By any standards of
classical ‘character’ ballet this issue
is self-recommending. The production
is a superb one, with relatively simple
but highly effective sets, one of the
best ballet orchestras around, and as
lively a set of dancers as you could
wish for.
The story is based
on Harold Brighouse’s play of the same
name, and is really quite a straightforward
Victorian drama of class divisions,
domestic strife, frustrated love and
victory of abstention over alcoholism.
Hobson is the owner of a successful
boot shop in Salford, Lancashire. Either
drunk or in a state of bad-tempered
hangover, he treats his daughters like
the stereotype ‘Victorian Dad’, refusing
them permission to marry their chosen
fiancées. Hobson’s apprentice,
the talented but slightly dim Will Mossop
is constantly bullied by his employer,
but has the good fortune to have been
selected by Maggie the eldest daughter
as a candidate for marriage and a partnership
in her own plans for a new shop. Hobson
gets himself into trouble after falling
into a cellar in a drunken stupor. Maggie
manipulates the situation by forcing
her father either to accept the sister’s
marriages or to appear in court, accused
of breaking into the cellar – Hobson’s
Choice indeed. Hobson, now alone, is
driven further in to dissolution. Mossop,
now a rich and successful businessman,
is prepared to help him escape bankruptcy,
but only if the shop changes name to
‘Hobson & Mossop.’ Forced once again
to decide, he in fact has no choice,
and becomes a ‘reformed’ character.
David Bintley’s choreography
follows the Sadler’s Wells tradition
for opulence, running through the entire
range of glorious set pieces such as
the Salvation Army in the park and the
truly grand finale, and elegant solo
and ensemble work. His eye for detail
is always open to witty social observation,
and each character’s interaction and
development is a joy to behold. Desmond
Kelly makes an excellent Hobson, ranging
from abject drunken incapacity through
being the authoritarian martinet, begrudging
bogeyman and ultimate repentant. The
little insecurities of the lads and
lasses, their deportment both in public
and private through each drama and crisis
are so believable and true to life that
the narrative flows like a well written
play. Indeed, the Sunday Times description
as a ‘rollicking musical comedy without
words’ is apt, if (where ballet is concerned)
partially redundant. I laughed out loud
on more than one occasion (and no, not
at inappropriate moments) and the more
intimate romantic scenes are genuinely
touching.
The music by Paul Reade
is classical ‘English Ballet’ fare,
with quotes from well-known folk melodies
woven into the fabric of the score.
Richly orchestrated by Lawrence Ashmore,
there are plenty of moments when the
ear is teased by ‘nearly this’ or ‘almost
that.’ I’m not sure that the CD shelves
will be overstocked with versions of
the ‘Suite from the Ballet’ but the
whole thing works marvellously well
with each contrasting scene.
The studio recording
allows a great deal of flexibility with
the camera-work, without losing the
‘stage’ feel of the production. The
only moment where ‘trick’ editing seems
to have been used is when Hobson is
hallucinating in the churchyard, and
his drinking companions appear to him
as giant pink mice. I can only imagine
the quick changes the stage version
must have required.
The sound quality is
of course beyond reproach. The orchestral
playing is excellent, and I would say
the whole thing is guaranteed to bring
cheer to any rainy afternoon – only
one of many reasons for having this
DVD in your home.
Dominy Clements
Birmingham Royal Ballet and Orchestra/Barry Wordsworth
ARTHAUS-MUSIC
100 442 [101:00] 
