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NEWSNOTES DANCE BLOG
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NEW YORK NY 10023
WEB SITE: http://www.markkappeldance.com
FROM THE EDITOR
Recognizing the need to promote the personal accomplishments of creative artists and to inform dance audiences, dance professionals, dance supporters, and the general public about news in the dance world, I have established the NewsNotes Dance Blog. It is my goal to collaborate with the dance community in this effort. Please direct announcements and press releases for inclusion and coverage to Editor/NewsNotes Dance Blog at MARKKAPL1@aol.com
NEWS IN THE DANCE WORLD
8-17-16 - Madeleine Onne has been appointed the new director of the Houston Ballet Academy in Houston, Texas.
7-4-16 - Samara Downs and Celine Gittens have been promoted to principal dancers at the Birmingham Royal Ballet.
7-1-16 - American Ballet Theatre has announced that Jeffrey Cirio has been promoted to principal dancer, and Blaine Hoven has been promoted to soloist.
6-26-16 - Shiori Kase has been promoted to principal dancer of English National Ballet.
6-17-16 - Xiorama Reyes has been appointed the new director of the Washington School of Ballet.
6-17-16 - Robyn Hendricks has been promoted to principal dancer of the Australian Ballet.
6-15-16 - The National Ballet of Canada has announced that Harrison James has been promoted to the rank of principal dancer.
6-12-16 - The American Theater Wing honored Andy Blankenbuehler with the Tony Award for his choreography created for Hamilton.
6-10-16 - The Royal Ballet has announced the promotions of Alexander Campbell, Francesca Hayward, Ryoichi Hirano, and Akane Takada to the rank of principal dancer.
5-27-16 - Boston Ballet has announced the promotions of Anais Chalendard and Seyo Hye Han to principal dancers, Junxiong Zhao promoted to soloist, and Corina Gil to second soloist.
5-23-16 - The San Francisco Ballet has announced the promotions of Carlo Di Lanno to principal dancer, and Francisco Mungamba, Julia Rowe, Wei Wang, and WanTing Zhao to soloist.
5-18-16 - Taylor Stanley has been promoted to the rank of principal dancer of the New York City Ballet.
5-3-16 - The American Theatre Wing honored the following choreographers with Tony Award nominations for their work during the 2015-16 Broadway theatre season: Andy Blankenbuehler (Hamilton), Savion Glover (Shuffle Along), Hofesh Schechter (Fiddler on the Roof), Randy Skinner (Dames At Sea), and Sergio Trujillo (On Your Feet).
4-6-16 - Ida Praetorius has been promoted to the rank of principal dancer of the Royal Danish Ballet.
4-5-16 - The Charlotte Ballet has announced that Hope Muir has been appointed the company's new artistic director.
4-5-16 - Les Grands Ballets Canadiens has announced that Ivan Cavallari has been appointed the company's new artistic director.
3-7-16 - The Washington Ballet has announced that Julie Kent has been appointed the company's new artistic director, and Victor Barbee has been appointed the company's new associate artistic director.
2-27-16 - Holly Jean Dorger has been promoted to the rank of principal dancer of the Royal Danish Ballet.
2-25-16 - The Atlanta Ballet has announced that Gennadi Nedvigin has been appointed the company's new artistic director.
2-4-16 - The Paris Opera Ballet has announced that Aurelie Dupont will succeed Benjamin Millepied as artistic director in July 2016.
1-28-16 - La Scala has announced that Mauro Bigonzetti has been appointed the ballet company's new artistic director.
1-25-16 - English National Ballet has announced that Lauretta Summerscales has been promoted to principal dancer.
1-19-16 - The Boston Ballet has announced that Paul Craig and Irlan Silva have been promoted to soloist.
1-13-16 - The Dutch National Ballet has announced that Young Gyu Choi has been promoted from soloist to principal dancer.
11-27-15 - Pacific Northwest Ballet has announced that Elizabeth Murphy has been promoted to principal dancer.
10-26-15 - The Bolshoi Ballet has announced that Makhar Vaziev has been appointed the company's new artistic director.
9-15-15 - The Pennsylvania Ballet has announced that Kyra Nichols and Charles Askegard will be joining the company's artistic staff, and Nicolai Gorodiskii will join the company as a soloist.
7-17-15 - Miami City Ballet has announced that Simone Messmer will be joining the company as a principal dancer, Jennifer Lauren has been promoted to principal soloist, and Emily Bromberg and Jovani Furlan have been promoted to soloist.
6-30-15 - American Ballet Theatre has announced that Stella Abrera and Misty Copeland have been promoted to principal dancer, and Skylar Brandt, Thomas Forster, Luciana Paris, Arron Scott, and Cassandra Trenary have been promoted to soloist. Jeffrey Cirio will join American Ballet Theatre as a soloist.
6-23-15 - The Houston Ballet has announced that Jared Matthews has been promoted to principal dancer.
6-8-15 - The New York City Ballet has announced that Lauren Lovette and Anthony Huxley have been promoted to principal dancers, and Ashly Isaacs has been promoted to soloist.
6-7-15 - The National Ballet of Canada has announced the following promotions: Naoya Ebbe and Elena Lobsanova have been promoted to principal dancers. Stephanie Hutchinson, Etienne Lavigne, and Jonathan Renna have been promoted to principal character artists. Skylar Campbell, Dylan Tedaldi, Jordanna Daumec, Chelsy Meiss, Jenna Savella, Harrison James, and Francesco Gabriele Frola have been promoted to first soloist. Jack Bertinshaw, Hannah Fischer, Emma Hawes, Kathryn Hasier, and Brent Parolin have been promoted to second soloist.
6-7-15 - Christopher Wheeldon won the Tony Award for the choreography in American in Paris.
6-2-15 - The San Francisco Ballet has announced that Dores Andre has been promoted to principal dancer.
6-1-15 - The Pennsylvania Ballet announced that Alexander Peters has been promoted to principal dancer.
4-28-15 - Announced the Tony Award nominated choreographers for the 2014-15 theatre season including Joshua Bergasse (On The Town), Christopher Gattelli (The King and I), Scott Graham and Steven Hoggett (The Curioius Incident of the Dog in the Night-Time), Casey Nicholaw (Something Rotten!), and Christopher Wheeldon (An American in Paris). Director/Choreographer Tommy Tune will be receiving a Special Tony Award for Lifetime Achievement in the Theatre.
4-15-15 - The Australian Ballet has announced that Ako Kondo has been promoted to principal dancer.
4-8-15 - Ballet West announced that Beckanne Sisk has been appointed to principal dancer and Allison DeBona has been promoted to first soloist.
3-16-15 - Bernard Courtot de Bouteiller has been appointed Assistant Artistic Director and Balletmaster of Ballet del Sur in Bahia Blanco, Argentina.
3-11-15 - Noelani Pantastico will be returning to Pacific Northwest Ballet as a principal dancer in November 2015.
3-5-15 - Isaac Hernandez will join English National Ballet as Lead Principal in April 2015.
2-4-15 - Sidi Larbi Cherkaoui has been appointed artistic director of the Royal Ballet of Flanders.
10-20-14 - The New York City Ballet has announced the promotion of Russell Janzen to soloist with the New York City Ballet.
9-15-14 - Francesco Ventriglia has been appointed artistic director of the Royal New Zealand Ballet.
8-19-14 - Robert Curran has been appointed artistic director of the Louisville Ballet.
8-5-14 - Dusty Button, Whitney Jensen, and John Lam have been appointed principal dancers of the Boston Ballet. Paulo Arrais will return to the Boston Ballet as a principal dancer.
7-22-14 - Angel Corella has been appointed the artistic director of the Pennsylvania Ballet.
7 -9-14 - Justin Peck has been appointed resident choreographer of the New York City Ballet.
6-30-14 - American Ballet Theatre has announced the promotion of Isabella Boylston to the rank of principal dancer. Joseph Gorak, Christine Schevchenko, Devon Teuscher, and Roman Zhurbin have been promoted to soloist.
6-8-14 - The National Ballet of Canada has announced the promotion of soloist, McGee Maddox, to the rank of principal dancer. Svetlana Lunkina will join the National Ballet of Canada as a principal dancer beginning with the 2014-15 season.
5-7-14 - Yuriko Kajiya and Jared Matthews will be joining the Houston Ballet as First Soloists beginning with the 2014-15 season.
4-25-14 - Evan McKie will join the National Ballet of Canada as a principal dancer beginning with the 2014-15 season.
2-17-14 - Igor Zelensky has been appointed artistic director of the Bavarian State Ballet beginning with the 2016-17 season.
2-14-14 - Zachary Catazaro has been promoted to soloist at the New York City Ballet.
1-27-14 - Vadim Muntagirov will be joining the Royal Ballet as a principal dancer.
12-19-13 - Alice Renavand has been appointed etoile of the Paris Opera Ballet.
12-7-13 - Johan Kobborg has been appointed ballet director of the National Opera in Bucharest, Romania.
12-3-13 - Sue Jin Kang has been appointed artistic director of the Korean National Ballet.
10-2-13 - James Whiteside has been promoted to principal dancer of American Ballet Theatre.
9-24-13 - Matthew Golding will join the Royal Ballet as a principal dancer in February 2014.
7-15-13 - Charles Askegard has been appointed associate artistic director of the Minnesota Dance Theatre.
7-15-13 - Alina Cojocaru will join the English National Ballet as a principal dancer beginning with the 2013-14 season.
6-19-13 - Jose Manuel Carreno has been appointed artistic director of Ballet San Jose.
6-7-13 - Kevin Irving has been appointed artistic director of Oregon Ballet Theatre.
5-31-13 - Nevada Ballet Theatre has appointed Monique Meunier and Nilas Martins as co-directors of the Academy of Nevada Ballet Theatre
5-24-13 - Devon Carney has been appointed artistic director of the Kansas City Ballet.
4-8-13 - Natalia Osipova will be joining the Royal Ballet as a principal dancer beginning with the 2013-14 season.
3-27-13 - Eleonora Abbagnato has been appointed an etoile of the Paris Opera Ballet.
2-26-13 - Edwaard Liang has been appointed artistic director of BalletMet.
2-22-13 - Karina Gonzalez has been promoted to principal dancer of the Houston Ballet.
2-22-13 - The New York City Ballet has announced the promotions of Adrian Danchig-Waring, Chase Finlay, and Ask la Cour to principal dancer, and Lauren King, Ashley Laracey, Megan LeCrone, Lauren Lovette, Georgina Pazcoguin, Justin Peck, Brittany Pollack, and Taylor Stanley to soloist.
2-7-13 - Nacho Duato has been appointed the new artistic director of the Staatsballett Berlin.
1-24-13 - Benjamin Millepied has been appointed the new artistic director of the Paris Opera Ballet.
Saving Radio City Music Hall
By Mark Kappel
The Radio City Music Hall opened its doors in 1932. Designed by Edward Durrell Strong with interior Art Deco designs by Donald Deskey, the Radio City Music Hall was designed and built with the purpose of offering high quality entertainment at prices ordinary people could afford. It was and still remains a showplace, a tourist attraction, and during its golden age it was known for its format of presenting six screenings a day of first-run movies, and presenting four stage shows on a daily basis. It was a unique entertainment experience.
I am of the generation that could remember my mother’s parents taking me and my brother to the Sunday morning shows at the Radio City Music Hall to see some of the great American films which were paired off with imaginative stage shows that included the Radio City Music Hall’s ballet company, variety acts, the world-famous Rockettes, and cameo appearances by movie stars. It was a magical place, with the orchestra appearing out of nowhere, and big Wurlitzer organs being played that filled this very large movie palace with music. Seeing the films and stage shows at the Radio City Music Hall was an integral component of the New York experience – and a ritual for New Yorkers and tourists. However this important New York cultural institution was in danger of being demolished and could have been lost.
Saving Radio City Music Hall, A Dancer’s True Story, by Rosemary Novellino-Mearns, published by Turning Point Press, documents the activism by the Radio City Music Hall’s performers, and show business and political allies that led the fight in obtaining the Radio City Music Hall landmark designation and saving it from demolition.
Rosemary Novellino-Mearns, Dance Captain of the Radio City Ballet Company, and her husband, William Mearns, Captain of the Radio City singers, organized the Showpeople’s Committee to Save Radio City Music Hall – and ultimately succeeded in saving the Radio City Music Hall from demolition, and it is the brave story of this activism -- the disappointments and successes in this quest -- that is described in this book.
Also in the book are the descriptions of the Radio City Music Hall’s daily life with performances taking place, rehearsals, the various departments churning out costumes, and the musicians, the dancers, and the technicians, who put on the Radio City Music Hall’s elaborate stage shows.
It is notable that the ballet company at the Radio Music Hall had been the oldest professional ballet company in the United States with such notables as Patricia Wilde, and Melissa Hayden among its members. The ballet company was disbanded in 1974, and the Radio City Music Hall’s fortunes began to decline in 1978 after a series of poor choices of films – resulting in a decline in audience attendance. That is when the threat of demolition reared its ugly head, and inspired the efforts to save the Radio City Musical Hall -- and give it a future.
The book is filled with statistics and information about the Radio City Music Hall, from rehearsal schedules to photos of performers, and an appendix which provides technical information about the theater, and a chronology of all of the films and shows that were presented at the Radio City Music Hall from 1932 until 1979, when the Radio City Music Hall’s existence was saved but the format of entertainment presented moved away from film to stage shows and concerts only.
This book serves an invaluable first-hand acount of the struggle to save the Radio City Music Hall providing details about its daily operations, and what audience members were able to experience at the Radio City Music Hall during its heyday. This book is a major contribution to our urban history, and a well-earned tribute to the people who spent the time and effort to save this important New York cultural institution.
Peter Wright’s Memoir, Wrights and Wrongs
By Mark Kappel
Published by Oberon Books, Wrights and Wrongs, My Life in Dance by Peter Wright with Paul Arrowsmith, is Peter Wright’s candid memoir of his life in professional dance. Known primarily as a former artistic director of the Birmingham Royal Ballet, Wright has gained the reputation of being one of the most astute stagers of the 19th century classics in the dance world with deep experience in the administrations of dance organizations in Great Britain and Germany.
Besides his long association with the Royal Ballet and the Birmingham Royal Ballet, as a dancer he studied at the leading ballet institutions in Great Britain as well as with Kurt Joos – performing as a member of Joos’ company when the company was in exile in Great Britain during most of the years before, during and after World War II. Wright was also the balletmaster for the Stuttgart Ballet when John Cranko was the company’s artistic director, and it was while working with the Stuttgart Ballet that Wright staged his iconic production of Giselle.
In his memoir, Wrights and Wrongs, Wright lays out the history of the beginnings of the Royal Ballet in the 1940’s and 1950’s, and also describes the rejuvenation of dance in Germany after World War II.
Wright reveals, in his early years, seeking out dance training against his father’s wishes, and joining Kurt Joss’s company – and also working with the Royal Ballet – chronicling the Royal Ballet’s historic tours in the 1950’s, his relationship with Ninette de Valois, the Royal Ballet’s founding artistic director, and frank comments about the dancers and choreographers he worked with. Also Wright participated in the London productions of Finian’s Rainbow and Flower Drum Song, choreographed the London production of Fiorello! and Lionel Bart’s musical, Blitz! He also supervised and choreographed many ballets that were filmed for television.
In providing the narrative of his career in dance, Wright is straightforward about his strengths and weaknesses, the professional relationships and connections he has made, and often is outspoken about the talent and work ethic of the people he worked with. On balance there were some indiscrete and unkind remarks about his colleagues which diminish this memoir. But he is just as upfront in regard to what he learned from each of them, and how he applied what he learned as a dancer, and artistic director.
Wright describes in detail how he was involved in the transformation of the Royal Ballet’s New Group into the Sadler’s Wells Royal Ballet, and the company’s move from London to Birmingham. He also describes his disappointment in not being fully considered when the position of artistic director of the Royal Ballet became open during his tenure working with the Royal Ballet organization. Wright reveals the candidates under consideration for that position during several searches for a new artistic director, the rationale for the choices, and his opinion of the choices. Wright is also very blunt about how and why decisions are made by artistic directors and also expresses his own philosophy as an artistic director.
There are particular words of wisdom to be fully considered by artistic directors, and those who wish to be, including his statements that “The director of a ballet company is the dancers’ champion, but he – or she – should not always think like a dancer.” Or “A wide-ranging vision is a necessity for a company director who must be able to see the bigger future.”
Wright’s talents as a stager of the classics is not as well known in the United States although his production of Giselle has been danced the by Houston Ballet, and his production of Giselle has also been staged for the National Ballet of Canada and the Royal Winnipeg Ballet – both companies having performed Wright’s production of Giselle in New York. The Royal Ballet performed his production of The Sleeping Beauty in New York during the 1970’s, the Sadlers Wells Royal Ballet performed his new version of The Sleeping Beauty at the Brooklyn Academy of Music in 1986 as part of an American tour, and his production of Swan Lake has been seen in Canada as danced by the Sadlers Wells Royal Ballet in Toronto in 1983.
One of the highlights of this book is Wright’s description of how he approached his first staging of Giselle, and stagings of subsequent production of Giselle for ballet companies during his career. Wright reveals his inspiration, research, revisions, tradition, and how the roles in Giselle should be danced and interpreted – and also how design played a part in the theatrical aspects of staging a 19th century classical ballet. Most interesting was giving the option to the dancers playing Giselle to decide whether they wish to stab themselves during Giselle’s Mad Scene – committing suicide which was in the original production of Giselle – or opting for the dying of a broken heart that has become part of the tradition of interpreting the role of Giselle.
