "this episode was poorly conceived and clumsily structured. It really wasn't worthy of all the years of affectionate humor that had gone before it."[46]
Steve Carell's cameo received glowing reviews from critics. Campbell noted that he was "glad [Carell's] return was still uncertain [before the episode aired] because the reveal was made that much sweeter."[49] Sepinwall noted that Carell's return managed to not "overshadow the stories of the people who remained after he left, but which made sense for the characters, and the end of the series."[19] Adams noted that "Carell doesn't get a lot to say—he's already had his chance to say goodbye—but that just makes each of his lines count more".[51] Cornet felt that the cameo's "brevity" was "the perfect amount of Michael for this particular episode".[47] Poniewozik described it as "a way that as best as possible walked the line between overplaying and underplaying Steve Carell's cameo."[33] Lowry called it a "perfectly orchestrated cameo".[50] Basis wrote that the appearance was "pretty great" and that "the notion of Michael finally getting the family he's always wanted was enough to melt the heart of even the nit-pickiest fan."[48]
Accolades[edit]
This episode received three Primetime Emmy Award nominations for the 65th Primetime Emmy Awards. Greg Daniels was nominated for Outstanding Writing for a Comedy Series and Ben Patrick, John W. Cook, and Rob Carr were nominated for Outstanding Sound Mixing for a Comedy or Drama Series (Half-Hour) and Animation. David Rogers and Claire Scanlon won for Outstanding Single-Camera Picture Editing for a Comedy Series, marking the fifth win for The Office at the Emmys overall and the series' first win since 2009.[52][53] Rogers and Scanlon also won an ACE Eddie award for Best Edited Half-Hour Series for Television.[54]
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^ Jump up to: a b c d Tedder, Michael (May 17, 2013). "The Office Finale Recap: That's All She Said". Vulture. New York Media, LLC. Retrieved May 18, 2013.
Jump up ^ West, Kelly (May 17, 2013). "The Office Finale Character Updates: Where They Are Now". CinemaBlend. Retrieved May 17, 2013.
Jump up ^ Nussbaum, Emily (May 17, 2013). "'The Office' Finale". The New Yorker. Condé Nast. Retrieved May 19, 2013.
Jump up ^ John Krasinski [@johnkrasinski] (May 17, 2013). ""@Mccaffreykaty: fact that you used the exact line from the very first episode in the finale makes me so happy"-gold star for spotting that!" (Tweet) – via Twitter.
Jump up ^ Ausiello, Michael (February 7, 2013). "The Office Series Finale Set For May 16". TVLine. PMC. Retrieved February 7, 2013.
Jump up ^ "NBC, The CW Confirm Retrospective Specials Prior to "90210," "The Office" Finales". The Futon Critic. April 5, 2013. Retrieved April 7, 2013.
^ Jump up to: a b c d e Kondolojy, Amanda (May 18, 2013). "Thursday Final Ratings: 'Hannibal', 'The Big Bang Theory', 'The Vampire Diaries', 'Grey's Anatomy' & 'Office' Retrospective Adjusted Up – Ratings | TVbytheNumbers". TV by the Numbers. Retrieved May 18, 2013.
Jump up ^ Kondolojy, Amanda (May 10, 2013). "Thursday Final Ratings: 'Big Bang Theory', 'Grey's Anatomy', 'American Idol', 'Vampire Diaries', 'Two and a Half Men', 'Wipeout', & 'Elementary' Adjusted Up; 'Glee' Adjusted Down". TV by the Numbers. Zap2it. Retrieved May 10, 2013.
Jump up ^ Gorman, Bill (January 20, 2012). "Thursday Final Ratings: 'Big Bang Theory' Tops 'American Idol' 1st Half Hour; 'Office,' 'Mentalist,' 'Grey's' Adj. Up; 'Person,' 'Rob,' 'Parks' Adj. Down". TV by the Numbers. Retrieved January 21, 2012.
Jump up ^ Crupi, Anthony (May 7, 2013). "Ads for The Office Finale Could Go for $400,000". Adweek. Prometheus Global Media. Retrieved May 13, 2013.
Jump up ^ Kondolojy, Amanda (June 3, 2013). "Live+7 DVR Ratings: 'The Big Bang Theory' Again Leads Adults 18–49 Ratings Increase & Tops Total Viewership Gains; '90210' Earns Biggest Percentage Increase in Week 34". TV by the Numbers. Zap2it. Retrieved June 4, 2013.
^ Jump up to: a b "Reviews for The Office (U.S.) Series Finale". Metacritic. CBS Interactive. May 17, 2013. Retrieved May 23, 2013.
^ Jump up to: a b Cornet, Roth (May 17, 2013). "'Finale' Review". IGN. News Corporation. Retrieved May 17, 2013.
^ Jump up to: a b c Busis, Hillary (May 17, 2013). "'The Office' Series Finale: When Did You Start Crying?". Entertainment Weekly. Time Inc. Retrieved May 17, 2013.
^ Jump up to: a b c Campbell, Nick (May 17, 2013). "The Office Series Finale Review: That'll Do, Show. That'll Do". TV.com. CBS Interactive. Retrieved May 17, 2013.
^ Jump up to: a b c Lowry, Brian (May 17, 2013). "'The Office' Finale". Variety. Penske Business Media. Archived from the original on June 7, 2013. Retrieved May 17, 2013.
^ Jump up to: a b c Adams, Erik (May 17, 2013). "'Finale' | The Office | TV Club". The A.V. Club. The Onion. Retrieved May 17, 2013.
Jump up ^ "The Office". Emmys.com. Retrieved July 22, 2013.
Jump up ^ Andreeva, Nellie (September 15, 2013). "HBO, 'Behind The Candelabra' Lead Creative Arts Emmy Awards; 'Undercover Boss', 'South Park', Tony Awards, Bob Newhart, Dan Bucatinsky, Melissa Leo, Carrie Preston, Heidi Klum & Tim Gunn Among". Deadline.com. Retrieved September 16, 2013.
Jump up ^ "64th Annual ACE Eddie Awards: 'Captain Phillips' Wins Drama Feature Prize; 'American Hustle' Top Comedy; 'Frozen' Wins Animation Trophy; 'Breaking Bad' & 'The Office' Take Top TV Prizes". Deadline.com. February 7, 2014. Retrieved February 8, 2014.
External links[edit]
"Finale" at NBC.com[dead link]
"Finale" on IMDb
"Finale (Part 1)" at TV.com
"Finale (Part 2)" at TV.com
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text:
La fille mal gardée
From Wikipedia, the free encyclopedia
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Not to be confused with La fille mal gardée (Ashton).
Nadia Nerina (as Lise) and David Blair (as Colas) in the Pas de ruban from the premiere of Frederick Ashton's version of La Fille mal gardée, London, 1960.
