Mayara-Magri-as-Lise-in-La-Fille-mal-gardee-The-Royal-Ballet-c+RBO-2026.-Photographed-by-Andrej-Uspenski-4
Matthew Paluch sees two debuts in The Royal Ballet’s La Fille mal gardée – Mayara Magri and Leo Dixon. The joy and embodiment were real, and consequently, Ashton’s genius lives on.
Is Frederick Ashton‘s La Fille mal gardée the perfect ballet? Probably? Definitely.
I grew up with the ballet – literally. My parents took me to see Sadler’s Wells Royal Ballet perform it in a tent in the grounds of Lancaster University in the 1980s. Post show, the VHS was purchased, and I was smitten. Each morning as I hoovered my cornflakes, I devoured the performances of Lesley Collier, Michael Coleman and the entire cast.
The ballet never left me, and I was lucky enough to dance the corps de ballet whilst at Scottish Ballet. Dancing the work is the same as watching it. You feel a sense of community and joy, and you’re aware you’re performing very important work in the canon of ballet as we know it.
Ashton was a genius – this isn’t news – but watching Fille again, we’re reminded of why. Accessible characters, effortless comedy, original choreography, structural balance and taste. He isn’t alone, of course. The Osbert Lancaster designs are to die for, extraordinarily lit by John B. Read, and then there’s the score.
Knowing I was seeing the ballet, I spent most of the day humming different sections to myself. The Ferdinand Hérold score, arranged and orchestrated by John Lanchbery, is everything and more. The range from Carry On style percussion to lush, romantic, sweeping adagios is mind-blowing and continues to satisfy even the most jaded of balletomanes.
June 5th saw two debuts in the principal roles: Mayara Magri as Lise and Leo Dixon as Colas – and bravo both.
Magri became a principal in 2021 and has been waiting for Lise, I’m sure! She’s well-suited as a natural soubrette, and her first performance brimmed with assuredness. When performing a heritage work, it’s important to acknowledge the style and what came before you, but equally not allow this to bog you down. I believe Magri has a lot more character itching to escape, and now that she’s completed her (very successful) first show, it will start to reveal itself.
Dixon became a First Soloist in 2024 and is absolutely going places. Colas is a demanding role, both individually and as a partner, and Dixon did super well for a first attempt. I was on the edge of my seat, for both excitement and slight trepidation, but he absolutely won over the audience. His Colas is a genuine lad, and Dixon doesn’t hold back. You feel you’re seeing his interpretation, not him ‘doing’ somebody else, and this I really appreciate. His rendition will undoubtedly grow and prosper.
Elsewhere, the supporting cast offers brilliant performances. Thomas Whitehead’s Widow Simone is larger than life and full of facial expression, Bennet Gartside shows true legacy in his reading of Father Thomas, and James Hay as Alain is a revelation.
Alain, the eccentric son of Father Thomas, hoping to wed Lise, can so easily go wrong, but Hay feels pitch-perfect. His Alain is more human than fool, and this really resonates. If you know the ballet well, Hay doesn’t put a foot wrong, yet the character feels like his and is very alive in the moment.
The same can be said for the entire evening. I didn’t feel like I was watching a watered-down version of what’s come before – the joy and embodiment were real, and consequently Ashton’s genius lives on. How lucky are we? How lucky are the dancers? Literally, thank god for Fred (and his collaborators).
James Hay as Alain in La Fille mal gardée, The Royal Ballet ©RBO 2026. Photographed by Andrej Uspenski
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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.