There is also a chapter describing his collaboration with Frederick Ashton on a production of The Sleeping Beauty, as compared to his own productions – with particularly focus on designs and how they contribute to the success of a production of The Sleeping Beauty. There are also details of his productions of The Nutcracker, Swan Lake, and Coppelia, and what goes on in the mind of a producer of a classic ballet and choices that must be made.
In particular there are words of wisdoms to producers of a full-length 19th century classic, “To tackle a big classic you need experience of directing big scenes and making dramatic points rather than just producing choreography”, “Young choreographers or former dancers run the risk of still looking at a big ballet only from a dancer’s perspective.” But a more general bit of wisdom is, “The choreography must express what the choreographer is attempting to say without extra embellishments.”
There are also several interesting revelations. Among them is his confirmation that he choreographed short sections of John Cranko’s Romeo and Juliet, and Onegin, because Cranko’s alcohol problems kept him from rehearsals. Wright did give Cranko great credit for giving him choreographic opportunities and to gain experience as a balletmaster but when Wright left the Stuttgart Ballet, his relationship with Cranko was strained.
Wright also provided an analysis of Kenneth MacMillan’s choreography and his memories of working with MacMillan as an associate when MacMillan was artistic director of the Royal Ballet. He is particularly critical of MacMillan’s widow, Deborah MacMillan, for changing the choreography and designs for her husband’s ballets.
For any balletomane who wishes to know what it is like to be an artistic director of a ballet company – inside and outside – Wrights and Wrongs, is an excellent read, and one can thank Mr. Wright for being honest and forthright about his experiences, and looking back on his decisions with some objectivity.
Sarasota Ballet Makes Its Debut at the Joyce Theater
August 8, 2016
By Mark Kappel
The Sarasota Ballet made its New York debut at the City Center Fall for Dance Festival in 2014, and caused a stir. Relatively new in the dance world, the Sarasota Ballet has earned its status as a ballet company of interest in a short period of time establishing itself in Sarasota, Florida, as well as in engagements at the Kennedy Center and Jacob’s Pillow -- also spending the time and devotion to honing its artistic perspective.
The Sarasota Ballet was founded by former Stuttgart Ballet principal dancer, Jean Allenby, with the intention of establishing a company in Florida that would have its own artistic niche, and serve the community of Sarasota, which didn’t have a ballet company.
Since its founding 25 years ago, the company has had three different artistic directors, and all have put their artistic stamp on the company’s repertoire. The current artistic director is Iain Webb, former soloist of the Royal Ballet, whose primary contribution to the company has been to add Frederick Ashton’s classic and lesser known works to the company’s repertoire – many of which are not even in the Royal Ballet’s current repertoire. Webb has been ably assisted by his wife, Margaret Barbieri, former principal dancer of the Sadler’s Wells Royal Ballet, who is the company’s assistant director, and like Webb had danced the Ashton repertoire under the guidance of Ashton himself. They have re-staged many of these Ashton works for the Sarasota Ballet with painstaking care passing on the Ashton style to the company’s dancers.
The Sarasota Ballet is now making its Joyce Theater debut from August 8-13, 2016. For this engagement the Sarasota Ballet is performing an all-Ashton program with the overall title, A Knight of the British Ballet, which includes a few familiar works, and those that are not as familiar, and danced with a commitment to the Ashton style. What is represented is not an historic or academic exercise, but to see a renewal of an artistic legacy that is relevant to today’s audiences, and is not regularly seen on New York stages.
Although the artistic directors of ballet companies the world over are rediscovering the charms of Frederick Ashton’s ballets, New Yorkers are starved for their performances but for the occasional performances of these ballets by American Ballet Theatre. The Royal Ballet performed in New York in 2015, and the only substantial Ashton work the company performed was The Dream – and with the company’s infrequent American tours since 1976, it is now a rarity for the Royal Ballet to perform Ashton’s ballets here in the United States.
The program opened with the rarely seen Vales Nobles et Sentimentales which was premiered by the Sadler’s Wells Ballet in 1947, revived in 1986, and given its company premiere by the Sarasota Ballet in 2012. Choreographed to Ravel’s music of the same name, Ashton created a romantic atmosphere, set in a ballroom with Sophie Fedorovich’s design of a series of screens used to create mirror and passing images of the dancers. Valses Nobles et Sentimentales presented style and elegance at a time of austerity in Britain. The simplicity of Ashton’s choreographic statement was ably presented by Danielle Brown and Ricardo Graziano as the principal couple – a charming gem that has been rediscovered.
In contrast was Ashton’s Tweedledum and Tweedledee which Ashton created for a gala in 1977 and was danced originally by Wayne Sleep, and Graham Fletcher as the twins, Tweedledum and Tweedledee, and Lesley Collier as Alice, all of the Royal Ballet. This comic work – reflecting the traditions of Christmas pantomime – with its core being a game of musical chairs – is choreographed to Percy Grainger’s Shepherd’s Hey and Country Gardens, and was given its Sarasota Ballet premiere in 2016.
Danced with charm by Alex Harrison, Logan Learned, and Samantha Benoit, it is amazing that Ashton, in his choreography, says more in five minutes than many ballets say in 30 minutes or more.
In contrast is the life and death experience of Ashton’s The Walk to the Paradise Garden, choreographed to Delius’ music from A Village of Romeo and Juliet (also used by Antony Tudor in his 1-act version of Romeo and Juliet), is an atmospheric and forgotten piece that Ashton created for the Royal Ballet in 1972 with Merle Park, David Wall, and Derek Rencher dancing the principal roles. The Walk to the Paradise Garden had been danced by the Royal Ballet in New York in 1974, and unfortunately has disappeared from the Royal Ballet’s repertoire. Recently added to the Sarasota Ballet’s repertoire and danced with innocence and urgency by Ricardo Graziano, and Danielle Brown, and Jacob Hughes as the figure of death confirming that this piece still rings true today.
Following were excerpts from two longer works choreographed by Ashton. Jazz Calendar was premiered by the Royal Ballet in 1968, choreographed to music by Richard Rodney Bennett with designs by Derek Jarman. The scenario of the ballet is based on the nursery rhyme, Monday’s Child. Although not currently in the Royal Ballet’s repertoire, the Joffrey Ballet performed this ballet frequently in New York in the 1970’s, and the Sarasota Ballet added Jazz Calendar to its repertoire in 2015. The music by Bennett is jazz-tinged with the music composed for only 12 instruments. Excerpted in this performance was the blues pas de deux, Friday’s Child, which was danced at its premiere by Antoinette Sibley and Rudolf Nureyev, and here, danced by Ellen Overstreet and Edward Gonzalez bringing out the jazz elements in the choreography.
Also performed was the second movement from Sinfonietta, which was premiered by the Royal Ballet in 1967 and given its Sarasota Ballet premiere in 2014. Choreographed to music by Malcolm Williamson, the second movement of Sinfonietta is a dream sequence in which one female dancer is held aloft and manipulated by five male dancers – with the intention of not allowing the female dancer’s feet to touch the ground. As the lone female dancer, Victoria Hulland, was supported by Ricardo Rhodes, David Tlaiye, Jamie Carter, Daniel Rodriguez, and Daniel Pratt, and convincingly presented the theatrical illusion of Hulland floating in thin air.
Closing the program was Façade, given its company premiere by the Sarasota Ballet in 2008, and is one of Ashton’s early works. The music by William Walton was intended to accompany avant garde poems written by Edith Sitwell and was chosen by Ashton to create a ballet divertissement for the Camargo Society in 1931. Façade is a series of dances that parody the social dances and British music hall acts of the 1920’s and the 1930’s. Although a ballet active in the Royal Ballet’s repertoire, Façade, like many other Ashton ballets, has been rarely seen in the United States. The Joffrey Ballet had often danced Façade in New York in the 1970’s and the Colorado Ballet danced Façade in New York in 2000.
Façade is notable for Ashton’s tongue-in-cheek humor as each section of the ballet is a comic vignette inspired by Walton’s take on the popular songs and dances of the twenties. Façade remains an unusual marriage of typical English entertainment, a bit of camp – and one’s feeling that one has experienced and seen high art at the same time. The tango section – which is danced by a debutante and an older manipulative partner, is where Ashton’s comic touches are most apparent. It was danced by Danielle Brown and David Tlaiye with all of the style and panache one would see in a performance on Dancin’ With the Stars – with a little wink of an eye.
This program was a revelation in its performances of Ashton works known and less known, and the Sarasota Ballet, I hope, will continue to perform these ballets on a regular basis to allow a whole new generation of dancers to learn Ashton’s unique choreographic style. However also a revelation was the Sarasota Ballet itself which improves on each viewing with the indications of even greater things to come – and perhaps more frequent New York visits.
Cagney, The Musical
Westside Theatre (Upstairs)
August 4, 2016
By Mark Kappel
The legendary film actor, James Cagney, is best known for his portrayals of roles as a tough guy. However he was an accomplished hoofer, and stage performer. Besides a prodigious number of film performances, Cagney also performed on Broadway and in vaudeville -- and he had been associated with a well-known Broadway star, George M. Cohan, who Cagney portrayed in his Academy Award winning performance in the 1942 film, Yankee Doodle Dandy. And this year is Cagney’s 117th birthday!
These contrasting images inspired the new off-Broadway musical, Cagney, which examines James Cagney’s life – both professional and personal – within the framework of a musical tale. With a score by Robert Creighton and Christopher McGovern, and a book by Peter Colley, Cagney examines this unique actor’s rise to stardom – a combination of tenacity, survival skills, and talent -- and also revealing many of the important people that had an impact on Cagney’s personal life and professional life.
The musical is framed by its starting and ending point in 1978, an evening in which James Cagney (played by Robert Creighton) receives the Screen Actors Guild Lifetime Achievement Award. Cagney reveals details of James Cagney’s varied career – from Cagney being discovered when vaudeville was breathing its last breath, noting classic lines in his films, struggling against typecasting when under contract at Warner Brothers, as well as being accused of being a Communist by the House Un-American Activities Committee.
In his personal life one catches sight of the family ties with his mother and brother, and the growing relationship with fellow entertainer, Frances, whom he married. Many of the important personages in Cagney’s professional life, including Jack Warner (played by Bruce Sabath), and Bob Hope (played by Jeremy Benton) – and a multitude of others -- are played by a cast of only five supporting players.
In the end Cagney comes to terms with the fact that he is best known for playing the tough bad guys in films and that is what his fans wanted – even though he tried to play roles that allowed him to break that image.
The score is highlighted by the insertion of well-known songs that Cagney sang and danced in in the film Yankee Doodle Dandy including “Give My Regards To Broadway”, “Harrigan”, “Yankee Doodle Dandy”, and “You’re A Grand Old Flag”. The new music for this musical is memorable and serves to tell Cagney’s story well.
Choreographer Joshua Bergasse finds his footing throughout Cagney with intricate tap dance sequences that enhance the plot as well as present an excellent display of virtuoso tap dancing by the cast members.
Robert Creighton, in this musical’s title role, is a force of nature, multi-talented, and has a striking resemblance to Cagney. His performance makes it clear why he won the Fred Astaire Award for Outstanding Male Dancer in An Off-Broadway Show. And the gifted supporting cast of Jeremy Benton, Danette Holden, Bruce Sabath, Josh Walden, and Ellen Zolezzi are versatile in portraying the many personalities that populate Hollywood during Cagney’s heyday as a movie star. Director Bill Castellano has fashioned a structure to present Cagney’s life in an interesting and involving manner.
Cagney, the film actor, was unique, and Cagney, the musical involves the audience in pondering the obvious for what is an exceptionally entertaining musical.
A Second Look At The National Ballet of Canada’s The Winter Tale
David Koch Theater
July 30 (Matinee), 2016
By Mark Kappel
A second opportunity to experience Christopher Wheeldon’s The Winter’s Tale danced by the National Ballet of Canada, as presented by the Lincoln Center Festival, revealed more details in Wheeldon’s choreography, and the dramatic details became clearer with this additional viewing.
In this second performance, a matinee performance on July 30, 2016 at the David Koch Theater, the National Ballet of Canada gave the ballet another absorbing performance by a second cast of dancers that lended their own interpretations to the roles in this intense ballet.
The series of details focused on the relationship between Leontes and Polixenes was depicted from the beginning of the ballet as that of an enduring comradeship that went back to these Kings’ childhood. Represented as little boys, playing together, the seeds of their friendship is planted which makes the betrayal to come later that much more unexpected. Clearly these were royal families that formed close and safe bonds that were ruptured by one man’s irrational act, and Wheeldon displays this in his choreography emphasizing those dramatic moments. As the plot unravels and goes out of control, The Winter’s Tale still comes to a qualified happy ending. But it is a tale of great regret for past actions. Quite moving was the blessing of the marriage of Perdita and Florizel by both Leontes and Polixenes, underscoring another important aspect of The Winter’s Tale – the relationships between children and their parents.
At this performance the cast was led by Guillaume Cote as Leontes, Sonia Rodriguez as Hermoine, Rui Huang as Perdita, Svetlana Lunkina as Paulina, Peter Ottmann as Antigonus, Felix Paquet as Polixenes, and Skylar Campbell as Florizel.
Cote and Rodriguez brought a great deal of artistic maturity to their roles. Cote is an excellent actor/dancer and how he presents Leontes’ deepening madness offers a balance to Rodriguez’s interpretation of Hermione as a trusting human being until Leontes’ betrayal is revealed. The sense of betrayal was represented in every step and move, and also reflected in the equally compelling responses by Felix Paquet’s Polixenes. These pivotal characters were also solidly supported by Lunkina’s heart-rending Paulina. Rui Huang and Skylar Campbell, in their roles, portrayed the innocence and joyfulness in young love, both in their acting, and also in their polished and technically accomplished dancing. Their dancing literally floated on the music. Ottmann as Antigonus here again displays the artistic maturity to bring this humble and dignified character to life.
In this performance the National Ballet of Canada presented its qualities as an ensemble of dancers that balances both the dancing and story-telling when the company performs narrative ballets. I hope that these performances have given New York audiences a sample of what this company can do at its best, and also welcome the National Ballet of Canada again at the earliest opportunity.
The National Ballet of Canada Dances Christopher Wheeldon’s The Winter’s Tale
David Koch Theater
July 29, 2016
By Mark Kappel
The Lincoln Center Festival presents the National Ballet of Canada for the first time at the David Koch Theater, from July 28-31, 2016, performing the New York premiere of Christopher Wheeldon’s dance interpretation of Shakespeare’s play, The Winter’s Tale -- the second ballet choreographed by Christopher Wheeldon shared as a co-production between the National Ballet of Canada and the Royal Ballet – the first was Alice. Nearly brand new to the National Ballet of Canada’s repertoire, its company premiere of The Winter’s Tale was on November 14, 2015.
For The Winter’s Tale Wheeldon assembled the same creative team that worked with him on Alice – with a commissioned score by Joby Talbot and designs by Bob Crowley. Talbot’s music for The Winter’s Tale is more traditional than his score for Alice although his instrumentation in The Winter’s Tale’s score is more varied and unique including an onstage band of musicians playing an accordion and a dulcimer – and Crowley’s designs, also more traditional, give The Winter’s Tale a sense of place – and season.
Shakespeare’s The Winter’s Tale had been placed in the category of a comedy by Shakespearean scholars and then re-thought to be placed among his late romances. The paradox is that the first half of the play consists of tragic elements, and the second half of the play diverts emphatically with comic elements and a relatively happy ending. Also there is the puzzling stage direction, “Exit, pursued by a bear” which is noted in this dance version of The Winter’s Tale as a projection of a bear before the bear kills his innocent victim, Antigonus.
Creating a ballet version of The Winter’s Tale is a challenge because not all of the plot elements can be depicted in dance terms. The complicated plot made simple is that King Leontes of Sicily suspects that his wife, Hermione, is having an affair with his long-time friend, King Polixenes of Bohemia – even suspecting that Hermione’s soon to be born child is not his but Polixenes'. Leontes’ uncontrolled jealousy is not explained and he doesn’t have a “Iago” to encourage this behavior. Leontes banishes Hermione to prison, she is put on trial, she has her child, and she ultimately dies. Also Leontes’ male heir, Mamillius, dies leaving Leontes’ legacy in jeopardy. Hermione’s child is exiled, and Paulina and her husband, Antigonus, bring the child to safe haven in Bohemia. She is brought up by a shepherd, and is renamed Perdita. Perdita ultimately meets Polixenes’ son, Florizel, who in courting Perdita masquerading as a shepherd. This relationship evolves into a love match, and ultimately is blessed by the estranged Leontes and Polixenes, bringing together both royal families and kingdoms.
Wheeldon has included a great deal of exposition in the first act of The Winter’s Tale which uses a choreographic vocabulary that is a fusion of contemporary ballet and modern dance – then on to the second act which is pure dance -- with ballet the primary choreographic vocabulary -- and the third act culminates in celebrations before the supernatural moment of a statue of Hermione coming to life to forgive Leontes for his jealousy. Throughout The Winter’s Tale Individual characters perform dance monologues – setting the tone of the piece and illuminating the inner conflicts of the characters. The finale stage picture of Paulina in front of Mamillius’s statue is chilling and compelling. The choreography communicates anguish and dramatic tension, and then there are the anomalies of Hermione being pregnant yet being thrown about by Leontes, Polixenes, and the palace guards. It does suspend reality
In comparison to Wheeldon’s approach to Alice which seemed to be guided by a non-linear narrative, the general plot lines of The Winter’s Tale are presented in this ballet version in a more straight-forward manner, and the choreography is an instance of less is more. In many aspects The Winter’s Tale is a more mature work than Alice – with more sophisticated and thoughtful choreography.