La Fille mal gardée (English: The Wayward Daughter, literal translation: "The Poorly Guarded Girl" and also known as The Girl Who Needed Watching) is a comic ballet presented in two acts, inspired by Pierre-Antoine Baudouin's 1789 painting, La réprimande/Une jeune fille querellée par sa mère. The ballet was originally choreographed by the Ballet Master Jean Dauberval to a pastiche of music based on fifty-five popular French airs. The ballet was premiered on 1 July 1789 at the Grand Théâtre de Bordeaux in Bordeaux, France under the title Le ballet de la paille, ou Il n'est qu'un pas du mal au bien (The Ballet of Straw, or There is Only One Step from Bad to Good).
La Fille mal gardée is one of the oldest and most important works in the modern ballet repertory, having been kept alive throughout its long performance history by way of many revivals. The work has undergone many changes of title and has had no fewer than six scores, some of which were adaptations of older music.
Today La Fille mal gardée is normally presented in one of two different versions: many ballet companies feature productions which are derived from Alexander Gorsky's version to the music of Peter Ludwig Hertel, originally staged for the Bolshoi Theatre in Moscow in 1903. Gorsky's version was almost entirely based on Marius Petipa and Lev Ivanov's 1885 staging for the Imperial Ballet of St. Petersburg. The Petipa/Ivanov staging was itself based on Paul Taglioni's version to the music of Peter Ludwig Hertel, originally staged in 1864 for the Court Opera Ballet of the Königliches Opernhaus in Berlin. Modern audiences are perhaps most familiar with the production staged by Frederick Ashton for the Royal Ballet in 1960.
The appealing simplicity and the naïve familiarity of the action of La Fille mal gardée have lent it a popularity that has established it in the repertory of many ballet companies all over the world.
Contents
[hide]
1 The origins of La Fille mal gardée
1.1 The music
1.2 Revivals of Dauberval's original version
2 Jean-Pierre Aumer's new version to the music of Hérold
2.1 The Fanny Elssler pas de deux
3 Paul Taglioni's new version to the music of Hertel
4 La Fille mal gardée in Russia
4.1 Marius Petipa and Lev Ivanov's revival
4.2 Notation of the Imperial Ballet's production
5 La Fille mal gardée in the 20th century
5.1 Alexander Gorsky's revival
5.2 Soviet-era productions
6 La fille mal gardée in the West
7 Frederick Ashton's Royal Ballet production
8 The Ballet du Rhin's revival of the 1789 original
9 Characters
10 Synopsis
11 Recordings of the music
11.1 Usage
12 Historic photographs
13 Sources
14 External links
15 References
The origins of La Fille mal gardée[edit]
Pierre-Antoine Baudouin's painting Le reprimande/Une jeune fille querellée par sa mère.
La Fille mal gardée was the creation of Jean Dauberval, one of the greatest choreographers of his day. He was trained under the influential teacher Jean-Georges Noverre and is further distinguished as the teacher of Charles Didelot, known today as "The Father of Russian Ballet". Legend has it that Dauberval found his inspiration for La Fille mal gardée while in a Bordeaux print shop, where he viewed an engraving of Pierre-Antoine Baudouin's painting Le reprimande/Une jeune fille querellée par sa mère. The painting showed a girl in tears with her clothes disarrayed being berated by an old woman (presumably her mother) in a hay barn, while her lover can be seen in the background scurrying up the stairs to the safety of the loft. Allegedly this quaint work of art amused Dauberval so much that he immediately set out to craft a suitable scenario for a ballet.
The ballet was first presented at the Grand Théâtre de Bordeaux in Bordeaux, France on 1 July 1789. Dauberval's wife, la danseuse Marie-Madeleine Crespé (known to history as Mme. Théodore), created the role of Lison (or Lise, as the character is known in modern versions), the danseur Eugène Hus created the role of Colin (or Colas), and Francois Le Riche created the role of the Widow Ragotte (now known as Widow Simone in modern versions).
The ballet's original title was Le ballet de la paille, ou Il n'est qu'un pas du mal au bien ("The Ballet of the Straw, or There is Only One Step from Bad to Good"). The work met with public success and proved to be Dauberval's most popular and enduring work.
The music[edit]
In the late 18th and early 19th centuries scores for ballets were often patchworks (or a pastiche) of popular airs derived from well-known dances, songs and/or operas. These scores were often arranged and adapted by either the theatre's director of music or by the lead violinist of the opera house's orchestra, who at the time also served as conductor (the separate role of orchestral conductor was not yet established).
The 1789 score for La Fille mal gardée was itself an arrangement of fifty-five popular French airs. The surviving orchestral parts of the 1789 score do not list a composer/arranger, and no extant contemporary account of the original production mentions a composer. It is possible that Dauberval himself arranged the score, for he certainly devised the ballet's scenario and was a competent violinist. If it was not his work, then it may have been one of the musicians employed by the theatre.
Revivals of Dauberval's original version[edit]
Announcement for the premiere of La Fille mal gardée at the Pantheon, London, 1791.
Two years after the premiere, Dauberval travelled to London to mount the work for the Ballet of the King's Pantheon Theatre, and for the occasion he changed the title of the ballet to La Fille mal gardée, as the ballet is now commonly known. For the first performance on 30 April 1791, Dauberval's wife Mme. Théodore reprised her role as Lise, while Dauberval's student, Charles Didelot danced Colas.
