Chip Morris, artistic director of Commonwealth Ballet Company, has earned a reputation for creating original story ballets inspired by works of literature. In the summer of 1998, he re-discovered the Hans Christian Andersen classic tale of The Nightingale, set in the court of the Imperial Chinese Emperor and was excited to create a classical European ballet infused with the spirit of Chinese culture.
Hans Christian Andersen¡¯s ¡°The Nightingale¡± is the story of an unadorned woodland songbird whose glorious music is the joy of all the forest creatures. When the emperor of China learns of her beautiful song, he lures the Nightingale to his court, where her voice enchants all. To the despair of the Nightingale, the emperor orders her caged, so that he may always enjoy the magic of her song. Hearing of the Chinese Nightingale, the emperor of Japan sends emissaries bearing a gift ¨C a spectacular bejeweled mechanical nightingale whose dazzling appearance captivates the emperor and his courtiers. While they are distracted with the glorious mechanical bird, the real Nightingale escapes unnoticed and returns to the forest. The mechanical nightingale regales the court and all who visit until the pale figure of Death comes to the court to claim the Emperor. He needs the pure sweet song of the Nightingale to rally his strength; at this crucial point, the gaudy mechanical bird breaks, and the dying emperor is left without song. Only the real, unadorned Nightingale can save the emperor, but can she be found, and will she return to the court?
Many hours were spent researching Chinese life so that costumes, props, sets ¨C even music and movement itself ¨C has authentic Chinese flavor. Music for The Nightingale comes entirely from Chinese and Japanese sources using both Western orchestration and traditional Chinese instrumentation, with the distinctive intonation and melodies adding to the ballet¡¯s atmosphere. Using sources from local libraries and the extensive Harvard Theater Collection, Chip researched aspects of Chinese and Japanese culture, and then worked with local costume and scenic designers to bring a multicultural experience to the ballet audience. The atmosphere is continued through custom-designed costumes that use authentic Chinese fabrics and accessories. Flowers accenting the wardrobe, colors, fabrics, and even the decorative feathers have all been selected for their symbolic meanings in Asian culture. Morris notes, ¡°As a classical ballet company, we can¡¯t be absolutely faithful to Chinese dance and costuming styles. We have instead borrowed with great respect from the vast tradition of Chinese and Japanese culture. This has been an exciting learning experience for us ¨C and we hope it will be for our audiences too!¡±
CBC is committed to maintaining the highest possible artistic quality and continually improving the ballets in its repertoire. In the March 2009 presentation of The Nightingale, the authenticity of movement and costume will be enhanced by new scenes of Chinese folk dance choreographed and danced by the Angel Dance Troupe of Angel Performance Art. Based in Weston, this organization provides a dance curriculum for those interested in learning authentic Chinese dance as an art form. Through dance education and performance, Angel preserves the traditional Chinese art and culture in America within the Chinese community and beyond, unveiling the beauty of Chinese dance rooted in the colorful cultures of China¡¯s 56 ethnic groups.
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