The National Ballet of Canada is a welcome visitor to New York and one of the reasons is that the company brings energy, and commitment to the story ballets that the company dances. And, in fact, the National Ballet of Canada’s production of The Winter’s Tale is also less maudlin than the Royal Ballet’s production.
On July 29, 2016, the cast for The Winter’s Tale was Evan McKie as Leontes, Jurgita Dronina as Hermione, Elena Lobsanova as Perdita, Svetlana Lunkina as Paulina, Peter Ottmann as Antigonus, Brendan Saye as Polixenes, and Francesco Gabriele Frola as Florizel.
McKie was kingly and yet consumed by the conflicts that his character, Leontes, is facing – a compelling combination of Hamlet and Siegfried. Dronina played the devoted Hermione with subtlety and her character’s compassion at the end of the ballet heals all of the wounds and conflict that Leontes has created in what seemed to be his irrational acts. Equal to McKee’s Leontes was Brendan Saye’s Polixenes portraying the surprise of Leontes’ betrayal and false accusations. Then there was the engaging couple of Elena Lobsanova as Perdita, and Francesco Gabriele Frola as Florizel, who displayed pyrotechnical dancing – reflecting their joy in love. Also Lunkina’s Paulina was seething with emotion – representing the character with the most wisdom trying to fix the problems with rationality and also protectiveness of the members of the royal families.
It’s marvelous for New York audiences to have the opportunity to see the National Ballet of Canada once again in a relatively short time, and I hope that the company’s visits will be an integral part of a New York dance season as the company had been in past years.
Agnes de Mille Telling Stories in Broadway Dance By Kara Anne Gardner
By Mark Kappel
Published by Oxford University Press, Kara Anne Gardner’s Agnes de Mille Telling Stories in Broadway Dance, explores de Mille’s legacy of her work on Broadway from the 1940’s through the 1960s – breaking barriers in the male dominated world of Broadway choreography and directing. This involving book focuses in detail on six musicals – Oklahoma!, One Touch of Venus, Bloomer Girl, Carousel, Brigadoon and Allegro -- and provides a portrait of Agnes de Mille, who broke barriers throughout her career as a choreographer, and as the first female director/choreographer to work on Broadway.
De Mille’s influence on choreography and direction of Broadway musicals is unequivocal, which Kara Anne Gardner’s well researched study faithfully confirms.
De Mille claimed ownership of the scenarios she wrote for the dance sequences that she choreographed for Broadway musicals, creating narrative dances which were as integral to a musical’s libretto as the writer who wrote the book dialogue in a musical. De Mille created choreography that was required for each musical’s themes from stylized folk dances to ethnic dance – whatever was required to tell the story.
Claiming ownership of copyright on what she created de Mille wanted her contributions to be recognized not only in the credits in a printed program but also in royalties and ongoing payments rather than being paid as other choreographers were paid, as work for hire. In her efforts to defend her own rights, she was one of the founders of the Stage Directors and Choreographers Society which acts as a watchdog and overseer of the contributions of directors and choreographers working on Broadway and in theatres all over the United States. The SDC is a union protecting the legal rights of its members and establishing intellectual property rights for choreographers.
As described in this book, it was de Mille’s – sometimes negative and sometimes positive – relationship with Rodgers and Hammerstein and their unwillingness to recognize and pay her for her contributions to Oklahoma and Carousel that not only resulted in a major rift between them but also motivated her crusade to assert and establish intellectual property rights for choreographers.
Gardner describes in detail de Mille’s early concert pieces that were to be the antecedents of her later work on Broadway. There is also a history of each musical that de Mille contributed to with details of her contributions and how they were ultimately recognized. De Mille’s working methods are described through letters, de Mille’s papers, cast members and associates in describing the evolution of the choreography that de Mille created. In so doing there is the recognition that de Mille left a personal stamp on the productions she choreographed and directed – particularly Carousel, Oklahoma, and Brigadoon.
De Mille created choreography for each of the musicals examined with the specific themes to be presented as being paramount, dance origins incorporated into the musicals, and wove them into the scenario of each musical. There were American dance forms in her choreography for Oklahoma! and Carousel, and appropriate Scottish-themed choreography in Brigadoon.
A description of her work in Brigadoon was explained that the character and culture of the Scottish people could be best understood in their dances. Through her experience she also learned how to work with dance music arrangers to create the scores she needed to bring her ideas to the stage.
Also noted was the influence that De Mille’s experience with the concert dance form had on the work she created for Broadway. It is revealed that her Civil War Ballet in Bloomer Girl might have been intended as a stand-alone piece and was a reaction to the how war was effecting people at the time Bloomer Girl premiered on Broadway. Although not mentioned in this book, it has been attested that De Mille reworked choreography she had created for Allegro, integrating it into one of her landmark ballets, Fall River Legend.
But what was also an important ingredient in her work was that she was an American creating for a uniquely American art form, the Broadway musical, and Kara Anne Gardner’s Agnes de Mille Telling Stories in Broadway Dance explains for the historical record de Mille’s personal contributions to this important American art form, as well as methodology that aspiring choreographers can learn from.
Globe Theatre Performs The Merchant of Venice at the Lincoln Center Festival
Rose Theater at Jazz At Lincoln Center
July 23, 2016
By Mark Kappel
This year’s Lincoln Center Festival has presented particularly diverse theater productions. One of these theater productions is the Globe Theatre’s return to New York from July 20-24, 2016 to perform a new revival of William Shakespeare’s The Merchant of Venice in a production directed by Jonathan Mumby with the distinguished British actor, Jonathan Pryce in the role of Shylock.
The Globe Theatre has performed many of its Shakespeare revivals with as much authenticity as possible with details of the era in which these plays were first performed. This was very much in evidence in this superb and provocative revival of The Merchant of Venice seen on July 23, 2016 – a problematic play in terms of whether it is directed as a romantic comedy, or focuses on the overpowering tragic figure of Shylock, his conflicts with society, and the relationship he has with his daughter.
The Merchant of Venice picks up a thread that goes back across three centuries to the expulsion of Jews from England in 1290. The story is set in Italy at a time when Jews lived in ghettos, and were restricted to making their livings in particular trades. One of them was money lending because it was considered a sin for Christians to be involved in such activity in Elizabethan England and other parts of Europe. Christians did lend money to each other but they were not allowed to charge interest – an issue that becomes a bone of contention between two of the principal characters in this play.
Shakespeare’s knowledge of Jewish life would have been limited. The English merchants of the day might have had contacts with Jews in the flourishing Jewish communities in Morocco, Turkey, Antwerp, Amsterdam and Venice -- and Shakespeare might not have known the historic place that Jews had in Italy where in 16th century Venice, there was an active cultural scene of frequent contacts between Jews and Christians – where Jews were not only money lenders but also doctors, scholars, craftsmen, poets, and musicians.
Performing The Merchant of Venice in the 21st century presents a dilemma in terms of how Shylock is portrayed, and whether The Merchant of Venice is presented as a comedy or one that balances both comedy and tragedy. Shylock is definitely the villain of the piece and The Merchant of Venice would be interpreted as a play with a revenge theme. But the complicated character of Shylock has been portrayed differently through the ages – being grotesque, a stereotypical villain in a melodrama – to a pathetic hero – as interpretations have responded to human events and have evolved over time.
Mumby’s production of The Merchant of Venice is set in its time, 1597, emphasizing a balance between tragedy and comedy juxtaposed against the age’s anti-Semitism, racism, and greed. As these prejudices existed in 16th century Europe, they are unapologetically represented in this production of The Merchant of Venice. Jews living in Venice at the time were required to wear signs of their religion -- wearing a red hat when going about their normal business outside the Jewish ghetto – and a yellow circle on their clothes – details that are focused upon in this production. Shylock is portrayed as a tired and elder merchant who is victimized by those who do not respect him or his religion – and all of the characters are motivated by wealth – how to obtain it, how to keep it, how to spend it, and the power it brings.
The play’s opening scene is at a Venetian carnival where among the many events taking place is a masque depicting cupid bringing together two lovers, dancing, and a street brawl – two Jewish merchants are attacked on the street.
Thereafter, The Merchant of Venice’s complicated plot is revealed. Bassanio (played by Dan Fredenburgh) needs money to court Portia (played by Rachel Pickup) an heiress of Belmont. He asks his friend Antonio (played by Dominic Mafham) for a loan but as Antonio’s money is tied up in shipments, Antonio approaches Shylock (played by Jonathan Pryce) for a loan. If Antonio defaults, Shylock could enforce his bond which would be a pound of flesh – an act of revenge on Shylock’s part.
In order to succeed in winning the love and Portia’s hand in marriage, Bassanio must choose one of three caskets with her photo in it – and he meets the challenge of choosing the correct casket – the lead casket. However there is also the underlying attraction between Bassanio and Antonio which does confuse the issue at hand.
As there are reports that Antonio’s ships are lost and Shylock wants to redeem his bond in court –Bassanio offers money instead as a settlement rather than a pound of flesh. In demanding the forfeiture of his bond, Shylock is then accused of attempted murder of Antonio. Now having Shylock at his mercy, Antonio demands that Shylock’s goods be confiscated, and in order to save his life, Shylock must convert to Christianity, and give his possessions to his daughter, Jessica (played by Phoebe Pryce) as a dowry as she wishes to be married to Lorenzo (played by Andy Apollo). Shylock agrees to these conditions – and in spite of these indignities suffered by Shylock, Antonio does not relent even when he learns that his ships are safe – and so are his fortunes.
However this version of The Merchant of Venice does not end on a happy note as Shylock is seen in the ritual of his conversion and baptism into Christianity – while his daughter, Jessica is seen distraught, singing in Hebrew, wailing, and watching her father being put through this degrading ritual. It is a powerful and haunting moment.
Pryce’s Shylock dominates this production – being emotionally and dramatically compelling - and inspiring. Pryce commands the stage in every scene he is in.
However in the same play, Shakespeare has created a major part for a woman, Portia, who in the second act has disguised herself as a man, and as a judge to facilitate Antonio’s defense in court. Rachel Pickup is assertive and mysterious at the same time –and also shows uncanny ability in making sense out of the throwaway light comedy that is written into her character.
This production of The Merchant of Venice also concentrates on the relationship between Shylock and his daughter, Jessica. In the Venice of the time, there are many Jews with Germanic heritage who are living there, and this is reflected in this production where Shylock and Jessica speak in Yiddish when emotions are at their height – they are outliers in society. Another layer of this relationship is that Pryce’s daughter, Phoebe Pryce, plays the role of Jessica in this revival. Stefan Adegbola as Launcelot Gobbo provides the comic relief in The Merchant of Venice an over the top performance which includes interaction with two volunteers from the audience. However every member of this excellent cast is to be complimented for their performances and throwing a spotlight on a different and meaningful interpretation of this enigmatic play.
Takarazuka Makes Its Lincoln Center Festival Debut
David Koch Theater
July 21, 2016
By Mark Kappel
The Lincoln Center Festival’s theater offerings were highlighted by the performances of Takarazuka, the all-female theater company of Japan, which has received international praise for its productions of musical entertainments as well as Broadway musicals – classic Broadway musicals such as Guys and Dolls, The Sound of Music, Oklahoma, and West Side Story.
The Takarazuka Revue was founded by Ichizo Kobayashi, a business man who became a politician – and was President of Hankyu Railways, in Takarazuka, Japan, in 1913. The company now operates out of two theatres – one in Takarazuka and one in Tokyo. What’s makes the company exceptional is that all roles in the musicals and the musical entertainments are played by female actors who have been trained at the Takarazuka Music School.
The company is currently performing its production of Chicago, with the original staging from Broadway’s current revival, at the David Koch Theater from July 20-24, 2016 – and distinctive would be understating what a Takarazuka performance is like.
Chicago, with a score by John Kander and Fred Ebb, and a book by Fred Ebb and Bob Fosse, has found a permanent place on Broadway with its revival that will celebrate its 20th anniversary and has spawned national tours in the United States and international productions.
In a television interview Bob Fosse’s wife, Gwen Verdon, explained that Fosse was inspired by the Watergate hearings in the 1970’s when he was creating the musical, Chicago. But Chicago has had renewed interest in this current age of celebrity court trials and reality television. Takarazuka, has put its own stamp on this story and production, performed in Japanese with English subtitles.
The current Broadway revival originated at City Center Encores with direction by Walter Bobbie, and choreography by Ann Reinking in the style of Bob Fosse. With the scenic design minimal with only a jury box in which the orchestra is appearing and playing, and simple black costumes designed by William Ivey Long, Chicago’s story of corruption and scandalous murder trials has a Brechtian tone, and a feeling of menace.
With Takarazuka performing Chicago you have the added ingredient of women playing all of the roles. The principal roles are clearly defined and call for different skills in interpretation, acting, dancing and singing the roles. And there is no loss in the edginess and self-deprecating humor that is inherent in Chicago.
There wasn’t one weak link in the cast seen on July 21st, 2016. Hikaru Asami as Roxie Hart and Yoka Wao as Velma Kelly interpret their roles as being their own best friends, and Keaki Mori supplies the down to earth humor inherent in the character of Matron Mama Morton. Where this performance is unique is in seeing female actors in the male roles. Saori Mine projected the suitable amount of sliminess and smugness in the role of Billy Flynn even though it is clear that you are hearing a female voice singing the part, and Chihiro Isono projects the cellophane ordinariness of Amos Hart. The pace of the musical is also heightened by the rapid-fire delivery of the dialogue in Japanese which has a different cadence as compared to the dialogue being spoken in English.
However the overall performance was polished yet revealed a feeling of spontaneity in which the cast gave its individual interpretations of these roles.
The performance concluded with a Takarazuka Encore – a finale of nine numbers from different shows in the company’s repertoire –including a follies tinged, Hello Takarazuka!, Latin music, an earnest performance of Frank Sinatra’s signature song, That’s Life, Glory To Be Takarasiennes, Takarazuka, Home in My Heart, and finishing with a bit of German operetta. It had allof the kitschy and high camp of a Las Vegas or Paris revue – but all was performed with earnestness and sincerity – and performed with an appreciation of the audience’s positive response to what they had to offer.
Although unique is an overused word, in describing the Takarazuka’s performance, it is apt and appropriate.
Some Enchanted Evenings – The Glittering Life and Times of Mary Martin By David Kaufman
By Mark Kappel
During her lifetime, stage and film actress Mary Martin was an icon – considered one of the queens of Broadway, who toured nationally and internationally in Broadway musicals. An all-American who grew up in Texas, married early in life, and after not having the success in Hollywood, she would have wished for, and had married a second time, she was lured to New York where she became a bonafide Broadway star for the ages. Perhaps to today’s generation she would be best known as the mother of Dallas star, Larry Hagman.
But there is a lot more to be learned about Mary Martin, a task taken on by David Kaufman in his book, Some Enchanted Evenings – The Glittering Life and Times of Mary Martin, published by St. Martin's Press.
Mary Martin grew up in Weatherford, Texas and was the daughter of a prominent lawyer in this small town. At a young age, she married her first husband, Benjamin Hagman, and after having her first child, she opened her own successful dance schools and continued private singing lessons.
Intermittently she pursued her acting, singing and dancing studies in Hollywood leaving behind her son to be raised by her mother and many different boarding schools. Not long after she decided to pursue a career as a movie star, she divorced her husband in absentia. Hollywood offered her only small and insignificant parts in movies although there were a few important roles that were memorable even if they were small roles such as in Night and Day. However due to pregnancy she relinquished the starring role in Holiday Inn.
Kaufman describes her first encounter with Oscar Hammerstein which was an audition for a chorus job at the St. Louis Civic Opera – and before the audition she informed Hammerstein that she would be performing a song that Hammerstein would not be familiar with, “Indian Love Call” for which Hammerstein wrote the lyrics, and Martin didn’t get the job.
She auditioned for Cole Porter and appeared in his new musical, Leave It To Me! singing her signature song, “My Hearts Belongs To Daddy!” Martin had married her second husband, Richard Halliday, and abandoned her movie career. She instead pursued a career on Broadway where she had been received well – and was a great success.
She was later to create the iconic roles of Nellie Forbush in South Pacific and Maria in The Sound of Music, both Rodgers & Hammerstein musicals, and was embraced by Broadway and television audiences in the title role of Peter Pan, toured in Annie Get Your Gun and Hello, Dolly!, and starred opposite Robert Preston in I Do! I Do!
The greats who composed and wrote the Broadway musicals of the Golden Age, wrote musicals for Mary Martin, creating a legacy that is not matched by many Broadway performers. Musicals were composed for her by Cole Porter, Kurt Weill, the team of Rodgers & Hammerstein, and Noel Coward, and she toured in musicals composed by Jerry Herman and Irving Berlin.
Back stories about the roles she played are told in detail as well as what seemed to be a long list of major Broadway roles she turned down – among them the roles of Laurey in Oklahoma, Eliza Doolittle in My Fairy Lady, Dolly Levi in Hello Dolly!, and Fanny Brice in Funny Girl. And, of course, there is a chapter devoted to the legendary tour of James Kirkwood’s Legends with Carol Channing, which took place towards the end of her life.
Martin is portrayed warts and all including the occasions when she was difficult to work with, how she and her husband Richard Halliday took over the shows she was in, and her prejudices. There was also the strained relationship she had with her son, Larry Hagman, who seemed to be in a constant state of war with his stepfather.