The 1789 score was loathed by the musicians of the Pantheon Theatre Orchestra. When the orchestral parts were rediscovered in 1959 by the ballet historian and musicologist Ivor Guest and the conductor John Lanchbery, they were found to be covered with comments ranging from the witty to the crude. In the original manuscript the title of the ballet was sprawled atop the pages. The lead violinist of the first London performance crossed out the title, and in its place wrote "Filly-Me-Gardy".
Eugène Hus, creator of the role of Colas, staged Dauberval's La Fille mal gardée in 1803 at the old Paris Opéra, the Salle de la rue de Richelieu, predecessor of the Salle Le Peletier. Prior to this production, Hus utilised the ballet's libretto in 1796 for a comic opera titled Lise et Colin, which was set to the music of Pierre Gaveaux.
Jean-Pierre Aumer's new version to the music of Hérold[edit]
Mme. Théodore Dauberval, creator of the role of Lise. Paris, 1761.
The choreographer Jean-Pierre Aumer, a student of Dauberval, continuously revised Hus's 1803 production throughout his career as ballet master at the Paris Opéra. He then travelled to Vienna in 1809 to mount the work for the Ballett des imperialen Hoftheater nächst der Burg.
On 17 November 1828, Aumer presented a completely new version of La Fille mal gardée at the Paris Opéra especially for the Ballerina Pauline Montessu. For this revival the composer Ferdinand Hérold created an adaptation of the original score of 1789. Hérold also borrowed many themes from the operas of such composers as Jean Paul Egide Martini and Gaetano Donizetti.
The Fanny Elssler pas de deux[edit]
In 1837, the great Austrian Ballerina Fanny Elssler made her debut at the Paris Opéra in Aumer's production of La Fille mal gardée. As was the custom of the time, a ballerina would commission new Pas and variations to be interpolated into already existing ballets for their own performances. Making use of the extensive archives in the Paris Opéra's library, the ballerina selected her favourite airs from Donizetti's extremely popular score for the opera L'elisir d'amore. The library's copyist Aimé-Ambroise-Simon Leborne assembled and orchestrated the music for her.
Elssler's Grand pas was resurrected by the musicologist and historian Ivor Guest for Ashton's 1960 production of La Fille mal gardée for the Royal Ballet.
Paul Taglioni's new version to the music of Hertel[edit]
The Italian choreographer Paul Taglioni, uncle of the legendary Marie, was engaged as ballet master to the Court Opera Ballet of the Königliches Opernhaus in Berlin from 1852–1866. On 7 November 1864, Taglioni presented his own completely new staging of La Fille mal gardée under the title Das schlecht bewachte Mädchen (The Badly Guarded Girl). For this production Taglioni commissioned an entirely new score from the Königliches Opernhaus's resident composer of ballet music Peter Ludwig Hertel. This production premiered to a resounding success, and was retained in the company's repertory for many years.
In May 1876, the Italian ballerina Virginia Zucchi made her debut in Taglioni's production in Berlin. The celebrated ballerina triumphed in the role of Lise, revitalising the work with her expressive portrayal.
La Fille mal gardée in Russia[edit]
La Fille mal gardée was staged for the first time in Russia by the Ballet Master Giuseppe Solomoni in 1800 for Michael Maddox's Petrovsky Theatre (the predecessor of the Bolshoi Theatre) in Moscow, a production that was later revised by Solomoni's successor Jean Lamiral in 1808. Both productions utilised the original pastiche score of 1789, perhaps in adaptations prepared for each respective staging.
The first production of La Fille mal gardée to be performed by the St. Petersburg Imperial Ballet was staged by Jean Dauberval's student Charles Didelot, who performed the role of Colas in the London revival of 1791. Didelot—who served as Maître de ballet to the St. Petersburg Imperial Theatres from 1801–1811 and from 1816–1837—presented his version of La Fille mal gardée on 2 October [O.S. 20 September] 1818 at the Imperial Bolshoi Kamenny Theatre, under the title La Précaution inutile, ou Lise et Colin (Vain Precaution, or Lise and Colin). The work was set to music by the composer Catterino Cavos.
A production of Jean-Pierre Aumer's 1828 version of La Fille mal gardée, set to the music of Hérold, was first staged in Russia at the Moscow Bolshoi Theatre in 1845 by the Balletmaster Irakly Nikitin. The great choreographer Jules Perrot—Premier Maître de ballet of the St. Petersburg Imperial Theatres from 1850–1859—staged his own version of Aumer's production for the company in 1854, and for this production added new music to the ballet by the composer Cesare Pugni. Perrot's staging was given for the last time in 1880 for a benefit performance for the Imperial Ballet's Premier danseur Pavel Gerdt.
Marius Petipa and Lev Ivanov's revival[edit]
Virginia Zucchi as Lise in Marius Petipa and Lev Ivanov's revival of La Fille mal gardée, St. Petersburg, 1885.
The great Italian ballerina Virginia Zucchi toured St. Petersburg in 1885, performing successfully in different works at various theatres throughout the Imperial capital. In August of that year Emperor Alexander III requested that the Imperial Theatre's director Ivan Vsevolozhsky invite Zucchi to perform with the Imperial Ballet. Zucchi agreed, and chose Paul Taglioni's 1864 version of La Fille mal gardée to the music of Hertel for her début. The director Vsevolozhsky was required to pay an extremely high price to obtain Hertel's score from Berlin, while Zucchi herself commanded large fees plus a benefit performance in her contract.
The production of La Fille mal gardée was staged jointly by the Imperial Ballet's Premier maître de ballet Marius Petipa and the company's régisseur and second ballet master Lev Ivanov, while Zucchi herself would assist with staging some of the dances she had known from Paul Taglioni's version. The production also incorporated dances from the Imperial Ballet's old production to the music of Hérold. The reasons for the joint staging by both Petipa and Ivanov are not entirely clear, though it may be due to the fact that Ivanov was needed to stage the numbers brought out from the old production of the ballet. Petipa was responsible for the setting of all of the new dances, and even commissioned the composer Ludwig Minkus to score music for two additional variations for Zucchi.
