Review: The Great Chevalier with the diva-ish enfant terrible and Artistic Director of the Ballet National Folklorique du Luxembourg

I hear the word spoof and tend to run a mile. No offence… it’s just not very me. But perhaps times are changing.

The advertising for The Great Chevalier caught my eye for two reasons: the dancer looked expressive, and the text confirmed he was an enfant terrible – I’m in.

As I did further research closer to the show, things started to feel a bit sketchy. I’d never heard of the Ballet National Folklorique du Luxembourg – but I don’t know everything! – though a quick visit to their website and all became clear.

None of this is real.

It’s all the brainchild of Luxembourgish choreographer Simone Mousset. Mousset trained in London (Trinity Laban, The Royal Academy of Dance, and London Contemporary Dance School) and danced professionally, so has insight into dance traditions and company hierarchy. Both of these experiences allow for a very believable, far-fetched reality to unfold.

We are in the presence of a dance icon and Artistic Director, ‘Mr Chevalier’. The piece is largely spoken word, interspersed with dance, in which Mr Chevalier takes us on a personal journey through his ego and artistic gravitas.

Anchored by the renowned Pigeon Dance, a work created by the mothers (and sisters) of Luxembourgish Folklorique dance, Josephine and Claudine Bal, Mr Chevalier performs and unravels in front of our very eyes. At one point, he involves the audience in a group dance. And what starts off from a place of inclusion soon turns into seething feedback. Something anyone with a dance background will be all too familiar with. One moment, he’s aggressively lecturing on tradition in relation to dance, and he reinforces that it should be contemplated with a violent sense of importance. This section is amusing because it’s true – and uncomfortably close to home.

Throughout the work, Mousset is on stage, well downstage right, acting as all manner of parts. In the work, she is the Executive Director of the Ballet National Folklorique du Luxembourg, so she welcomed audience members and introduced Mr Chevalier himself. As the evening unfolds, she basically becomes Mr Chevalier’s metaphoric punchbag – DJ, water giver, emotional blanket, excuse maker, etc. – and Mousset’s performance is completely believable as part devotee, part enabler.

As I left the theatre, it was obvious I was in the presence of great thinkers and performers, and their work left me musing over issues that are never far from my mind. True artists aren’t the most balanced of people… hence why there aren’t many. They struggle to navigate the real world full of ‘normal’ folk. These delicate creatures are only able to survive because they have an underpinning tradition to shackle to, and a bevy of devout followers who enable whatever heinous situation unfolds.

Do I want a world without enfant terrible? Absolutely not. Should ‘tradition’ check itself? Hell yes. Do enablers need to take accountability for their actions, or rather inactions? Simone Mousset’s study on systemic behaviour suggests, YASS.

Note: Mr Chevalier didn’t return for a reverence. Diva.

Matthew Paluch Guest Author

Matthew Paluch was awarded a place at The Royal Ballet School in 1990 where he graduated in 1997. His first four years as a professional dancer were spent working with London City Ballet, Scottish Ballet, K-Ballet and English National Ballet, becoming a full-time member of ENB until leaving in 2006.

Matthew graduated from the Royal Academy of Dance, Professional Dancers’ Teaching Diploma in 2007, and was formerly on faculty at The Royal Ballet School. He completed his Masters in Ballet Studies at Roehampton University in 2011, has been a freelance writer since 2010 and currently works in the Law Sector.

He is a member of the Dance Section of The Critics’ Circle.