An interesting anecdote was her admiration for Dame Margot Fonteyn, who was one of her idols, and was the only special guest attending performances of South Pacific that Martin wanted to be made aware of before a performance. She even sent her daughter Heller to study ballet at the Sadler’s Wells Ballet School in London.
These details and anecdotes are part and parcel of Kaufman’s well researched book. Included in the book is a quote from Florence Henderson in response to Mary Martin’s passing, “She was so generous; she always let people into her circle of light.” If you wish to know more about Mary Martin as a Broadway legend and her personal life, this is the book to read as it allows the readers to enter her circle of light.
Valentina Kozlova Dance Conservatory of New York’s Spring Gala
June 25, 2016
By Mark Kappel
On a yearly basis, as a measure of the progress of her students, Valentina Kozlova puts her students of the Dance Conservatory of New York through their paces in her annual international ballet competition and also in concerts. On June 25, 2016, at Symphony Space, the Dance Conservatory of New York’s annual spring concert was presented including a mix of student dancers and professional dancers including among them medalists from the recent Valentina Kozlova International Ballet Competition.
This spring concert included a diversity of students but this year also focused on the students’ ability to dance classical repertoire. In this 90-minute presentation, there was a great deal of variety in terms of the repertoire that was danced.
Brecke Swan and Paolo Cervellera were both highlighted in Victor Gsovsky’s Grand Pas Classique, and Le Corsaire Pas de Deux, and Mari Bell and Jack Furlong were highlighted in La Fille Mal Gardee Pas de Deux.
Other highlights included Mari Bell dancing a variation from Coppelia, Anna Guerrero dancing a variation from La Vivandiere and in Ju Mi Lee’s Uncatchable, and Elizabeth Seibel in a variation from Giselle.
Katya Saburova, Elizabeth Seibel, Mari Bell, Maria del Mar Wikkeling, and Anna Guerrero were featured in a suite of group dances and variations from Le Corsaire.
Also performed in this concert were works choreographed by Olga Verterich, Sharon McPeak, Nina Buisson and Vitaly Verterich.
These concerts are a measuring stick for the progress made by Valentina Kozlova’s students, and it is always a pleasure to see how they have improved technically and artistically. These students represent the future in dance, and if these students represent that future, the future is good.
American Ballet Theatre’s Romeo and Juliet
Metropolitan Opera House
June 22, 2016
By Mark Kappel
Productions of Romeo and Juliet are now standard in the repertoires of ballet companies today. It wasn’t always that way, and it took several decades before ballet companies came to terms with the box office appeal of this particular narrative ballet. The story is timeless. With the ingredients of Sergei Prokofiev’s evocative and sweeping score, and its scenario, there was a blue print to follow, and choreographers found inspiration to choreograph dance versions of one of Shakespeare’s classic plays.
Since 1984 American Ballet Theatre has been regularly performing Kenneth MacMillan’s version of Romeo and Juliet, with new designs created by Nicholas Georgiadis. Premiered by the Royal Ballet in 1965, MacMillan’s Romeo and Juliet is a version in the grand opera house tradition which emphasizes the tragic romance and its psychological underpinnings. Juliet‘s confidence, her sexual awakening, and her recklessness, and Romeo’s impetuosity are focused on.
Choreographically this version is elegant and passionate, and the story about these doomed lovers unravels slowly. Having seen MacMillan’s Romeo and Juliet danced by American Ballet Theatre, the Royal Ballet, and the Royal Swedish Ballet, one also is aware that this version of Romeo and Juliet is haunting, unsettling, and timeless.
MacMillan has cleverly choreographed and theatrically plotted Act I of Romeo and Juliet with the fight scenes and family feuds in Verona’s market place, its cushion dance in the ballroom scene, sensual Balcony Scene Pas de Deux danced by Romeo and Juliet -- while also emphasizing the innocence of the two protagonists in this ballet -- and the marvelous comedic dances for Mercutio – even as he faces death. In Act II and Act III the tragedy unfolds and illuminates the fates faced by the doomed lovers.
Although MacMillan has set the stage it is up to the dancers to portray and fully realize these characters, and live through the story as it evolves.
On June 22, 2016, American Ballet Theatre offered the cast of Gillian Murphy and Alexandre Hammoudi in the title roles, and Jeffrey Cirio as Mercutio, Blaine Hoven as Benvolio, Thomas Forster as Tybalt, and Daniel Mantei as Paris who all did just that. Murphy highlighted the coltish nature of her interpretation of Juliet, while Hammoudi expressed his coolness and machismo. Cirio is more than a technical whiz kid – the pathos he created in his death scene was genuine.
Also Devon Teuscher, as Lady Capulet, and Martine Van Hamel, as the Nurse, supplied the juxtaposed moments of tragedy and comedy.
In able support was ABT’s corps de ballet making the market place and ballroom scenes seem like living pictures. Every member of the corps de ballet was interpreting characters and people in the everyday life of Verona offering the down-to-earth atmosphere that this story needs to convey.
There is a reason why not only Kenneth MacMillan’s Romeo and Juliet remains compelling, but also why American Ballet Theatre has put its particular stamp on this production and it has remained popular with audiences.
New York Live Arts
June 16, 2016
By Mark Kappel
On June 16, 2016, a unique presentation of choreographers’ work was performed at New York Live Arts. Choreographers Elisa Monte, Molissa Fenley, Margo Sappington, and Jennifer Muller combined their resources to present Monte/Molissa/Margo/Muller – Live! as a collaborative effort to showcase their own creations.
This special performance included premieres as well as a familiar piece, and were examples of why these choreographers are separate and apart from so many others. They are unique and have their own choreographic signatures.
Opening this performance was Molissa Fenley and Company presenting two works, The Third Coast, a world premiere, and Mali, a New York premiere, that have been both presented as parts of a larger work, Water Table. Both pieces focus on the paradox of the abundance or lack of pure water in so many parts of the world.
The Third Coast, a work for two dancers, is choreographed to Ryuichi Sakamoto’s Hwit, and, To Stanford, from Out of Noise, in which Fenley’s choreography focuses on fluid motion, free flowing, and straight lines. As danced by Christiana Axelsen and Rebecca Chaleff, one felt the calmness of observing a view of a lake. Mali is a self-contained solo, danced by Fenley herself, choreographed to original music, Laetitia Sonami’s Dry Poem, which is contemplative and precise.
In contrast was Elisa Monte Dance dancing the premiere of Elisa Monte’s Dextra Dei. Choreographed to music by Tibor Szemzo, this piece evolved beginning in 1989 as a response to the effect of AIDS. The piece consists of a men’s quartet and at this performance there was a new section which added four women to the work.
Monte’s choreography focuses on the ritualistic with floor work, and acrobatic and bold movement. In this piece Maria Ambrose, Shay Bland, Clymene Baugher, Andy Jacobs, JoVonna Parks, Alrick Thomas, Thomas Varvaro, and Wade Watson communicate the moodiness that is represented in the choreography, putting into dance movement so much for an audience to ponder.
Margo Sappington’s Entwined explores how bodies respond in a sensual manner and also spiritually at the same time, choreographed to Erie Satie’s piano piece, the Gnossiennes. The choreography was the only work on this program that was balletic in style – and the ladies were in pointe shoes – however Sappington created this work from a contemporary point of view and offered engrossing choreography to this timeless music by Satie.
Entwined was beautifully and sensitively danced by Lillian Di Piazza and Marjorie Feiring, both of the Pennsylvania Ballet, Chyrstyn Maria Fentroy and Silken Kelly, both of the Dance Theater of Harlem, and Marlon Taylor-Wiles, evoking a wonderful sense of connection.
Closing the program was Jennifer Muller/The Works performing the world premiere of Working Title, choreographed by Muller to original music by Yut and the Hot Four. Muller, in her choreography, focuses on the extremes of human emotion and how they effect relationships.
The dancers, Alexandre Balmain, Sonja Chung, Seiko Fujita, Gen Hashimoto, Elise King, Elijah Laurant, Michelle Tara Lynch, and Shiho Tanaka, portray people avoiding contact and their intensity defied some of the joyous music that Muller has choreographed this piece to. The tone of the piece doesn’t change until the final section in which each dancer portrays a self-awareness of what has resulted from their relationships. The lesson learned that effort must be made in order for a relationship to succeed.
This performance recognized the obvious. These choreographers are masters in their inspiration, creativity, and in their craft. They offered provocative choreography that reflected their own voices, and their creative input should not be limited to self-produced showcases such as these but in the repertoires of modern dance companies and ballet companies.
American Ballet Theatre’s Swan Lake
Metropolitan Opera House
June 14, 2016
By Mark Kappel
American Ballet Theatre includes performances of Swan Lake during each of its annual Metropolitan Opera House seasons – a fixture during the New York dance season. It wasn’t until 1966 that American Ballet Theatre had staged a full-length production of Swan Lake, and since that time, American Ballet Theatre has presented revisions of past productions of Swan Lake as well as new productions of Swan Lake. Over the years this ballet has become a mainstay in the company’s repertoire.
American Ballet Theatre’s current production of Swan Lake dates back to 2000, and has been staged by Kevin McKenzie, with reverence for the tradition of Swan Lake as an iconic ballet. With atmospheric designs by Zack Brown this production has all of the grand opera trappings that a production of Swan Lake should have. However there are a few unique revisions that are included in this production.
There is the introduction of a prologue, during the ballet’s overture in which two dancers – portraying aspects of Von Rothbart’s evil alter egos – magically change Odette into her swan form. The seductive Von Rothbart appears in the Act III Ballroom Scene, and flirts and taunts the princesses vying for Siegfried’s hand in marriage, as well as the Queen Mother. Also in reducing the running time of this production of Swan Lake, there is the loss of a portion of the fourth act, an emotional highpoint in the ballet during which Odette and Prince Siegfried are battling Von Rothbart’s evil and grappling with the fatal choices they must make.
As many current productions of Swan Lake are, American Ballet Theatre’s Swan Lake is a composite of other productions of Swan Lake from the past, and additional choreography from many different sources. Some of the changes and additions provide more dancing opportunities than other productions of Swan Lake as well as providing details that make the narrative clearer. Also Tchaikovsky’s beloved score has been cut in some places and restored in others – or set pieces have been placed in different order in a particular act of the ballet.
However this production does have an overview of the story, presents the story with clarity, and provides a setting for the dancers in the principal roles to freely interpret the roles of the Swan Queen and Prince Siegfried.
Tchaikovsky’s music still shimmers and shines in this production of Swan Lake, and the ballet still remains a standard by which a company is evaluated from the principal dancers down to the corps de ballet. On June 14, 2016, American Ballet Theatre presented a cast of dancers who defied expectations in Swan Lake’s principal roles.
In the challenging dual roles of Odette/Odile, Isabella Boylston successfully delineated these two different characters through her dancing – allowing the choreography to speak. She was sympathetic in her manner as Odette, and supplied the necessary bravura as Odile in the Black Swan Pas de Deux to distinguish the two different characters she was portraying. Alexandre Hammoudi portrayed Siegfried as a lost soul wanting to make an emotional connection with a woman – and was befuddled and dazzled by Odile – as he was by Odette – creating the confusion he had to feel when realizing he had betrayed Odette.
In this production having two different dancers portraying Von Rothbart presents the juxtaposition of evil – and another aspect of evil – the ability to hoodwink and to seduce and be seduced. In that respect James Whiteside, as the Von Rothbart in human form, succeeded especially in his ballroom solo dancing to the rarely performed Russian Dance. His evil counterpart, a monster or creature Von Rothbart, was played appropriately manipulative and feared by Thomas Forster.
As in most performances of Swan Lake it is the corps de ballet that shines as brightly as the dancers in the principal roles – from the dancers’ performances in the character dances to the ensemble dances in the white acts. The corps de ballet’s dancing sets the tone for the tragedy which culminates in the tragic ending of this ballet.
In dancing Swan Lake, American Ballet Theatre succeeds in earning its reputation as a company of international standard.
The King and I
Lincoln Center Theater At Vivian Beaumont Theater
June 9, 2016
By Mark Kappel
Rodgers and Hammerstein’s The King and I premiered on Broadway in 1952. Composed and produced as a vehicle for Gertrude Lawrence, The King and I is based on the experiences of Anna Leonowens, an Anglo-Indian daughter of an Indian army soldier who was the governess for the children of King Mongkut of Siam in the early 1860’s.
In reviving this shining gem of the golden age of Broadway musical theater in a sumptuous production, the Lincoln Center Theater has given the world of theater and theater audiences an extraordinary gift.
In The King and I cultures clashes, prejudices present themselves, as well as a special bonding between Anna and the King as Siam opens up to the Western world.
These challenges are communicated through a memorable score by Richard Rodgers and Oscar Hammerstein II, and an empathetic and inspiring book by Oscar Hammerstein II. This story is a story for the ages.
In the opening moments of The King and I Anna and her son, Louis, arrive in Siam at a time of social and political change. She confronts a King who is trying to acknowledge the need to make what could be construed as revolutionary changes and breaks with tradition as Siam wishes to join the world of nations -- and is the target of both economic and political encroachment from outside forces. Although Anna has been engaged to teach the King’s many children, she proves to be a trusted advisor to the King, and in observing the treatment of the Burmese princess, Tuptim, by the King, Anna also attempts to influence the evolution of the traditional and social norms in Siam.
Director Bartlett Sher has expertly guided this production with the goal of seeking out emotional and pivotal moments in this story and framing them. All is enhanced by the physical production with costumes designed by Catherine Zuber, scenery designed by Michael Yergen, and lighting designed by Donald Holder. They capture the atmosphere of what Siam might have been like at the time.
Now a year after its opening, and after winning the Tony Award for Best Revival last season, The King and I continues to please. What enhances and colors this revival are the performances of the talented actors in the principal roles who explore this musical’s wide range of emotion.
There is a new cast in this revival of The King and I. Marin Mazzie as Anna and Daniel Dae Kim as the King depicting two independent beings whether it is in a meeting of the minds or in their confrontations. They form a lasting bond in spite of their differences.
Mazzie is a towering figure and a forthright force of nature as Anna – it is a compelling performance – beautifully sung and heartfelt – and combined with the chemistry between herself and Kim’s commanding presence -- and being adept in his comic timing as the King – revealed is the mutual respect between these two characters who are motivated by pride as much as anything else.
There are also superlative performances by Ruthie Ann Miles as Lady Thiang, Ashley Park as Tuptim, Conrad Ricamora as Lun Tha, and Paul Nakauchi as Kralahome. And then there are the amazing children – fresh and innocent.
Jerome Robbins’ original choreography is the blueprint for Christopher Gatelli’s choreography in this production. The gem is “The Small House of Uncle Thomas” ballet which captures Robbins’ spirit and humanity – and symbolism – as the piece holds an important place in The King and I’s narrative and also is a reflection of American and Siamese cultures.
One of the many impressive aspects of this production is the experience of hearing Rodgers and Hammerstein’s magnificent score with 29 musicians playing the original orchestrations by Robert Russell Bennett, and the dance and incidental music arranged by Trude Rittmann.
The King and I is optimistic and entertaining, and is also sentimental – but in facing our hurried and harried life on a day to day basis, its sweeping story is a lesson for our time. See The King and I before it closes on June 26, 2016, and experience it, as The King and I will change your life.
Hero’s Welcome By Alan Ayckbourn
59E59 Theaters – Brits Off-Broadway Festival
June 9, 2016
By Mark Kappel
The second, in the series of two Alan Ayckbourn’s plays, Hero’s Welcome, opened on June 9, 2016, as part of the 59E59 Theaters’ Brits Off-Broadway Festival. An American premiere, Hero’s Welcome is Ayckbourn’s 79th play, and was performed by the Stephen Joseph Theatre of Scarborough, with Ayckbourn directing this incredibly talented group of actors.
Hero’s Welcome is a descriptive and pointed narrative about the experiences of the many military service women and men returning home after a long absence, the search for acceptance, what they have left behind, and how their world has been turned upside down.
In Hero’s Welcome, the principal character, Murray returns to Hadsforth after 17 years absence – after fleeing under a cloud – and where he left Alice, now the mayor of Hadsforth, at the wedding altar. He is a decorated soldier who is heralded for rescuing children from an emblazoned building, and he is accompanied by his young foreign bride, Baba.
Murray is initially welcomed back with medals, marching bands, and television interviews. He now has a new plan for his future which includes bringing his family’s hotel back to life, and renewing old friendships. Yet one feels that there is something underneath his skin that he is wrestling with that he cannot admit. Murray also proves to be a mild-mannered catalyst causing the resurgence of repressed memories, relationships that break down – and even provokes thoughts of murder.
Needless to say the townspeople are not happy to see him back in Hadsforth, whether alone or with his new mysterious foreign bride, and are eager for Murray to leave town as soon as possible.
Murray has found himself in a war zone at home with a select group of townspeople participating in psychological warfare – targeting each other with carefully aimed darts and employing Ayckbourn’s acerbic language as a tool. One’s initial response is that you would want to avoid these people or maintain a long distance from them. Clearly the flawed and unlikable characters in Hero’s Welcome are collateral damage, consequences of a country sending its citizens off to war. The walking wounded are not only the soldiers and war veterans, but also those that are left behind at home.
The themes introduced, and the concerns expressed in Hero’s Welcome are right out of newspaper headlines, and Ayckbourn has examined these themes in a careful and thoughtful manner. There is a clear point of view yet all sides are compassionately represented. Ayckbourn’s writing stirs the emotions, makes one more than a little uncomfortable, and reinforces his reputation as a thought-provoking playwright.