The production premiered under its traditional title in Russia La Précaution inutile (Vain Precaution) on 28 December [O.S. 16 December] 1885. Zucchi's performance as Lise instantly became a legend in Russia, where she was soon known as "The Divine Virginia". During the famous mimed scene known as "When I'm Married", contemporary accounts tell us that Zucchi's performance made such an impression that it brought many in the audience to tears. The ballerina was much celebrated for the famous Pas de ruban, for which Lise and Colas dance a pas elaborated by the use of ribbons, with Colas pretending to be a horse and Lise running along.
After Zucchi left the Imperial stage, Lev Ivanov mounted an abridged version of La Fille mal gardée for performances at the Imperial Theatre of Krasnoe Selo in the summer of 1888. The role of Lise was performed by the ballerina Alexandra Vinogradova, who reprised the role in October of that same year on the stage of the Mariinsky Theatre (principal theatre of the Imperial Ballet and Opera from 1886). This was the last performance of the ballet until 1894, when Ivanov again revived the ballet for the visiting German ballerina Hedwige Hantenbürg. Thereafter the work found a permanent place in the Imperial Ballet's repertory.
La Fille mal gardée proved to be a useful vehicle for the great ballerinas of the old Imperial stage, most notably Olga Preobrajenskaya, Anna Pavlova and Tamara Karsavina. For some time the renowned ballerina Mathilde Kschessinskaya did not allow any other danseuse to perform the role of Lise.
A feature of the Ivanov production was the use of live chickens on stage. One evening when Preobrajenskaya danced the role of Lise, her rival Kschessinskaya let all of the chickens out of their coops during her variation, with many of them landing in the orchestra pit and even on the laps of many of the musicians. Preobrajenskaya kept on dancing as if nothing happened.
The difficulties brought upon the Russian ballet as a result of the 1917 revolution caused a substantial number of works in the Imperial Ballet's repertory to cease being performed and eventually become lost. The Imperial Ballet's production of La Fille mal gardée was performed for the last time on 10 October [O.S. 27 September] 1917, only one month prior to the October revolution, with the ballerina Elsa Vill as Lise.
Notation of the Imperial Ballet's production[edit]
As with many of the works that comprised the St. Petersburg Imperial Ballet's repertory at the turn of the 20th century, the Petipa/Ivanov/Hertel production of La Fille mal gardée was notated in the Stepanov method of choreographic notation by the company's régisseur Nicholas Sergeyev and his team of notators. Sergeyev brought these notations with him when he left Russia in 1917 and utilised them to mount such ballets as the Petipa/Ivanov Swan Lake, Petipa's The Sleeping Beauty, the Imperial Ballet's original 1892 The Nutcracker, the Petipa/Ivanov/Cecchetti Coppélia, and Petipa's definitive Giselle for the first time outside of Russia, primarily for the Royal Ballet.
Today all of these notations, including those for the Imperial Ballet's production of La Fille mal gardée, are part of a collection known as the Sergeyev Collection, which is today housed in the theatre collection of the Harvard University Library. In 2015 the choreographer and historian Sergei Vikharev staged a production of La Fille mal gardée for the State Ballet of Ekaterinburg that utilized the notation from the Sergeyev Collection. The production premiered on 15 May 2015 at the Ekaterinburg State Academic Opera and Ballet Theatre.
La Fille mal gardée in the 20th century[edit]
Alexander Gorsky's revival[edit]
On 20 December [O.S. 7 December] 1903, an important revival of La Fille mal gardée premiered at the Imperial Bolshoi Theatre in Moscow. This version was staged by Alexander Gorsky, a former danseur of the St. Petersburg Imperial Theatres who served as Premier maître de ballet of the Moscow troupe. Gorsky's 1903 version was based on the Petipa/Ivanov production that he learned during his career in St. Petersburg. Gorsky's version used much additional music added to the score of Hertel, including pieces by Cesare Pugni, Ludwig Minkus, Léo Delibes, Riccardo Drigo and Anton Rubinstein. It is this version of La Fille mal gardée that would eventually serve as the basis for nearly every production mounted in Russia, Europe and the Americas for many decades. Gorsky's version of the Grand pas de deux from the second act, loosely known as La Fille mal gardée pas de deux, is now a famous repertory excerpt on the gala and competition circuit, and is still performed regularly by the Vaganova School as part of their annual graduation performances at the Mariinsky Theatre.
Soviet-era productions[edit]
Final scene from Act II of the Kirov/Mariinsky Ballet's revival of La Fille mal gardée, St. Petersburg, 1994.
In 1930 the choreographers Asaf Messerer and Igor Moiseyev mounted a new version La Fille mal gardée for the Bolshoi Ballet, which was based on the 1903 edition by Gorsky. For this production Messerer and Moiseyev added a new act to the ballet titled The Wedding of Lise and Colas, set to an arrangement of music taken from Glinka's Orpheus. Messerer and Moiseyev's version remained in the Bolshoi Theatre's repertory for only two years, and was then revived under the title The Rivals in 1935, with the Hertel/Glinka music revised by the conductor Alexander Mosolov. This version was given only eighteen performances and then dropped from the repertory altogether.
