Scarlet women

A Covent Garden barfly was scanning her programme during the first interval: ‘Oh yes, the one about the gynaecologist.’ She meant Strapless, of course, an attempt to tell the back story to John Singer Sargent’s ‘Portrait of Madame X’, which scandalised the Paris Salon of 1884.

‘Madame X’ was Amélie Gautreau, a Creole beauty who became the trophy wife of a Paris banker (and bat-guano importer). Impressed by Sargent’s striking portrait of her lover, the surgeon and saloniste Samuel-Jean Pozzi, Mme Gautreau agreed to let the fashionable young artist immortalise her own cadaverous allure. Bad idea. Her brazen pose and the fallen strap of her low-cut gown caused lasting damage to her reputation.

Strapless has been overpainted since last year’s première but remains resolutely uninvolving thanks to a thin plot and cardboard characters. Christopher Wheeldon tries to embody the contradictions of fin-de-siècle French society, a world at once sensuous and censorious, but takes refuge in cliché.