The superb cast of Stephen Billington as Brad, Elizabeth Boag as Alice, Russell Dixon as Derek, Charlotte Harwood in the dual role of Kara and Simone, Evelyn Hoskins as Baba, and Richard Stacey as Murray bring Ayckbourn’s provocative words to life – words and thoughts that an audience should ponder.
Confusions By Alan Ayckbourn
June 8, 2016
59E59 Theaters – Brits Off-Broadway Festival
By Mark Kappel
In cooperation with the Stephen Joseph Theatre of Scarborough, the 59E59 Theaters’ Brits Off-Broadway Festival is presenting two distinctive plays written and directed by Alan Ayckbourn. Ayckbourn is a prolific playwright, and his plays often focus on current events – some of which are metaphors for broader social and political issues. Both plays are being performed in repertory by a troupe of actors hand-picked by Ayckbourn.
The first of the two plays, Confusions, which opened on June 8, 2016, is a series of five interlinked one-act plays in which one character in each play is the link to the next play. Culminating with the final play in which five people sit alone on four park benches.
In the first play, “Mother Figure”, a harried mother is exhausted by her children, missing adult conversation, ignores the absence of her husband – and she infantilizes and shames her next door neighbors. Then on to the second play, “Drinking Companion”, where the mother’s husband (not seen but mentioned in “Mother Figure”) bungles his attempts to seduce two women in a hotel bar – the two women who are fearful and are eager to escape his advances – one hard-boiled woman, and the other less sophisticated -- but no more interested in the drunk and inept seducer.
Ayckbourn skillfully leads the audience to the third play, “Between Mouthfuls” shifting focus on to the waiter who had been eavesdropping on that bungling seducer, and moves on to a hotel dining room where he overhears the details of a councilor’s wife’s description of her collapsing marriage. All is revealed in animated conversations involving two couples who are connected in intertwining relationships, and are surprised by each person’s revelations – punctuated by the facial expressions and body movements of the waiter serving them, with split-second precision. You only hear the parts of the conversations that the waiter hears, but it is easy to fill in the gaps.
More in tune with what Americans deem as British farce is the fourth play, “Gosforth’s Fête”, moving on with the councilor’s wife who next turns up as the guest of honor at a church gala – where the participants’ lives are falling apart at the seams. Yet another embarrassing relationship is revealed in an awkward and unpretentious manner as the Fête’s events are prepared for in a tea tent – chaos ensues in the midst of riotous physical comedy, and human beings trying to cope with failing technology including a public address system gone awry, and pouring rain.
Confusions ends with the fifth play, “A Talk in the Park” , with a contrasting tone and mood – five lonely strangers seeking connections and invading each other’s space as they vie for seats on four park benches. Although in keeping with Ayckbourn’s strain of humor, “A Talk in the Park” offered a juxtaposition of underlying emotions and isolation in comparison to the previous four plays.
These plays range from comic farce to black comedy, and are scented with sentimentality and poignancy. Confusions’ structure is similar to that of Schnitzler’s La Ronde, except in Confusions there are running jokes and relationships that are seared with social satire. You often feel the knives turning in the wounds. Ayckbourn’s gift of language and his crafting of circumstances and situations is very much in evidence in Confusions – and he has orchestrated and choreographed humor and satire in both words and movement – all enhanced by the virtuoso performances by the excellent cast of Stephen Billington, Elizabeth Boag, Russell Dixon, Charlotte Harwood, and Richard Stacey.
It is noteworthy that Ayckbourn has referred to Confusions as an “entertainment” rather than a play. And what an entertaining evening this was to see Ayckbourn and these wonderful actors at the top of their game.
American Ballet Theatre Dances Le Corsaire
June 4, 2016
Metropolitan Opera House
By Mark Kappel
American Ballet Theatre shifted in tone and style in presenting its performances of the full-length ballet, Le Corsaire, a ballet based on a tale by Lord Byron, which was performed on June 4th, 2016 at the Metropolitan Opera House.
As a ballet Le Corsaire is a bit of a paste and glue affair as the score includes the work of Adolphe Adam, Cesare Pugni, Riccardo Drigo, Leo Delibes, and Prince Oldenbourg, and this production, ably staged by Anna-Marie Holmes, is based on choreography by Konstantin Sergeyev after Marius Petipa. Le Corsaire had been a staple in the repertoires of Russian ballet companies, and it wasn’t until Rudolf Nureyev defected from Russia and often performed a modified version of the virtuoso Act II Pas de Deux that Le Corsaire became known in the West. It took many more years before the full-length ballet entered the repertoires of ballet companies’ outside of Russia.
What is also distinctive about Le Corsaire is that it is one of the 19th century full-length ballets in which male dancers are in the forefront – this ballet has four important male roles and lots of opportunities for the male dancers to show off what they can do.
As Le Corsaire is translated as The Pirate, you can count on the fact that this ballet is filled with adventure, surprising scenic effects, kidnapping, a shipwreck, and lots of swashbuckling pirates. As soon as the curtain goes up, the audience is engrossed in the sight of the pirates on a sailing ship – one is immediately geared up for this pirate fantasy.
Once the pirate ship is seen sailing towards its destination, the story-telling begins. Lankendem, the owner of a bazaar, sells off two of his slave girls to a pasha. The pirate, Conrad, falls in love with one of them, Medora, and is determined to kidnap her – but his efforts are thwarted by Lankendem and Birbanto (Conrad’s cohort). Conrad ultimately saves Medora and Gulnare, whisks them off to sea – and survives a shipwreck. Interspersed in between these plot points are the dancing Odalisques, the Act I Pas d’Esclave Pas de Deux, a Pas de Trois danced by Conrad, Ali, and Medora (performed generically today as Le Corsaire Pas de Deux), and the Jardin Anime Divertissement, the Pasha whimsically dreaming of his garden coming alive as a metaphor for some of the women in his life.
This is all an excuse for virtuoso dancing and there is lots of it in Le Corsaire. At this performance Le Corsaire was danced by a superlative cast. As Medora, Gillian Murphy sparkles and glistens, with a throwaway technique that makes the challenging aspects of the choreography seem simple. She was equally matched by Mathias Heymann as Conrad, an elegant partner and actor on exchange from the Paris Opera Ballet, and Daniil Simkin as Ali winning over the audience with his virtuoso dancing. Just as luminous was Stella Abrera as Gulnare, and as sinister, were Gabe Stone Shayer as Lankendem and Arron Scott as Birbanto. Although all of the dancers in the aforementioned principal roles had their moments to shine, American Ballet Theatre’s magnificent corps de ballet also had its moments – particularly in the Jardin Anime Divertissement in Act III.
With its fanciful story, virtuoso dancing, and over the top scenic effects, one should put all seriousness aside, and sit back and enjoy American Ballet Theatre’s production of Le Corsaire.
American Ballet Theatre Performs
La Fille Mal Gardee
Metropolitan Opera House
May 30, 2016
By Mark Kappel
During its current Metropolitan Opera House season, American Ballet Theatre has presented two classic ballets choreographed by Frederick Ashton. American Ballet Theatre opened its Metropolitan Opera House season with Ashton’s Sylvia, and has followed with a revival of Ashton’s La Fille Mal Gardee seen on May 30, 2016.
Created for the Royal Ballet in 1960, Ashton’s La Fille Mal Gardee has been described as Ashton’s pastoral ballet – a ballet inspired by the landscape of the countryside in Suffolk, England, but is also an homage to the romantic ballets of the early 19th century.
Although inspired by Jean Dauberval’s version of this ballet that was premiered in the late 18th century and performed in many different versions since, Ashton’s version has an Englishness about it that makes his rendering notable and distinguished.
Dauberval’s original scenario is mirrored in Ashton’s version which focuses on a controlling mother, Widow Simone, who is forcing her daughter Lise, into what she perceives to be a brilliant match with Alain, a vineyard owner’s dim-witted son -- but Lise’s affections have been focused on Colas, a young farmer. Through a series of mishaps, miscommunications, missteps, and comic moments, La Fille Mal Gardee has a happy ending, all danced to John Lanchbery’s free adaptation of Ferdinand Herold’s music, and presented with the beautiful costumes and scenery designed by Osbert Lancaster. These elements create an atmosphere in which Ashton’s choreography and theatre craft are showcased – there is even a pony to pull a cart, a Maypole dance, and a clog dance. Each of these elements set a time and place, and in combination these elements create beautiful stage pictures.
Ashton’s choreography and staging borrows from productions of La Fille Mal Gardee that were danced in Russia and also in Central Europe. Distinctive is the first act ribbon dance which is danced by Lise and Colas as well as the comic dance by a cockerel and hens that is seen in the opening moments of the first act. In the first act’s second scene displayed are virtuoso variations for Lise and Colas, and a comic clog dance danced by Widow Simone with Lise’s friends in support – but all are connected as part of the narrative and you get to know these characters well. Every character is also delineated by the props and activities they are involved in in the ballet. Besides the ribbons in the ribbon pas de deux, the farmers are carrying farming tools and hay bales, and even in the manner that Widow Simone adjusts her hat or puts on her scarf indicates who she is – warts and all. And Ashton even makes these props “dance” showing the theatrical side of Ashton’s choreography.
I have seen performances of Ashton’s La Fille Mal Gardee by many ballet companies, and from those experiences the ballet’s success is intertwined with the dancing, acting, and comic skills of the dancers who are dancing the principal roles. With those skills the dancers can draw the audience in to this charming ballet and its story.
Stella Abrera as Lise and James Whiteside as Colas were a beautifully matched pair of lovers – dancing Ashton’s allegro and challenging choreography with wit and charm. This was evident in the three pas de deux danced by this couple which challenged the dancers in virtuoso choreography as well as adagio choreography, and also their ability to convey comic mime. There is no room for anything less than perfect execution and characterization.
Most amusing was to see Marcelo Gomes turn loose in his performance of Widow Simone, with swagger, false femininity, and perfect performance of Widow Simone’s comic clog dance. Gomes’ Widow Simone gives the impression that she must have been a handful and a spitfire herself in her day. And Arron Scott as Alain was channeling Martin Short’s comic timing and acting, making Alain both a comic and sympathetic character.
In all you had a heavenly and joyous evening of dance – and how much better our lives would be if American Ballet Theatre didn’t wait another decade before performing La Fille Mal Gardee again.
Bright Star, A Sentimental and Nostalgic Journey
May 29, 2016
By Mark Kappel
Bright Star, one of the Tony nominated musicals of this current season, with music composed by Steve Martin and Edie Brickell -- with lyrics by Brickell and a book by Martin -- tells an original, sentimental, romantic, heart-warming, and nostalgic story. Bright Star succeeds in telling this story both in words and music, and taking the audience on a wonderful journey – a journey testing the human spirit and understanding human nature.
Alice Murphy, a literary editor, who lost a child during her younger years in the 1920’s, rekindles those memories when she meets a returning young solder from World War II in the 1940’s – all unfolding in a small town in North Carolina. Bright Star focuses on Alice’s journey to close a chapter in her past, and reveals her acceptance and appreciation of herself in the present, and opens up her mind to look forward into the future. There is a bit of romance, redemption, and optimism in a world that is confusing and confounding. This compelling tale is revealed in flashbacks and evolves like a mystery novel.
The interconnection of all of the lives involved in this story is how we try to understand human nature, and how we accept and forgive in a simple and straightforward manner.
Bright Star’s narrative is enhanced by the score which is inspired by country music, bluegrass music, and country ballads, that serves to communicate the characters emotional burdens, moments of happiness, and cathartic experiences, and creates the ambiance of the geographic location where this story takes place. The songs are memorable and inspiring as well – and they stay with you when you leave the theater.
Director Walter Bobbie has directed this story well in an uncomplicated staging employing Eugene Lee’s module house – which is the home for some of the musicians – and becomes the home and other locations that are required to bring to light the story of Bright Star. Jane Greenwood’s simple costume designs expose a great deal about the characters as well. Also many of the pivotal moments in Bright Star are punctuated by Josh Rhodes’ choreography.
Carmen Cusack as Alice Murphy gives a towering performance – a sensational Broadway debut. Cusack was equally matched by her co-star, Paul Alexander Nolan in the role of Jimmy Ray Dobbs, Michael Mulheren as Mayor Josiah Dobbs, A.J. Shively as Billy Cane, Hannah Elless as Margo Crawford, Stephen Bogardus as Daddy Cane, Dee Hoty as Mama Murphy, and Stephen Lee Anderson as Daddy Murphy – and the wisecracking performances of Sarah Jane Shanks as Lucy Grant, and Jeff Blumenkrantz as Daryl Ames. These actors’ performances tug at the heartstrings and amplify the triumph of the human spirit both in words and through the music of this endearing musical.
And at this performance on May 29, 2016, Steve Martin did make a surprise appearance playing with the orchestra in the Act II Entr’acte – an appearance that was greeted with a huge display of appreciation by the audience.
Bright Star, in and of itself, is a must see not only for the performances of the actors, the tuneful and memorable score, and the benefit of uplifting your spirit – which is the alchemy for an involving and entertaining theater experience. Uplift your spirit and see Bright Star!
Trip of Love -- A Nostalgic Journey and Adventure
May 21, 2016
By Mark Kappel
Trip of Love, the creation of James Walski as director, choreographer, and book writer, and now playing at Stage 42, is a nostalgic trip into the 1960’s when adventures were influenced by drugs, politics, and social crises. Reflected in the music, literature, and dance, these all come together in Trip of Love in a performance I attended on May 21, 2016.
In Walski’s program notes, he describes the Broadway tradition of revue-style shows and decries the fact that these shows have become a dying breed. Trip of Love represents a revival of the revue-style show – and it is a welcome addition to the New York theatre scene.
The fable of Trip of Love focuses on a young woman who craves adventure with its ultimate goal to search for love. In an Alice in Wonderland moment she is transported to the mysterious and notorious 1960’s. In a revue-like format, she is guided through, and experiences, the sights and sounds of the 1960’s dancing and singing to a playlist of songs that represent music that is the soundtrack of life during that time period.
The music would be familiar to anyone living through those years -- who would sing these songs in their showers – and perhaps even sing them in their sleep. The song list runs the gamut from Motown favorites to songs from the British invasion, folk music and bossa nova, and Walski has cleverly created choreography, and iconic visual images, that represent this era.
There isn’t any dialogue in Trip of Love. The story, such as it is, is represented in interwoven vignettes providing narrative clues, with the iconic songs expressing the emotion of the moment or describing the moment.
From the very first instant the audience walks into the theater, they are experiencing the era – an inkling of how the story will enfold. Stage 42’s walls are decorated with the iconic painting styles of the 1960’s – excerpts from songs made famous during the 1960’s.
Caroline (played by Kelly Felthous) is seen in the audience as a lost ticker-holder. She is literally swept off her feet and becomes a participant and onlooker in this Alice in Wonderland entertainment. Along the way she meets Adam (played by Austin Miller) at a Vietnam War protest. She finds love – he proposes –singing Moon River, and they get married and fly off in an air balloon – singing Up, Up and Away. But Adam goes off to protest the war – with Caroline finding herself alone again – returning to join the audience at the end of the show. What is fun for the audience is joining in the experience and celebrating Trip of Love’s three rousing finales numbers.
Does Caroline ultimately find love after experiencing this dream-like adventure as compared to her mundane life. We don’t know that. But we experience an amusing and nostalgic journey with Walski creating choreography typical of the period and significant signposts during this trip of love. And with the music and lyrics washing over you, and you are humming The Girl From Ipanema, Up Up & Away, These Boots Are Made for Walkin’ , Downtown, A Sign of the Times, Where The Boys Are, Windmills of Your Mind, Wipe Out, You Don’t Own Me, and Blowin’ In The Wind, you don’t know if the 1960’s and its music helps one stumble upon that answer. However it is the journey that is important – and it is funny, fun, and vibrant.
This adventure was enhanced by the costume designs by Greg Barnes, the scenery designs by Robin Wagner, and the lighting designs by Tamotsu Harada.
Walski’s Trip of Love is beautifully revealed by the members of the hard-working cast including Joey Calveri, Brandon Leffler, Kelly Felthous, Dionne Figgins, Austin Miller, Kristin Piro, Laurie Wells, and Yesenia Ayala as they burnish the tongue-in-cheek humor and perform, sing and dance with commitment, charm and authority – taking the audience back decades to a very different time – and is the final ingredient in the formula to make Trip of Love a most entertaining two hours in the theater. You can’t lose taking this Trip of Love.
School of Rock – The Musical
Winter Garden Theatre
May 15, 2016
By Mark Kappel
There is no doubt that it is difficult to keep the roof on at the Winter Garden Theatre with the energy and enthusiasm that is generated by its current occupant, Tony-nominated, School of Rock – The Musical. Based on the 2003 film of the same name, this stage musical of this familiar film brings all of the quirkiness and hijinks that was in the film version, and provides a launching pad for this story to jump off the stage and creates an instant bond with an audience.
School of Rock – The Musical focuses on the story of Dewey Finn, a wannabe rock star who has been fired from his band and with a little imagination and initiative of his own, he poses as a substitute music teacher at an elite prep school to pay his rent. Dewey abandons the academic curriculum, finds the inner musical self within each of the students, and turns the class members into a rock band. The story has its antecedents in one of the great musicals of the Golden Age, The Music Man. School of Rock – The Musical is The Music Man of our time with all of the outrageousness that commands our attention in the world we live in.