The Bolshoi presented yet another revival of La Fille mal gardée in 1937, in a completely new version staged by the choreographer Leonid Lavrovsky. For this production Lavrovsky commissioned the composer Pavel Feldt to create a new score based on the traditional music of Hertel, which included all of the interpolated music the score acquired via Gorsky's revival. After eleven performances Lavrovsky's production was taken out of the Bolshoi Theatre's regular repertory, only to be presented at irregular intervals until the early 1970s. From then on the production was relegated only to occasional performances given by the top graduates of the Bolshoi Ballet Academy.
In 1989 the Kirov/Mariinsky Ballet's director Oleg Vinogradov mounted a new version of the ballet for the Kirov Ballet, largely based on the traditional Petipa/Ivanov/Gorsky productions from the turn of the 20th century. In spite of being a great success, Vinogradov's production was taken out of the repertory after his departure as director of the Kirov/Mariinsky Ballet in 1995, and to date the company has no production of the full-length work in their repertory.
La fille mal gardée in the West[edit]
The first performances of any Russian version of La Fille mal gardée (i.e., derived from Petipa and Ivanov's revivals) in the West were presented by the touring company of the legendary ballerina Anna Pavlova, one of the most celebrated interpreters of the role of Lise, who while touring London in 1912 performed in an abridged version of the ballet.
Bronislava Nijinska staged the first production of La Fille mal gardée in the United States for American Ballet Theatre (then known as the Ballet Theatre) in 1940, a version based on the Petipa/Ivanov/Gorsky version to the music of Hertel. Nijinska's version was revived in 1941 under the title The Wayward Daughter and in 1942 under the title Naughty Lisette. The 1942 production was revised by Dimitri Romanoff in 1949 and was retained in the repertory of the company for many years. Romanoff returned to stage a new version of the ballet for the company in 1972, with the great ballerina Natalia Makarova as Lise. The Romanoff production proved to be a popular piece in the repertory of American Ballet Theatre, who retained the production until 1984. Many famous dancers such as Mikhail Baryshnikov, Gelsey Kirkland, Susan Jaffe, Cynthia Gregory, Fernando Bujones and Marianna Tcherkassky triumphed in the lead roles of the ballet. Today the company includes Sir Frederick Ashton's version in their active repertory (originally staged for the Royal Ballet in 1960), though the so-called La Fille mal gardée pas de deux derived from the old version is often performed during gala performances.
In 1942 the Ballet Russe de Monte Carlo presented their first production of La Fille mal gardée, staged by the former ballerina of the Imperial Ballet Alexandra Balachova in a version largely based on Alexander Gorsky's production derived from the Petipa/Ivanov staging of the late 19th century.
Many of the dancers who worked with the Ballet Russe de Monte Carlo went on to have successful careers as choreographers, teachers and balletmasters abroad, and would use Balachova's version as a basis for many revivals throughout the world. The celebrated ballerina Alicia Alonso danced Balachova's staging of La Fille mal gardée throughout the 1940s and 1950s and she would go on to stage her own version of the work for the Cuban Ballet in 1964. As a result, the majority of ballet companies in the Caribbean and South America regularly perform productions derived from Alonso's staging to the music of Hertel.
In 1985 Claude Bessy staged her version of La Fille mal gardée for the Ballet School of the Paris Opéra, a production inspired by the 1972 version of Dimitri Romanoff for American Ballet Theatre. For this production Bessy used Hertel's 1864 score in an orchestration by the Paris Opéra's conductor Jean-Michel Damase.
Frederick Ashton's Royal Ballet production[edit]
Main article: La fille mal gardée (Ashton)
In 1959, the choreographer Frederick Ashton began creating a completely new version of La Fille mal gardée for the Royal Ballet of London. This production premiered on 28 January 1960,[1] with the ballerina Nadia Nerina as Lise, David Blair as Colas, Stanley Holden as the Widow Simone, and Alexander Grant as Alen. Since its inception Ashton's staging has become a celebrated classic of the ballet repertory.
Sara Lamb (as Lise) and Martin Harvey (as Colas) in the Fanny Elssler pas de deux from Ashton's La Fille mal gardée, London, 2005.
Originally Ashton intended to use the 1864 score of Peter Ludwig Hertel, as it had been used for nearly every revival of the ballet since the late 19th century, but after close inspection of this music Ashton decided it would not suit his plans for the revival. At the suggestion of the ballet historian and musicologist Ivor Guest, Ashton studied the 1828 score by Ferdinand Hérold, and found the light, simple music more suitable for his conception.
Ashton then commissioned the Royal Opera House's composer and conductor John Lanchbery to orchestrate and edit Hérold's score. After becoming frustrated with the under-developed nature of this music, Ashton and Lanchbery decided that Hérold's music would be better used as a foundation for an entirely new score, for which Lanchbery would compose a few new numbers. They went even further by incorporating passages of the original pastiche music from the premiere of 1789 into the score, as well as one number from Hertel's score which was utilised for the famous Clog Dance.
Ashton was disappointed that Hérold's score contained no suitable Grand pas, and for a while considered using the well-known La Fille mal gardée pas de deux. Ivor Guest found a violin reduction of the pas de deux that Fanny Elssler had arranged for her performance in the ballet in 1837, tucked away in an old box of music at the Paris Opéra. This number is now known as The Fanny Elssler pas de deux.
