About ‘Coco’ and its creators

From an outsider’s perspective, Queensland Ballet’s first rehearsal of Annabelle Lopez Ochoa’s ballet – Coco Chanel: the Life of a Fashion Icon – would have spoken of contrast. Outside the Thomas Dixon Centre’s (TDC) windows, it was a wintry, wet, Brisbane morning: good for sleeping in. Inside TDC’s studio one, dancers were busier than a possum on a hot tin roof.

“Eso!” Annabelle gives her rehearsal stamp of approval in Spanish, one of four languages – along with Dutch, French and English – the Belgium/Columbian choreographer speaks.

“Ok, let’s see the next couple.”

As a choreographer of more than 100 works, with around 80 dance companies across the globe, Ochoa is a prolific creator. Not to mention versatile, having created dance for theatre, opera, musical theatre and film. All this achieved, and she is only 51 years old.

“Let’s see that again. Show me the character and not just the steps. She (speaking of Chanel), needs to be more direct (talking of focus), she is not a romantic.”

Born in 1883, French fashion icon Gabrielle Chanel opened her first store aged 27, and she achieved this with talent, charm and tenacity. Rising to fame from an orphanage in a male dominated society, she earned her living initially as a singer in a café, where it is believed she earned her nick name “Coco”; and this is where the ballet begins, dancing with her sister to the quirky song she famously sang: “Qui qu’a vu Coco?” (“Who saw Coco?”). Étienne Balsan, a wealthy textile heir, certainly noticed Coco, and so begins a passionate pas de deux, and her opening into the world of fashion. Their romance was, however, short-lived, as a wealthy English industrialist, “Boy” Capel, steals her heart; represented in the ballet as a tense trio performed to a tango. Ochoa explains to the dancers playing Coco, “You like them and their money even more.” 

An understanding of intention within characterisations is honed with great precision by Ochoa – “No” speaking to the character Capel, “You must walk on your heels – a pedestrian walk; just natural.” Even a simple touch or gesture is analysed to make interactions between characters real and genuine. The ballet speaks of a different time, and a transition in society from upper class ladies who were dressed, to independent, modern women, who dressed themselves; and accurate characterisations are key to evoking the period.  

Coco Chanel was a major influencer behind these newfound liberties. Not just through her fashion, but how she lived her life as an independent woman. She was a role model, a pygmalion in connecting creatives, and patron to artists, such as composer Igor Stravinsky. She is quoted as saying, “It was the artists who taught me rigour.” Ochoa takes time in moulding the Chanel characters’ posture: like a sculptor she positions shoulders and hands, the inclination of the head, to embody Coco’s spirit. This spirit was multifaceted and represented in the ballet as a “shadow”, with this second Chanel being her hard edge: the businesswoman who did what was necessary to get ahead, from affairs with various lovers to fraternising with Nazis. Chanel was no shrinking violet.

At the time of writing, it has been nine days since Ochoa started teaching Coco, and all featured duets, trios and solos have been taught with incredible speed. That is like trying to memorise a book you have written, word for word, and then reciting it. Every movement is so intrinsically linked to the music that the retelling pours from her effortlessly. The movement has been inspired by Chanel’s designs, and is particularly evident in the Logo duet, referencing the famous “CC” brand (an acronym for Coco Chanel…or perhaps Coco and Capel?). My favourite moments are the subtle historic references in Stravinsky’s piano solo and duet with Coco, with movement nods to Nijinsky’s iconic roles – Rite of Spring and Petrushka – some of the composer’s greatest works with the Ballets Russes. 

Central to Coco is English-born composer Peter Salem’s rich score – which infuses period and historic references with minimalist tones – and Parisian-born Jérôme Kaplan’s set and costume designs. The costumes have a catalogue of Chanel’s timeless designs to draw upon, while the set is an evocation of Nº5, her first perfume: classic, simple and luxurious. The curved staircase – reminiscent of Chanel’s store at Rue Cambon in Paris – features throughout and symbolises her ascension in life and her climb up the social ladder.

If you were watching this rehearsal as an outside observer,  I am sure you would have been most impressed by Ochoa’s passion and energy – akin, one would imagine, to the ballet’s protagonist. Our rehearsal days are physically tiring and long, totalling five hours. And each second, right up to six at night, was rehearsed with intensity and precision. Quite remarkable.

Coco Chanel: the Life of a Fashion Icon, as a co-production between Queensland Ballet, Hong Kong Ballet and Atlanta Ballet, is a collaboration between many talented international creatives.  So, for those of you lucky enough to call Brisbane home, before watching the show, I hope you celebrate by popping into the Queen Street Chanel boutique (perhaps buy a handbag … or just smell some perfume), have a glass of Bollinger Special Curvée champagne at Brisbane’s newly minted Star Casino. Stroll in the moonlight across the pedestrian bridge to Queensland Performing Art Centre’s Playhouse theatre, and marvel at Ochoa’s beautiful production. And in the words of Chanel: “Dress like you are going to meet your worst enemy today.” Now that is living! 

‘Coco Chanel: the Life of a Fashion Icon’ will be performed at the Brisbane Playhouse from October 4 to 19.

Matthew Lawrence is a former principal artist with the Australian Ballet, Birmingham Royal Ballet and Queensland Ballet. He is currently Ballet Master at the Queensland Ballet.