This new musical is the product of a collaboration of creative artists that you would not be expecting to be on the same page much less working on a musical of this genre. The revered Andrew Lloyd-Webber goes back to his rock music roots with a few interpolations from the classics – with Glenn Slater providing the narrative and anthem-like lyrics – and well-regarded Julian Fellowes provides the book – a clever transfer from film to stage. School of Rock – The Musical also marks a welcome return to Broadway for Andrew Lloyd-Webber. In spite of its hard-rock score it is a traditional musical in many aspects – resulting in an enthralling, high energy, and touching musical with a knock out cast.
Alex Brightman inhabits the role of the boorish, clumsy, bungling – yet down to earth -- Dewey Finn – a ball of unlimited and untamed energy -- and knows when to step out of the spotlight to allow the kids to shine. These multi-talented child actors carry their own spotlights and beg for the audience’s attention – in a good way. You cannot describe them as supporting players, and the performances of Spencer Moses as Ned, Nathalie Charle Ellis as Patty, are pivotal members of this incredible cast, and also special plaudits for Mamie Parris in the role of Rosalie, who had the opportunity to display her versatility, and her coloratura soprano.
Director Laurence Conner has kept the high energy level of this show up to The School of Rock’s finale succeeding in making sure that what’s on stage is spontaneous and exuberant. Lloyd-Webber and Slater have come up with a score that serves the story and also has tour de force moments for each major character.
And there are life lessons to take to heart. The School of Rock – The Musical includes hopes and aspirations – what people can do – setting goals – and what potential we have within ourselves. What’s more important are the children and grown-ups who might be inspired to pick up an instrument and play it, after they have seen this highly entertaining musical.
American Ballet Theatre Dances Ashton’s Sylvia
Metropolitan Opera House
May 11, 2016
By Mark Kappel
To open its Metropolitan Opera House season, American Ballet Theatre has revived its glorious production of Frederick Ashton’s Sylvia – which is a co-production with the Royal Ballet
First premiered by the Royal Ballet in 1952, Ashton created his version of Sylvia as a tribute to, and vehicle for one of his muses, Margot Fonteyn. To honor the centenary of his birth, Ashton’s Sylvia was revived by the Royal Ballet in a restaging by Christopher Newton in 2004.
Sylvia’s origins are in Torquato Tasso’s play, Aminta, and was choreographed for the Paris Opera Ballet by Louis Merante in 1876. There have been a few other versions of Sylvia besides Ashton’s. Mark Morris choreographed a contemporary version for the San Francisco Ballet, in addition to John Neumeier’s new version of Sylvia for the Paris Opera Ballet, and Hungarian choreographer, Laszlo Seregi, who choreographed a version for the Hungarian National Ballet that was performed by many ballet companies in Europe in the 1970’s.
In references to ancient myth, Sylvia is one of the Goddess Diana’s huntress nymphs. Although renouncing love, Sylvia becomes the object of affection of two men, the evil Orion who kidnaps her, and the shepherd Aminta. Eros is the facilitator who brings Sylvia and Aminta together. However their relationship doesn’t get off to the best start when Sylvia aims a lethal arrow at Aminta – which seems like certain death – but it is Eros who intercedes in reviving him, and he lives another day. Eros aims his arrow at Sylvia, and Sylvia falls in love with Aminta. Although Sylvia ingeniously fools her abductors, it is Eros who intercedes again and saves Sylvia from her captors. Aminta’s constant love, and Sylvia being won over by Aminta consummates their union – with the intervention of the Goddess Diana who kills Orion, and blesses the union.
These twists and turns of plot are shades of the plots in Daphnis and Chloe, and Le Corsaire. The culmination of the ballet is a lively wedding divertissement.
For this production Christopher Newton has reproduced the filigree and needlepoint choreography that Ashton created for his version of Sylvia enhanced by the designs by Robin and Christopher Ironside. Ashton’s version is more than just a pageant but a story with dramatic conflict – which does have a happy ending. Ashton’s choreography requires quicksilver footwork and the choreography’s challenges bring out a great deal of a dancer’s artistry and technical skill. One can see Ashton’s subtlety, musicality, and the creative patterns for the ensembles.
Ashton’s Sylvia is a ballet that suits American Ballet Theatre’s dancers at this time. And that was evident in the performance of Sylvia on May 11, 2016. Ashton’s choreography requires special phrasing and purity of line, and ABT’s dancer strive towards that goal – they also embrace their moments in this ballet.
Maria Kochetkova making her debut in the title role was bold, clever, and unrelenting. One of the challenges for the dancer dancing the title role in this ballet is the well-known Act 3 pizzicato variation which had been Ashton’s creation to spotlight Fonteyn’s best attributes as a dancer. Kochetkova was lyrical and musical in this variation punctuating Delibes’ music and Ashton’s choreographic phrasing. Blaine Hoven as Aminta was a stalwart partner and empathetic. Kochetkova and Hoven’s third act pas de deux was polished and joyous. Also admirable was Daniil Simkin, whose villainous Orion was not a caricature. Arron Scott’s Eros was noble as was Devon Teuscher’s Diana.
There were also wonderful performances in the third act divertissements including those of Sarah Lane and Craig Salstein as the Goats, Zhong-Jing Fang and Calvin Royal III as Ceres and Jaseion, Stephanie Williams and Alexei Agoudine as Persephone and Pluto, and Melanie Hamrick and Gray Davis as Terpsichore and Apollo.
As in all of Ashton’s ballets there is his unique charm and his humanity – and a wonderful display of dancing.
American Ballet Theatre’s performance of Sylvia was an auspicious beginning for the company’s 8-week long Metropolitan Opera House season.
Tuck Everlasting – The Musical
May 7, 2016
By Mark Kappel
One of this Broadway season’s new musicals is an imaginative re-telling of Natalie Babbitt’s cherished children’s novel, Tuck Everlasting. Tuck Everlasting was one of several musicals that opened during the last week of this crowded Broadway season on April 26, 2016 at the Broadhurst Theatre.
Set in the early part of the 20th century -- in New Hampshire -- Winnie Foster (charmingly played by Sarah Charles Lewis and making an impressive Broadway debut) lives with her widowed mother (Valerie Wright), and her grandmother (Pippa Pearthree). Running away from what she feels are her mother’s constraints – Winnie has a chance meeting with Jesse Tuck (Andrew Keenan-Bolger) and his family. She soon learns the secret of the Tuck Family who accidentally drank from a magical spring in the nearby woods and as a result the Tuck Family members are immortal.
Winnie is open to search out new adventures in the world, and the Tuck Family understands her and embraces her curiosity. At the same time the family feels that an intruder has come into their quiet life, and is concerned that their secret will be revealed.
Their concern is well founded as The Man in the Yellow Suit (Terrence Mann), the comic villain of the story, discovers the Tuck Family’s secret – and the penultimate climax to the story – will Winnie drink from the magical spring or return to her own family.
Before making this life changing decision, Winnie embarks on her own personal adventure – the heroine of her own story -- which the audience happily joins and experiences. From the opening number where a great deal of exposition is revealed, Tuck Everlasting casts a spell over the audience and there are moments in this story that are sensitively presented and makes one well up with emotion.
What was unique was a show-ending ballet which highlights the important moments in Winnie Foster’s life -- an instance of dance making a stronger statement than words, and brings back memories of the dream ballets made famous by Agnes de Mille.
The score with music composed by Chris Miller and lyrics by Nathan Tysen, and a book by Tim Federle and Claudia Shear, has been well tailored to its subject matter and the live musical stage. The score is tuneful and memorable, and the book is true to the essence of the original novel.
Much credit goes to director/choreographer Casey Nicholaw who creates magic – all of which is enhanced by Walt Spangler’s scenery designs, Greg Barnes’ Tony nominated costume designs, and Kenneth Posner’s lighting designs.
And then there are the members of the Tuck Family including Andrew Keenan-Bolger as Jesse Tuck, Carolee Carmello as Mae Tuck, Michael Park as Angus Tuck, and Robert Lenzi as Miles Tuck – and Terrence Mann as the enigmatic Man in the Yellow Suit, Fred Applegate as Constable Joe and Michael Wartella as Hugo, and Valerie Wright and Pippa Pearthree. They breathe life into these characters and perform their roles with conviction.
Magic or magical are words that might be overused in describing what musical theater can be. However Tuck Everlasting’s magic is true magic and teaches children and adults valuable life lessons. These are the ingredients for a unique theatrical experience of joy and entertainment.
Valentina Kozlova’s International Ballet Competition – Dancers and Choreographers of the Future
April 30, 2016
By Mark Kappel
The sixth Valentina Kozlova International Ballet Competition was held from April 25-29, 2016 at Symphony Space. The award winners were announced on April 30, 2016, and were celebrated in a gala performance. Unlike other dance competitions, the Valentina Kozlova International Ballet Competition includes categories in ballet and modern dance, and also offers modern dance choreographers a showcase for their work. The awards and prizes that are given to competitors are focused on further studies and engagements, and company contracts, to allow the dancers and choreographers to develop their careers. As Ms. Kozlova stated at the end of the Awards Ceremony – “every performance brings you closer to your goal” – clearly stating the mission of this Competition. What was evident was the high standard of the competing dancers.
The Competition’s distinguished judges were Andris Liepa, Nina Buisson, Charles Jude, Nina Ananiashvili, Patricia Aulestia, Olga Guardia de Smoak, Nikolai Tsiskaridze, Sergei Soloviev, Sun Hee Kim, Jeon Mi Sook, Jelko Yuresha, Tracy Inman, Joe Lanteri, Terrence Marling, Jennifer Muller, Radenko Pavlovich, Troy Powell, Lawrence Rhodes, Margo Sappington, Peter Stark, Ben Stevenson, Martine Van Hamel, and Septime Webre.
The Award winners are:
Grand Prix: Ildar Tagirov (Russia)
Contemporary and Choreography Competition Prizes
Gold – Rye Cooley (USA)
Silver – Cielo Ibarrola (Paraguay)
Bronze: Julia Miro (Spain) & Anna Thomashoff (Austria)
Gold – Orlando Harbutt (USA)
Silver – London Mills (USA)
Bronze – Somer Mia February (South Africa)
Gold – Yun Ju Lee (South Korea)
Silver – Gilles Delellio (Belgium)
Bronze – Nikita Boris (USA)
Gold – Vivian Lorena Bobadilla (Brazil) & Jeong Eun Lee (South Korea)
Silver – Ye Seul Roh (South Korea)
Bronze – Yewen Xu (China)
Gold – Seung Uk Song (South Korea)
Silver – Hee Won Ham (South Korea)
Bronze – Hui Yeob Jeong (South Korea)
Gold – Vivian Lorena Bobadilla & Willer Rocha (Brazil)
Silver – Fernando Godoy & Breno Camargo (Brazil)
Bronze – Lara Fransen & Jonas Blerick (Belgium)
Groups: Gold – Willer Rocha, Fernando Godoy, Vivian Bobadilla, Breno Camargo & Gabriela Velasco (Brazil)
Gold – Richardo Sheir, Olga Poltarak & Evgeniy Shevtsov
Silver – Ildar Tagirov
Bronze – Maxime Mathieu Quiroga
Classical Competition Prizes
Gold – Caroline Grossman (USA)
Silver – Ye Eun Lee (South Korea)
Bronze – Katya Saburova (Russia) & Yun Ju Lee (South Korea)
Gold – Seung Min Yoo (South Korea)
Silver – Seon Hyang An (South Korea) & Ye Jin Joo (South Korea)
Bronze – Chae Rin Roh (South Korea) & London Mills (USA)
Gold – Eun Soo Lee (South Korea)
Silver – Keita Fujishima (Japan)
Gold – Nikita Boris (USA)
Silver – Seon Mee Park (South Korea)
Bronze – Maria Clara Ambrosini (Ecuador)
Silver – Justin Valentine (USA) & Gilles Delellio (Belgium)
Bronze – Miguel David Aranda (Paraguay)
Gold – Maria Iliushkina (Russia)
Silver – Da Woon Lee (South Korea) & Hee Won Cho (South Korea)
Bronze – Anna Guerrero (Philippines) & Brecke Swan (USA)
Gold – Seung Hyun Lee (South Korea)
Silver – Dong Heon Kwak (South Korea) & Gwan Woo Park (South Korea)
Bronze – Thomas Giugovaz (USA)
Among the guest artists appearing in this gala were Erica Pereira and Daniel Ulbricht of the New York City Ballet who danced a spirited performance of George Balanchine’s Tschaikovsky Pas de Deux, and Ms. Kozlova herself danced Margo Sappington’s Le Reve d’Isodora – both as tributes to Violette Verdy. Reverential were Kumura Ayano and Brooklyn Mack of the Washington Ballet dancing Giselle Act II Pas de Deux, and Risa Mochizuki and Leonid Flegmatov of the New Jersey Ballet searing in the contemporary dance piece, Retorno. The gala culminated with an artistically mature performance of the Black Swan Pas de Deux danced by Soo Bin Lee and Seunghyun Lee.
Displaying talent beyond their years were prizewinners Nikita Boris and Justin Valentine dancing Esmeralda Pas de Deux, Caroline Grossman dancing the variation from Grand Pas Classique, Eun Soo Lee dancing Harlequinade, and Maxime Mathieu Quiroga dancing Le Petit Prince.
The next Valentina Kozlova International Ballet Competition will be held at Symphony Space from June 5-10, 2017.
MasterVoices Presents Dido & Aeneas
April 28, 2016
By Mark Kappel
In presenting a staged version of Henry Purcell’s Dido & Aeneas at the City Center on April 28, 2016, MasterVoices collaborated with singers, musicians, and dancers culminating in a unique and musically satisfying concert.
Purcell’s Dido & Aeneas is one of the jewels of the Baroque era. Performed with Nahum Tate’s libretto this performance was enhanced by the addition of a new prologue composed by Michael John LaChiusa.
Purcell’s Dido & Aeneas was created as an opera comprised of a prologue, and three acts with Tate’s libretto inspired by Virgil’s Aenead, re-telling the doomed romance of Dido and Aeneas, and a sorceress’s plot to impede the two protagonists – and ultimately destroying the city of Carthage. It is Dido’s distrust of Aeneas and fear of his betrayal that dooms this tragic romance – a tragedy doomed by the fates.
In Purcell’s day musical entertainments, called masques, were not only examples of high art, but also the tapestry for networking – both personal and political in British court circles. Such manipulations and networking would make the politics of our day seem underpowered and unimportant. In Dido & Aeneas one not only sees the disintegration of a relationship but also political intrigue and destruction.
With the prologue lost to the ages, Michael John LaChiusa has composed a new prologue, entitled The Daughters of Necessity: A Prologue, which is presented in two parts. The first being a gathering of mortals with current references – including the mention of Donald Trump, New Jersey, and turning off cell phones – with the serious second part the bantering of the three fates: Nona who spins the thread of life, Decima, who measures it, and Morta who cuts the thread and thereby causes death. This new prologue creates the foreboding for the tragedy that is yet to come with both the humor and seriousness also depicted in choreography and movement.
This production of Dido & Aeneas was directed and choreographed by modern dance choreographer Doug Varone with musical direction by Ted Sperling – with dancers from Varone’s company as significant participants. In addition there were the voices of the MasterVoices chorus, and the musicians of the Orchestra of St. Luke’s. This was a beautifully thread collaboration and a rare presentation of both music and poetry.
From the Broadway stage came Kelli O’Hara as Dido, and Victoria Clark as Morta and the Sorceress, and from the opera world, Elliot Madore as Aeneas, Anna Christy as Decima and Belinda, and Sarah Mesko as Nona and the Second Woman. Nothing could be more inspiring then to experience Ms. O’Hara and Ms. Clark bringing their wide range of talents to this enterprise – and to see facets of their performing personalities that are different from what we have seen on the Broadway stage.
There have been dance versions of Dido & Aeneas – most recent ones choreographed by Mark Morris and Sasha Waltz, and here Doug Varone makes his contribution in presenting and visualizing this well-known story. His dancers are observers, manipulators, and dancer Alex Springer as Mercury, influences Aeneas to leave Carthage and to leave Dido – and not defy the will of the gods.
The combination of these artists from the music world, the dance world, and the Broadway theatre world results in an important evening of theatre and music. Ninety minutes of music, poetry, singing, and dance that proved to be vastly entertaining and stretching the artistry of all of the participants.
Miami City Ballet Performs Two New York Premieres
David Koch Theater
April 15, 2016
By Mark Kappel
In its second program on April 15, 2016 at the David Koch Theater, the Miami City Ballet performed another classic Balanchine ballet and two works created for the company. This program represented contrasts and a clue to the company’s artistic future.
Balanchine was represented by Bourrée Fantasque, choreographed to music by Emanuel Chabrier, which was one of the first works he created – in 1949 -- for the newly-formed New York City Ballet. Structured similarly to other neo-classical pieces of the day, it is divided into three sections with principal couples leading a corps de ballet all combined for the third section’s finale – a work for 42 dancers that is danced in fewer than 30 minutes.
Although one would expect similarities to Theme and Variations, and Symphony in C, Bourrée Fantasque is more of a forerunner to Western Symphony and Stars and Stripes which Balanchine created in the 1950’s.
In the last few decades Bourrée Fantasque has rarely been performed in New York although the New York City Ballet performed Bourree Fantasque in 1993 to commemorate Balanchine’s death, and it had been in the repertoire of American Ballet Theatre during the early 1980’s. Bourrée Fantasque is not one of Balanchine’s major works, it is an interesting rarity and a glimpse into the development of Balanchine as a choreographer.