Ashton created what is considered to be among his most masterful choreography for his new version of La Fille mal gardée. He resurrected the Pas de ruban for Lise and Colas, in which the lovers perform a charming pas with intricate tricks using a pink satin ribbon. Ashton took this idea to an entirely new level with the Fanny Elssler pas de deux, devising a spectacular Grand adage for Lise, Colas and eight women with eight ribbons. Ashton also included Petipa's original mimed sequence known as When I'm Married, a passage that was performed by all of the great ballerinas of old when they danced the role of Lise. He was taught this passage by Tamara Karsavina, former Ballerina of the St. Petersburg Imperial Theatres and the Original Ballet Russe. She had in turn learned it from her teacher Pavel Gerdt, once the Imperial Ballet's leading male dancer who partnered all of the great ballerinas of the late 19th century and early 20th century in the role of Lise, including Virginia Zucchi.
William Tuckett as the Widow Simone with members of the corps de ballet in the Clog Dance from the Royal Ballet's production of Ashton's La Fille mal gardée, London, 2006.
To inspire Lanchbery to write music for the Clog Dance, Ashton took the composer to a performance of Lancashire clog dancers. This dance is performed in the ballet by Lise's mother, the Widow Simone. Lanchbery decided to use the leitmotiv for the Widow Simone from Hertel's score, the only music by Hertel that Lanchbery's score contains. Ashton fashioned a humorous number from this music for Simone and four ballerinas, at the beginning of which Lise tempts her mother with a pair of clogs, which she cannot resist. She puts them on and whirls into one of Ashton's most celebrated numbers, which also features the dancers using the clogs to perform sur la pointe (on their toes).
Ashton's 1960 version of La Fille mal gardée has been staged for many companies throughout the world and has become the more or less "traditional" version, replacing the productions derived from the Petipa/Ivanov/Gorsky versions danced in Russia to the music of Hertel. Among such companies are the Bolshoi Ballet (2002), and American Ballet Theatre (2004). In spite of this, the famous La Fille mal gardée pas de deux, which is taken from the Petipa/Ivanov/Gorsky versions of the ballet, is still performed with regularity as a gala excerpt, and is often used by various young dancer on the ballet competition circuit.
After Ashton's death, the rights to his staging of La fille mal gardée passed to Alexander Grant, the original performer of the role of Alain. In the 1981 version, the role of Alain was performed by Alexander's brother Garry Grant.
In 2007, the Paris Opéra Ballet invited Alexander Grant to supervise a staging of Ashton's version, which premiered at the Palais Garnier on 22 July 2007 with Dorothée Gilbert as Lise, Nicolas Le Riche as Colas, Simon Valastro as Alain, Stéphane Phavorin as the Widow Simone and Gil Isoart as the Piper.
As part of a contract between the BBC and the Royal Ballet signed in 1961, La fille mal gardée was one of nine ballets filmed for television, and was broadcast over Christmas 1962 with the original cast.[2]
In 1984, Ashton's production was filmed at Covent Garden, with Lesley Collier as Lise, and Michael Coleman as Colas. A later recording, featuring Marianela Nunez and Carlos Acosta, was made in the mid-2000s; both are available on DVD.
In 1962, Lanchbery recorded excerpts of music from his adaptation of Hérold's score, and in 1983 he recorded the complete work, again for Decca Records.
The Ballet du Rhin's revival of the 1789 original[edit]
The performance history of La Fille mal gardée came full circle in 1993, when the Ballet du Rhin of Mulhouse, France presented a revival of Dauberval's original production of 1789. The production was staged by Ivo Cramer, an expert in late 18th century and early 19th century dance theatre, and the Ballet du Rhin's artistic director, Jean Paul Gravier. They painstakingly researched the original production, locating a copy of the original score in Stockholm, which describes the 1789 production, including details of the original mime passages. The original score was restored and orchestrated by the conductor Charles Farncombe. The designer Dominique Delouche created sets and costumes inspired by the designs used in the original. Though Dauberval's original choreography is lost, Cramer crafted dances in the style of the period, with heavy influence from folk dancing, as in the original. Cramer also restored the original scheme for the ballet's finale, in which the dancers, singing along with the music, shout out the refrain Il n'est qu'un pas du mal au bien ("There is Only One Step from Bad to Good"). The production was presented under the original title, Le ballet de la paille ("The Ballet of Straw").
Characters[edit]
Lise, (the badly-guarded daughter)
Colas, (Lise's beloved)
Widow Simone, (Lise's mother, traditionally danced by a man)
Alain, (Lise's rich dimwitted suitor)
Thomas, (Alain's father)
Notary
Farm workers, friends of Lise and Colas
Rooster and 3 hens
Synopsis[edit]
Lise and Colas are in love and want to marry. However, the Widow Simone wants Lise to marry the dimwitted, but extremely rich, Alain, and has arranged (with Alain's father Thomas) for a marriage contract between Lise and Alain. The Widow Simone does her best to keep Lise and Colas apart, but is unsuccessful in her attempts to do so.
At harvest time the Widow Simone and Lise are taken to the field for a picnic lunch by Thomas and Alain. The farm workers join in a ribbon dance around a maypole, and the girls also join in a clog dance with the Widow Simone. There is a thunderstorm and everyone rushes for shelter. Alain is carried away on the wind by his open umbrella.
The Widow Simone and Lise return to their home. The widow wants Lise to sit down at the spinning wheel and spin, but Lise spins while she is up dancing, nearly strangling the widow. After a while, the widow wants Lise to dance, and Lise shows signs of unhappiness, but obliges. The widow takes a tambourine to play in time with Lise's dancing. When the widow is asleep, Lise tries to steal the key from the widow's pocket, to prevent the widow from locking her in, but is unsuccessful. The crops are brought in by the farm workers, and the widow then leaves the house (after locking the door behind her to prevent Lise from leaving the house). Lise thinks about Colas and mimes being the mother of a large number of children. To her embarrassment, Colas suddenly rises from the stacked crops. At the sound of the Widow Simone's returning to the house, Lise and Colas look around desperately for a place where he can hide. Not finding anywhere suitable in the living room, Lise takes Colas to her room, and she returns to the living room just before Widow Simone enters the house. The Widow Simone orders Lise to go to her room and put on her wedding dress for her forthcoming marriage to Alain. The horrified Lise tries to remain where she is, but the Widow Simone pushes Lise into her room and locks the door.
Thomas arrives with his son Alain (who is still clutching his umbrella). They are accompanied by a notary who is to act as witness to the marriage. The farm workers (friends of both Lise and Colas) also arrive. The Widow Simone gives Alain the key to Lise's room. When Alain unlocks the door to Lise's room, Lise appears in her wedding dress, accompanied by Colas. Thomas and Alain take offence, and the enraged Thomas tears up the marriage contract. Thomas, Alain and the notary leave the house in dudgeon. Lise and Colas then beg the Widow Simone to look favourably upon their suit. Love conquers all and the widow relents. Joyfully celebrating the happy outcome for Lise and Colas, everyone leaves, and the house is left quiet and empty, until Alain returns for his umbrella which he had accidentally left behind. So Alain is also happy with the love of his life – his umbrella.
Recordings of the music[edit]
Recordings have been released of John Lanchbery's 1960 adaptation of the Ferdinand Hérold score and of excerpts from Hertel's 1864 score.
La Fille mal gardée – excerpts, John Lanchbery conducting the Orchestra of the Royal Opera House, Covent Garden. These excerpts from Lanchbery's 1960 adaptation of Hérold's 1828 score, recorded in February and March 1962, have regularly been reissued and frequently been praised by reviewers for the exceptional sound quality.[3] The original LP (Decca SXL 2313) even found its way onto the "Superdisc List" maintained by The Absolute Sound.
Hérold: La fille mal gardée (highlights), Barry Wordsworth conducting the Royal Liverpool Philharmonic Orchestra. This recording of excerpts from Lanchbery's 1960 adaptation of La Fille mal gardée was originally released on LP in 1983 (HMV ASD1077701) and re-released in 1988 on CD (Classics for Pleasure 586 1782).[4]
Hérold – La Fille mal gardée – complete , John Lanchbery conducting the Orchestra of the Royal Opera House, Covent Garden. This recording was originally released on LP in 1985 and has been reissued on CD (Decca 430,849–2 and Decca Eloquence 442 9048). It contains the complete score of La Fille mal gardée in Lanchbery's adaptation.[5]
Usage[edit]
The music from the Clog Dance is used for the soundtrack in the Christmas 2015 advertisement for Quality Street, a popular brand of confectionery in Britain.[6]
Historic photographs[edit]
Pavel Gerdt as Colas in Jules Perrot's production. St. Petersburg, circa 1865.
Anna Prikhunova as Lise in Jules Perrot's production. St. Petersburg, circa 1865.
Vasily Geltser as the Widow Simone in Jules Perrot's production. St. Petersburg, circa 1865.
Vladimir Riabtzev as the Widow Simone, Mikhail Mordkin as Colas, and Sofia Fedorova as Lise in Alexander Gorsky's production. Moscow, circa 1915.
Anna Pavlova as Lise in the Petipa/Ivanov production. St. Petersburg, circa 1915.
Olga Preobrajenskaya as Lise in the Petipa/Ivanov production. St. Petersburg, 1899.
Sources[edit]
Guest, Ivor Forbes. La Fille mal gardée: History of the Ballet.
Guest, Ivor Forbes and Lanchbery, John. The Score of La Fille mal gardée. Published in Theatre Research, Vol. III, No. 3, 1961.
Guest, Ivor Forbes. CD Liner Notes. Ferdinand Hérold. La Fille mal gardée – Excerpts. John Lanchbery Cond. Orchestra of the Royal Opera House, Covent Garden. CD Decca 430,196–2
Guest, Ivor Forbes. CD Liner Notes. Ferdinand Hérold/Charles Lecocq. La Fille mal gardée / Mam'zelle Angot . John Lanchbery cond. Orchestra of the Royal Opera House, Covent Garden / Richard Bonynge cond. National Philharmonic Orchestra. 2CD Decca 430,849–2.
Kirov/Mariinsky Ballet / Mariinsky Theatre. Theatre Program for La Fille mal gardée. January 1994.
Royal Ballet / Royal Opera House, Covent Garden. Theatre Program for La Fille mal gardée. February 1978 and January 1998.
Wiley, Roland John. The Life and Ballets of Lev Ivanov.
External links[edit]
Wikimedia Commons has media related to La fille mal gardée.
La Fille mal Gardée – about the ballet
La fille – mal Gardee (The Wayward Daughter) In Thai language translate
La Fille mal gardée – Australia Dancing
La Fille mal gardée – Pennsylvania Ballet Academy of Music
References[edit]
Jump up ^ "La Fille mal gardée (1960)". Royal Opera House Collections on Line. Retrieved 4 August 2010.
Jump up ^ The Royal Ballet on BBC TV. About the House, November 1962, p29.
Jump up ^ Breunig C. Review of Speakers Corner SXL 2313/45. Classic Record Collector, Spring 2003, Vol 32, p66-67.
Jump up ^ Review by Roger Fiske. Gramophone. October 1983, p67.
Jump up ^ Review by Andrew Lamb. Gramophone. December 1991, p152; & Review by Roger Fiske. Gramophone. September 1984, p43.
Jump up ^ http://www.campaignlive.co.uk/article/quality-streets-tv-ad-muscles-cokes-first-sign-christmas-mantle/1373808
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/wiki/Salle_de_la_rue_de_Richelieu
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Salle de la rue de Richelieu