The Miami City Ballet dancers brought a forthright approach to dancing the three movements of this ballet which varied from the comic elements in the First Movement danced by Jordan Elizabeth Long and Shimon Ito, to the more placid choreography of the Second Movement danced by Simone Messmer and Rainer Krenstetter, and the rousing Third Movement was which danced by Nathalia Arja and Renato Penteado. As in Miami City Ballet’s performances of Balanchine’s Symphony in Three Movements in the company’s first program, Miami City Ballet dances Balanchine’s works on its own terms.
The two commissions on the program have their roots in two very different choreographic styles. New York City Ballet resident choreographer, Justin Peck, created Heatscape to Martinu’s Concerto No. 1 for Piano and Orchestra. With projected scenery to depict a warm summer day and the dancers in simple white and tan costumes, one has the vision of young people romping on a beach. Peck has choreographed several ballets in which the lynchpin is the exuding of youthful energy. Heatscape is another that can be included in that genre of Peck’s ballets. The solos and the cascading corps de ballet groupings produce this energy and a sense of being carefree in this non-stop piece of choreography. Heatscape was danced with exuberance by Emily Bromberg and Renan Cerdeiro in the first movement, Tricia Albertson and Kleber Rebello, in the second movement, and Andrei Chagas, Jeannette Delgado, and Shimon Ito in the third movement.
On the other hand Liam Scarlett, a former soloist of the Royal Ballet, has his European roots, and although his work requires the same level of energy as required in Justin Peck’s choreography, there is more overall subtlety in Scarlett’s choreography. Liam Scarlett’s Viscera, set to music by American composer, Lowell Liebermann, was Scarlett’s first work for an American ballet company, and has been restaged for the Royal Ballet. It is useful to see a choreographer at his or her beginnings and examine how they have developed – whether they have found a choreographic voice – or not. Scarlett tends to focus on upper body movement and partnering in his ballets, using the dancers in asymmetrical patterns, but also punctuating musical phrases in every step. In Viscera these choreographic elements are ever present.
The cast of Jennifer Carlynn Kronenberg, Carlos Miguel Guerra, Jeanette Delgado, Renato Penteado, Kleber Rebello, Jennifer Lauren, Callie Manning, and Zoe Zien connected with Viscera’s emotional moments and textures.
This welcome engagement of the Miami City Ballet has defined its artistic future and it will be interesting to see how its artistic mission will be developed with the acquisition and commissioning of new works. The company deserves its place as a regular visitor to New York.
Miami City Ballet Makes Its Debut at the David Koch Theater
David Koch Theater
April 14, 2016
By Mark Kappel
The last time the Miami City Ballet performed in New York in a full company engagement was in 2009 at the City Center when the company was under the guidance of its founding artistic director, Edward Villella. The Miami City Ballet more recently has participated in the City Center Fall for Dance Festivals, and made its New York debut at Brooklyn College in 1988 – the company hasn’t been seen often in New York City.
Therefore Miami City Ballet’s current engagement at the David Koch Theater from April 13-17, 2016 is a rare opportunity to see performances of an important American ballet company. The Miami City Ballet is celebrating its 30th anniversary, and now under the guidance of former New York City Ballet principal dancer, Lourdes Lopez, the Miami City Ballet is presenting two different programs during this engagement which is being presented by the Joyce Theater. Enhancing this engagement is live music which is being superbly played by the New York City Ballet Orchestra.
The two programs that Miami City Ballet is presenting during this engagement include works by George Balanchine, an acquisition choreographed by Twyla Tharp, and also works created especially for Miami City Ballet.
The first of the two programs, performed on April 14, 2016, included George Balanchine’s classic Symphony in Three Movements, a work created by Balanchine for the New York City Ballet’s Stravinsky Festival in 1972. This is a work that Miami City Ballet performed during the company’s City Center season in 2009. In Symphony in Three Movements Balanchine returned to the style of ballets he choreographed in the 1950’s emphasizing modernism --- angular movement and simplicity. It is a direct response to Stravinsky’s intricate music.
The principal cast of Nathalia Arja, Kleber Rebello, Patricia Delgado, Renan Cerdeiro, Ashley Knox, and Jovani Furlan, along with Miami City Ballet’s supporting soloists and corps de ballet, danced Balanchine’s choreography in a high speed mode.
New to Miami City Ballet’s repertoire was Twyla Tharp’s Sweet Fields, choreographed to Shaker Hymns, which Tharp had created for her own troupe. An ensemble work that is separated into ten sections, Tharp’s choreography is spiritual and reverential, and also bold enough to throw in a few comic twists. Dance to recorded music, the choreography is ritualistic in its nature, and sometimes lost on the darkly lit stage. Sweet Fields was danced with sophistication and respect by Miami City Ballet’s dancers.
Concluding the performance was a work commissioned for the company, Alexei Ratmansky’s Symphonic Dances, choreographed to the piece of the same name composed by Sergei Rachmaninoff. Symphonic Dances is all about dancing with Ratmansky’s choreography eating up the stage space.
Symphonic Dances is divided into three unrelated sections. The first of which is reminiscent of The Rite of Spring and Les Noces where one of the male dancers has a red mark on his shirt, with another male dancer often in mirror image dancing the same choreography. One sees his interaction with the community, and often represents the image of an outsider. The second section is inspired by Balanchine’s La Valse which is also dominated by a sense of the outsider. In contrast the final and third section is series of ensembles building up to a finale and final tableau.
Ratmansky’s choreography focuses on the strengths of the dancers – a cast ably led by Jeannette Delgado, Nathalia Arja, Tricia Albertson, Kleber Rebello, Renato Penteado, Callie Manning, Jennifer Carlynn Kronenberg, Jennifer Lauren, Jovani Furlan, Reyneris Reyes, and Didier Bramaz. However Ratmansky has visited these same themes more effectively in his other works.
The combination of these vital works resulted in an engaging performance by the Miami City Ballet.
Bolshoi Ballet Dances Don Quixote
April 10, 2016
By Mark Kappel
Fathom Events presented the last of its Bolshoi Ballet screenings on April 10, 2016 – ending the season with the company’s current production of Don Quixote, newly staged by Alexei Fadeyechev. This production of Don Quixote premiered in February of this year with new scenery designs by Valery Leventhal and new costume designs by Elena Zaitseva.
In many respects Don Quixote is the Bolshoi Ballet’s signature work. The choreography is based on that by Marius Petipa and Alexander Gorsky with additional choreography by Rostislav Zakharov, Kasiyan Goleizovsky, and Anatoly Simachev. The score for Don Quixote also includes music composed by many composers as well.
Fadeychev’s version has its roots in his own research concerning the libretto, the choreography, the music, and the designs from previous Bolshoi Ballet productions of Don Quixote. But this production is most notable for the feeling of its humanity, the dancers living within the skin of the characters, and also succeeding in entertaining every member of the audience.
The ballet version of Don Quixote tells one story among the many in Cervantes’ book, and often productions of Don Quixote tend to be a series of virtuoso dances with limited narrative content. This production, however, focuses on the story more than other productions, as well as a focus on details, and creating living pictures in every scene in each of the ballet’s three acts. The characterization is left in the hands of the dancers dancing the principal roles and that is where the casting choices are paramount. In spite of the fact that the focus is on a handful of principal characters, the Bolshoi Ballet’s production of Don Quixote is danced as if it’s a company piece.
This performance was left in the capable hands of Ekaterina Krysanova as Kitri and Semyon Chudin as Basilio, who both provided the fire and virtuoso dancing that these roles require. They also fleshed out the characters they were portraying not only with their dancing but also with their skills as actors. Both are assured technicians as well – all contributing towards making their characters vibrant on stage. Their performance in the final Grand Pas de Deux in Act III was superlative and assured.
The same could be said for Ruslan Skvortsov as Espada, Kristina Karasyova as Mercedes, and the regal Olga Smirnova as the Queen of the Dryads.
Also notable were the featured dancers, Daria Khokhlova as Cupid, and Anna Tikhomirova and Yulia Stepanova dancing the Bridesmaids’ variations in the third act. The Bolshoi Ballet’s productions of the 19th century classics come alive because of the wonderful Bolshoi Ballet character dancers, and in this production of Don Quixote, the character dancing of Alexei Loparevich as Don Quixote, Roman Simachev as Sancho Panza, Denis Medvedev as Gamache, and Yegor Simachev as Lorenzo, Kitri’s Father made these hapless characters believable and easy to identify with.
As the last screening of the Bolshoi Ballet’s 2015-16 season, the company was ending the season on a high note. Now on to next season and Fathom Events continuing support making it possible to see these live screenings of the Bolshoi Ballet in the United States.
Dance Theatre of Harlem at the City Center
April 8, 2016
By Mark Kappel
The Dance Theatre of Harlem has returned to the City Center for a brief engagement from April 6-9, 2016, performing a mixed-bill program which included two New York premieres, and two familiar pieces. The two New York premieres represented the work of female choreographers as part of an artistic initiative being taken by the Dance Theatre of Harlem to achieve greater representation of female choreographers in its repertoire – and also serving as an example for other ballet and dance companies.
In this performance on April 8, 2016, the two New York premieres were the work of well-known New York ballet teacher, Elena Kunikova, and modern dance choreographer, Dianne McIntyre. Divergent in styles, the one thing they had in common in the choreography was that the ladies were dancing on pointe. But that was where the similarities ended.
Elena Kunikova was represented by Divertimento, a neo-classical work for six dancers choreographed to Glinka’s Divertimento Brillante. This series of academically choreographed variations, pas de deux, and group dancers are expansive and pleasant to watch – not a criticism at all in this day and age when choreography seems to be more complicated than it needs to be on the surface. Divertimento is a clever exercise in teaching classical deportment and classical ballet style. And its allusions to the 19th century classics was represented by roses downstage, and in the final minute of the piece there were short references to The Sleeping Beauty, Giselle, and others of the classics.
Modern dance choreographer, Dianne McIntyre, created Change for the Dance Theatre of Harlem in 2016. It is a work inspired by women who have shown leadership – and clearly the women depicted in this piece are those who have responded to the changing world around them, and also who exhibited strong leadership in making sure that change was for the positive rather than the negative. These struggles were depicted through the instruments of only three female dancers – all of whom danced on pointe – but clearly McIntyre used a modern dance vocabulary to express struggle and change.
Also on the program were two familiar pieces one of which was choreographed by Helen Pickett. Her piece, When Love, a duet choreographed to music by Phillip Glass, reflects influences from Pickett’s experience working with William Forysthe. Glass’ music was a soundtrack for this ballet but there is a voice over describing the assignation of the two principals on stage that blossoms and grows, and heightens in its intensity. In their performance of When Love, Chyrstyn Fentroy and Jorge Andres Villarini depict how their relationship evolves, and ultimately evolves into a happy ending.
In Coming Together, Nacho Duato channels the emotional and expressive words of Sam Melville, a political activist who was killed in the Attica prison riots that began in September 1971. The choreography is also inspired by Frederic Rzewski’s music. The choreography is relentless and also sophisticated. By virtue of the performance of the Dance Theatre of Harlem dancers, Coming Together could very well become a signature work for the company.
This program danced by the Dance Theatre of Harlem represented a wide variety of dance styles and was enthusiastically danced by the company’s dancers.
Pennsylvania Ballet Makes Its Joyce Theater Debut
March 29, 2016
By Mark Kappel
For many years the Pennsylvania Ballet, based in Philadelphia, Pennsylvania, has been a frequent visitor and a part of the New York dance scene since the company’s founding. In the past the Pennsylvania Ballet has been the Brooklyn Academy of Music’s resident ballet company, and the Pennsylvania Ballet has also performed at the City Center. However in the last few decades the company’s New York visits have been far less frequent.
The Pennsylvania Ballet has returned to New York, after a long absence, making its debut at the Joyce Theater from March 29-April 3, 2016. Now directed by Angel Corella, and diverting from an artistic policy that had been developed from the company’s founding in 1963, what was presented was a program of contemporary ballet pieces choreographed by American choreographers whose work is familiar to New York audiences.
On March 29, 2016, the Pennsylvania Ballet performed a program that included works by Matthew Neenan, Trey McIntyre, and Nicolo Fonte – all of these works having their New York premieres, all choreographed for the company’s dancers.
Matthew Neenan, is a former member of the Pennsylvania Ballet and is the company’s choreographer in residence, and he was represented by Keep, danced to string quartets composed by Alexander Borodin and Nikolai Rimsky-Korsakov. Employing classical ballet vocabulary infused with modern dance, Neenan explores relationships – combative, real or imaginary – dividing his piece into two sections which juxtapose different moods and atmospheres. His choreography for the familiar Borodin String Quartet isn’t romantic but contemplative, and a bit mysterious.
Dancers Amy Aldridge, Francis Veyette, Lauren Fadeley, Ian Hussey, Jermel Johnson, Evelyn Kocak, Alexandra Hughes, Andrew Daly, Lillian DiPiazza, and Arian Molina Soca brought a host of emotions in the execution of Neenan’s choreography.
Trey McIntyre was represented by The Accidental, choreographed to songs from Patrick Watson’s album, “Adventures in Your Own Backyard". McIntyre’s exploration of Wilson’s music is a collection of random responses to the rhythms inherent in the music moving the dancers fluidly through his piece. Divided into four sections it is the fourth section in which Craig Wasserman gives a virtuoso performance.
Closing the program was Nicolo Fonte’s Grace Action, Fonte’s personal response to Phillip Glass’s expansive music which was also reflected in Brad Fields’ subtle and effective lighting design. Grace Action was an experiment in moving dancers through space danced ably by dancers Lillian DiPiazza, Arian Molina Soca, Lauren Fadeley, Ian Hussey, Mayara Pineiro, and Etienne Diaz.
This program of works by a new generation of choreographers speaks to their personal comments on, and use of music, and the incorporation of costume and lighting design elements in their concepts. They all speak to audiences in a diverse manner.
This performance was also a hint of the artistic direction that Angel Corella will be taking the Pennsylvania Ballet, and I hope that the company will be able to perform frequently in New York in the future to see how these changes are implemented.
Hong Kong Ballet Makes Debut at Joyce Theater
March 15, 2016
By Mark Kappel
New York audiences rarely get to see performances of ballet companies that are based in Asia. Although the Hong Kong Ballet has performed in New York in the past, it has been too many years between engagements.
In a welcome engagement, the Hong Kong Ballet made its debut at the Joyce Theater from March 15-20, 2016 performing a mixed-bill program that included the work of three contemporary choreographers.
Directed by Madeleine Onne since 2009, the company’s repertoire is an eclectic one dancing full-length classics and the works of Asian and European contemporary choreographers. In this Joyce Theater engagement, the Hong Kong Ballet danced a mixed-bill program which featured the work of three international choreographers.
For the opening night performance on March 15, 2016, the Hong Kong Ballet danced a work by Chinese choreographer, Fei Bo, resident choreographer of the National Ballet of China, who was represented by an excerpt from his dance piece, A Room Of Her Own. Based on a play by Wenlin Xia, and premiered in 2011, A Room Of Her Own has been choreographed to Edward Elgar’s Cello Concerto in E Minor, and focuses on heroine, Lu Xi, who is engulfed in a suffocating relationship with her choreographer husband – and fears her husband’s relationship with a new colleague. A Room of Her Own expresses these conflicts in an abstract manner, but the psychological drama is very clear in the manner of how this piece is danced.
This excerpt begins with one of the female dancers seated at a desk where she imagines the relationships between her husband, and the new colleague. Bo’s choreography shows the intertwining of these principal characters’ relationships. The cast of Yu-yao Liu, Miao-miao Liu, and Jia-bo Li created powerful personas in this vignette.
Spanish choreographer, Nacho Duato, was represented by Castrati, a piece for nine male dancers. Choreographed to music by Antonio Vivaldi and Karl Jenkins, this contemporary dance piece focuses on the period of time when women were forbidden to sing in church, and as a result instituted the practice of young boys being transformed into castrato singers. The Hong Kong Ballet has had this dance piece in its repertoire since 2012.
In this piece only one of the male dancers experiences the ritualistic act of castration. Duato’s choreography is exemplified by its large and bold movement, and effectively projects the brutal moment of the ritual of castration.
The ensemble cast of Jie Shen, Jun Xia, Wei Wei, Jia-bo Li, Lucas Jerkander, Shunsuke Arimizu, Chun Long Leung, Ricky Hu, and Lin Li brought great power to Duato’s choreographic images.
Also on the program was Krzysztof Pastor’s In Light and Shadow, a work created by this Polish choreographer to music by Bach. Although abstract the choreography subtly makes allusions to baroque dances and master painters – including Michelangelo, Vermeer, and Rembrandt. In Light and Shadow opens with a duet from The Goldberg Variations followed by solos, duets and ensemble dances danced to the Third Orchestral Suite.
With the dancers in a vast array of costumes, Pastor has choreographed quiet moments – with lots of entrances and exits that flow into solos, pas de deux, and ensemble dances that lead up to an exuberant finale to end the piece.
In all of these pieces it should be noted that the choreography included pointe work, and exploited the Hong Kong Ballet’s dancers’ nobility and pride, and communication with the audience. From the efforts made by the company’s artistic director, Madeleine Onne, and the excellent performances of the dancers, in this performance the Hong Kong Ballet proved itself to be a company of international standard.
During this engagement the Hong Kong Ballet is spotlighting its contemporary repertoire, and I trust that in future New York engagements that the company will have its opportunity to perform ballets in its classical repertoire. The Hong Kong Ballet’s performance was a welcome addition to this season informing audiences about the dance scene in Asia.