values: Edit section: Jean-Pierre Aumer's new version to the music of Hérold

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Jean-Pierre Aumer

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/wiki/Pauline_Montessu
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Pauline Montessu

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Jean Paul Egide Martini

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/wiki/Imperial_Bolshoi_Kamenny_Theatre
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Imperial Bolshoi Kamenny Theatre

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/wiki/Krasnoe_Selo
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Krasnoe Selo

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/wiki/Olga_Preobrajenskaya
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Olga Preobrajenskaya

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/wiki/Mathilde_Kschessinskaya
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Mathilde Kschessinskaya

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Russian Revolution of 1917

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October revolution

values: Edit section: Notation of the Imperial Ballet's production

values: Stepanov method of choreographic notation

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/wiki/The_Sleeping_Beauty_Ballet
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The Sleeping Beauty Ballet

values: Ekaterinburg State Academic Opera and Ballet Theatre (page does not exist)

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/wiki/Marianna_Tcherkassky
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Marianna Tcherkassky

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/wiki/Sir_Frederick_Ashton
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Sir Frederick Ashton

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/wiki/National_Ballet_of_Cuba
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National Ballet of Cuba

values: Edit section: Frederick Ashton's Royal Ballet production

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/wiki/Adagio_(ballet)
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Adagio (ballet)

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/wiki/Marianela_Nunez
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Marianela Nunez

values: Edit section: The Ballet du Rhin's revival of the 1789 original

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/wiki/Classic_Record_Collector
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Classic Record Collector

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values: The Parisian Market or Le Marché des Innocents

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/wiki/The_Two_Stars_(ballet)
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The Two Stars (ballet)

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/wiki/La_P%C3%A9ri_(Burgmuller)
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La Péri (Burgmuller)

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/wiki/Le_Papillon_(ballet)
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Le Papillon (ballet)

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/wiki/Ariadne_(ballet)
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Ariadne (ballet)

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/wiki/The_Magic_Pills_(ballet)
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The Magic Pills (ballet)

values: The King's Command or The Pupils of Dupré

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/wiki/Cinderella_(Fitinhof-Scheel)
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Cinderella (Fitinhof-Scheel)

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/wiki/Les_Millions_d%27Arlequin
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Les Millions d'Arlequin

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values: Category:Lists of ballet premieres by year

values: List of 1898 ballet premieres (page does not exist)

values: List of 1983 ballet premieres (page does not exist)

values: List of 1986 ballet premieres (page does not exist)

values: List of 1987 ballet premieres (page does not exist)

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