Pacific Northwest Ballet Performs Contemporary Ballet Program
February 26, 2016
By Mark Kappel
For its second mixed-bill program, performed at the City Center on February 26, 2016, Pacific Northwest Ballet presented repertoire that is one of the alternatives in which dance choreography may develop or emerge in the present moment – and perhaps for the immediate future.
The mixed-bill program’s choreographers have direct connections to the contemporary dance scene in Europe. One of its leading lights, William Forsythe, former artistic director of the Ballet Frankfurt, was represented on the program as well as two former dancers of Ballet Frankfurt, who have developed careers as choreographers.
William Forsythe was represented by his The Vertiginous Thrill of Exactitude, choreographed to Shubert’s 10th Symphony, which is a non-top virtuoso piece danced by a cast of only five dancers. Danced by Angelica Generosa, Margaret Mullin, Elizabeth Murphy, Benjamin Griffiths, and Jonathan Porretta, this is Forsythe in his neo-classical period further extending the Balanchine style with the inclusion of classical ballet virtuosity. The atmosphere is punctuated by the pastel color costumes for the dancers including the flying saucer tutus worn by the ladies. In this piece the Pacific Northwest Ballet dancers jumped over the technical hurdles in the choreography with ease.
Canadian-born Crystal Pite created Emergence for the National Ballet of Canada in 2009, and it was acquired by the Pacific Northwest Ballet in 2013. This piece of non-stop movement was just as much inspired by the music of Owen Belton, as it was inspired by the style of William Forsythe. The program notes provided by Pite indicated that her primary inspiration was the hierarchal structure of a beehive, and there were choreographic allusions to Jerome Robbins’ The Cage, Act II of Giselle, and The Rite of Spring. As a concept there were great possibilities, but the cogent ideas were not developed after establishing the basic theme in the piece.
David Dawson’s A Million Kisses To My Skin was created for the Dutch National Ballet in 2000, and was acquired by the Pacific Northwest Ballet in 2012. Choreographed to Johan Sebastian Bach’s Piano Concerto No. 1, Dawson’s piece has all of the style of a neo-classical ballet with a mathematical pattern of linking classical ballet steps – from one to the next. There were few moments when one could take a breather, but served its purpose as an opener for this mixed-bill program.
In this program there were debuts in both A Million Kisses To My Skin and Emergence which fostered spontaneity and energy in these pieces, and one could not under emphasize that Pacific Northwest Ballet’s dancers were challenged by what choreographers David Dawson and Crystal Pite required them to dance.
The Pacific Northwest Ballet provided variety in the two programs that the company presented during its New York engagement. It is a company that should perform in New York more frequently.
Pacific Northwest Ballet Returns To The City Center – Program One
February 24, 2016
By Mark Kappel
Pacific Northwest Ballet will be performing at the City Center from February 24-27, 2016 in a return engagement, and with decidedly different programming as compared to the company’s engagement at the Joyce Theater in 2014.
For this engagement, Pacific Northwest Ballet, under the artistic direction of Peter Boal, former principal dancer of the New York City Ballet, the company’s repertoire is a reflection of the company’s history and also a reflection of its current artistic mission in moving forward.
Pacific Northwest Ballet is one of the major ballet companies in the United States that has had a series of artistic directors who have had professional associations with the New York City Ballet and have put the ballets of George Balanchine on the front burner. Pacific Northwest Ballet’s opening night program on February 24, 2016 was a mixed-bill program dedicated to Balanchine’s ballets that the company had not danced in New York before.
The Balanchine ballets performed on this program were all acquired by Pacific Northwest Ballet during the 1980’s. Balanchine’s Square Dance was the first of these acquisitions in 1981, dancing Balanchine’s revised version. The original version which included Western attire and a square dance caller had been abandoned – although it is still performed from time to time by the Joffrey Ballet. In his revision Balanchine removed all of the decoration and ornamentation – removing the Western attire and the square dance caller -- added a male solo variation, and stripped down the choreography to its essence. Danced to music by Corelli, Square Dance lends comparisons to Balanchine’s iconic neo-classical work, Concerto Barocco.
Pacific Northwest Ballet’s performance of Square Dance was marked by the speed and clarity in which was danced. Although the contemplative male solo often seems out of place, within this performance, the solo was interwoven well. The cast was more than ably led by Leta Biascucci and Benjamin Griffiths.
George Balanchine created Prodigal Son for the Diaghilev Ballet Russes which premiered the ballet in 1929. The ballet was choreographed to a commissioned score by Serge Prokofiev, with expressionistic designs by Georges Roualt, and a libretto by Boris Kochno based on the Biblical parable. Pacific Northwest Ballet acquired Prodigal Son in 1984. Prodigal Son is one of Balanchine’s few one-act story ballets, and the ballet’s leading role is tailored to a male dancer of technical and dramatic power.
There are striking images incorporated into the choreography of Prodigal Son, and those images were emphatically pronounced in the dancing by the principal dancers, the corps de ballet, and the few character dancers in the ballet. Jonathan Porretta danced the title role with dramatic intensity, and Lesley Rausch was suitably haughty as the Siren.
The third work presented on Pacific Northwest Ballet’s all-Balanchine program was Stravinsky Violin Concerto, a ballet that Balanchine created for the New York City Ballet’s Stravinsky Festival in 1972, and was acquired by the Pacific Northwest Ballet in 1986. Returning to Balanchine’s modernist period of choreography, Stravinsky Violin Concerto is distinguished by its angular movement and departure from balletic convention -- a kissing cousin to Agon and The Four Temperaments. It is minimalist yet substantial at the same time – and intense and familiar at the same time.
Stravinsky Violin Concerto was danced with authority by the cast of Lesley Rausch, Jerome Tisserand, Noelani Pantastico, and Seth Orza.
The performances of all three Balanchine ballets on this program reflected freshness and spontaneity. Many of the dancers were making their debuts in their roles adding a bit of voltage to the performances on the program.
And welcome that Pacific Northwest Ballet is performing a program of works that is linked to the company’s legacy – and performing them well.
Les Ballets de Monte Carlo’s Cinderella
February 18, 2016
By Mark Kappel
Les Ballets de Monte Carlo, in its engagement at the City Center from February 18-20, 2016, has chosen to perform Jean-Christophe Maillot’s intriguing and provocative production of Cinderella, which the company had performed at the Brooklyn Academy of Music in 2003.
Maillot has garnered a reputation for his approach to full-length narrative ballets that often highlight details from well-known stories but always presents those details in a unique setting and from a unique perspective. The unexpected is expected.
The scenery is designed in a minimalist style, the costumes are deceptively simple, and just as simple theatrical effects emphasize the important dramatic signposts. Also Maillot’s productions of Romeo and Juliet, Swan Lake, and The Taming of the Shrew – and Cinderella -- have shown off Maillot’s theatrical ingenuity, and his exploration of the psychological underpinnings of these classic stories. An audience member must come to a performance of Maillot’s narrative ballets with his or her imagination in their coat pocket. Some of these details and narrative concepts are not always communicated well.
In his version of Cinderella Maillot focuses on the relationship between Cinderella’s Mother and Father with less emphasis on the budding romance between Cinderella and her Prince. When Cinderella’s mother passes on and her father remarries, Cinderella chooses to remember her parents’ marriage as being idyllic. Her idyllic perception of that marriage serves as her paradigm in contrast with her father’s unsuccessful second marriage.
When we first come upon Cinderella she appears and dances in bare feet admiring the ball gown that her mother wore. The invitation to the Prince’s ball is delivered by a mysterious stranger whose identity is obscured by a red hood. However the mysterious stranger is revealed as the Fairy Godmother, who really is the spirit of Cinderella’s Mother – and this Fairy Godmother is assertive and pushy, and doesn’t leave anything she plans for Cinderella’s future to chance. The Fairy Godmother literally pushes Cinderella into the arms of the rather spoiled and detached Prince at the ball.
Cinderella’s father also appears at the ball and imagines the Fairy Godmother to be the earthly incarnation of his dead wife. They dance together during the Prince’s ball, and also are seen in a double pas de deux with Cinderella and the Prince. Cinderella dances in bare feet through this ballet. There are no glass slippers. The only reference to Cinderella’s uniqueness is her feet being splattered by gold glitter – which is also a prominent detail in the Fairy Godmother’s costume. Although the Prince and Cinderella have their happily ever after in the end, there is also a reconciliation between the Father and the Mother’ spirit, and the Father’s rejection of his second wife.
Although Maillot strays from the most familiar of the Cinderella librettos, the ballet is danced to Serge Prokofiev’s familiar music. Maillot’s choreographic vocabulary is that of contemporary ballet and modern dance – often distancing himself from literal mime to communicate the story.
It is the dancers of Les Ballets de Monte Carlo who bring immediacy and credibility to Maillot’s concept of Cinderella bringing their own personalities to the major roles.
Mimoza Koike as The Fairy/Mother, and Gabrielle Corrado as The Father embroider the details of these characters’ complicated relationship, and Anjara Ballesteros as Cinderella, and Lucien Postlewaite as the Prince breathe life into this modern interpretation of this happily ever after fairy tale.
Maude Sabourin brings the necessary coloration to the role of The Stepmother, and Gaelle Riou and Anne-Laure Seillan exhibit the silliness of The Sisters. The comedic moments are left to the characters described as The Pleasure Superintendents (played by Alexis Oliveira and George Oliveira) who prepare The Sisters for the Prince’s ball.
In all a provocative reading of Cinderella in Maillot’s hands and choreography, brought to life by the wonderful dancers that comprise Les Ballets de Monte Carlo.
Kathryn Posin Dance Company Returns to the 92nd Street Y
92nd Street Y - Buttenweiser Hall
February 11, 2016
By Mark Kappel
After a successful engagement at the 92nd Street Y’s Buttenweiser Hall in 2014, the Kathryn Posin Dance Company has been invited back to the 92nd Street Y for a return engagement. The Kathryn Posin Dance Company is dancing at the 92nd Street Y on February 11 and 12, 2016 in a program that celebrates the work of Kathryn Posin, and her collaborators.
For this opening performance on February 11, 2016, the Kathryn Posin Dance Company performed a work seen during the company’s 2014 engagement at the 92nd Street Y, Century Rolls, which Kathryn Posin choreographed with the assistance of Momchil Mladenov, and choreographed to the music of the same name by John Adams. The most balletic piece on the program, Century Rolls is a non-stop shot of energy. The choreography is rhythmic and percussive, and the fluid choreography is seen as a swirl of orange as danced to Adams’ pulsating music.
To commemorate Kathryn Posin’s professional benchmark as a choreographer, revived especially for these performances was Waves, created for the American Dance Festival in 1975 and choreographed to an original piece of music by electronic music pioneer Laurie Spiegel. After Waves’ initial success it was also acquired by the Nederlands Dans Theater, the Alvin Ailey American Dance Theatre, and the Eliot Feld Ballet. Lance Westergard, one of the original cast members of Waves, reconstructed the work now 40 years after its premiere.
Waves is a “classic” modern dance piece with clean lines, and an inspired choreographic response to Spiegel’s music. It is a work that has stood the test of time.
Receiving its world premiere at this performance was Kathryn Posin’s Climate Control, choreographed to Meredith Monk’s Facing North with Meredith Monk and Theo Bleckmann singing Ms. Monk’s music – a first time collaborative effort by Meredith Monk and Kathryn Posin.
In Climate Control, Posin explores many choreographic ideas and links them together juxtaposing people who inhabit different climates. All of this performed to Monk’s unique soundscape. Some dancers are costumed in grass skirts – transporting themselves on snow skis – and other dancers are costumed in parkas – transporting themselves on surf boards. The choreographic vocabulary is a blend of ballet, contemporary ballet, and modern dance. There are lots of comic twists in a series of dance vignettes with both Monk and Bleckmann as collaborators and participants.
One must celebrate the dancers in the company, Cristian Laverde Konig, Daniel Baker, McKenna Birmingham, Kara Chan, Megan Dickinson, Yumelia Garcia, Ryan Redmond, and Adrianna de Svastich for their versatility in dancing these works
This entertaining dance performance was a celebration of Kathryn Posin – her talent and longevity – and her artistic journey to continue to create.
Bolshoi Ballet Dances The Taming of the Shrew
January 24, 2016
By Mark Kappel
One of the rare opportunities to see the Bolshoi Ballet dance works created on its dancers was to see Fathom Events’ live screening of the Bolshoi Ballet dancing Jean-Christophe Maillot’s version of The Taming of the Shrew on January 24, 2016. Although the Bolshoi Ballet has included many ballets created for the company among their live screenings, this was the first of these creations choreographed by a foreign choreographer, and also the first-time that Maillot has choreographed for a company other than Les Ballets de Monte Carlo, which is the company he serves as artistic director.
Prior to the creation of this version of The Taming of the Shrew, the only version known to most ballet audiences has been John Cranko’s widely seen version of The Taming of the Shrew, which he created for the Stuttgart Ballet and is in the repertoires of ballet companies all over the world – including, at one time, the Bolshoi Ballet.
This version was premiered by the Bolshoi Ballet in 2014 and was choreographed to music composed by Dmitri Shostakovich. Jean-Christophe Maillot’s creative team included dramatist, Jean Rouaud, scenery designer Ernest Pignon-Ernest, costume designer Augustin Maillot, and lighting and video projections designer Dominique Drillot.
Debate about Shakespeare’s The Taming of the Shrew is that it is misogynist, but Cranko’s version was inspired by Cole Porter’s musical, Kiss Me Kate, and Maillot’s approach is that of two people in love – and Katharina gives in to her husband’s demands not because he is her master but because she has met her match. Maillot’s interpretation is that Katharina and Petruchio are engaged in playing games in order to get what they want. Petruchio sets challenges for Katherina to confirm whether she is his perfect match – and although it may seem that Katherina has submitted to her husband – it is an act. Petruchio is the only person that Katherina can live with and love. They met each other’s match.
Maillot’s adapted libretto is concisely told in two acts. As in the play, the suitors for Katherina’s sister, Bianca, wait impatiently for her to accept their proposals of marriage. However, Baptista, the father of both Katherina and Bianca, wish for Katherina to be married first. Bianca’s suitors find that viable suitor in Petruchio who is motivated by Katherina’s dowry and his own poverty. They exhibit their compatibility at the wedding of Bianca and Lucentio – much to the surprise of the wedding guests.
Maillot communicates the narrative in contemporary ballet vocabulary emphasizing hand and arm movements, and facial expressions. And there is the concept of a theatrical event.
Before the beginning of the ballet, Anna Tikhomirova, who danced the role of The Housekeeper, comes from behind the curtain to present herself as a self-absorbed person who would claw her way to the last pair of shoes being sold at a designer’s store. It sets the tone for Maillot’s concept. That haut couture chic is represented in the costuming, and even the theatrical references from Tennessee Williams’ A Streetcar Named Desire, and an MGM musical ending, put this Shrew in the 20th century rather than in Shakespeare’s time.
As in other of Maillot’s full-length ballets, the scenery designs are minimalist with angular columns and straight lines – employing lighting effects to transport one from scene to scene. Maillot employs not often heard music composed by Dmitri Shostakovich, who is best known for his moody and dramatic music. In this instance 25 pieces of Shostakovich music including songs he composed for films and for his musical comedy, Moscow Cheryomushki, were used as the score for Maillot’s version of The Taming of the Shrew.
For this screening the Bolshoi Ballet offered the premiere cast in this ballet, Ekaterina Krysanova both kitten like and clawing as Katherina, and Vladislav Lantratov as a regular guy Petruchio. Olga Smirnova as Bianca and Semyon Chudin as Lucentio were portrayed in a more innocent light until the moment when it is Bianca who appears to be the shrew. Also notable was Igor Tsvirko as Hortensio. Although one has seen the Bolshoi Ballet dancers in comic roles, they have been seen far less in comic ballets, and this performance was an opportunity for these dancers to let loose a bit from classical ballet restraints, combined with Maillot’s unique point of view regarding Shakespeare’s classic play.
Broadway’s An American in Paris
January 21, 2016
By Mark Kappel
When the Broadway musical, An American in Paris opened on Broadway last year, it was hailed as the come back of dance to Broadway. Dance played central roles in such musicals as A Chorus Line, Contact, and others. But in many musicals produced today a dance element would be a minor component or non-existent. An American in Paris is a Broadway musical which emphasizes the communication of narrative through dance movement. And after less than a year after its opening on Broadway, An American in Paris is a glittering and sparkling entertainment.
An American in Paris is an inspired stage adaptation of the Academy Award-winning film which starred Gene Kelly and Leslie Caron, set to a soundtrack of music by George and Ira Gershwin. The atmosphere was Paris after World War II, where a romance bloomed between an American soldier, and a French shop girl. This classic film, with a screenplay by Alan Jay Lerner and directed by Vincente Minnelli, included iconic choreography by Gene Kelly, telling a uncomplicated story of youth and romance – perfectly in words, music and dance.
Director/choreographer Christopher Wheeldon has adeptly translated all of these qualities to this stage version with changes and additions to the music that had been used for the film, and a book adaptation that differs from the film. Craig Lucas’ revision of the story has changed some of the characters’ background stories, and emphasizes the reality of what Paris had been like shortly after World War II. In the musical’s opening montage there are vestiges of the Nazi occupation – symbols, and banners – and how Parisians found ways to survive during those difficult times. Composer Adam Hochberg assumes the role of the narrator, and sets the scene of Paris after having suffered through the war years, and the story of romance which is the focal point of An American in Paris.
It is in the opening montage that Jerry Mulligan, an American World War II vet, has a chance meeting with LIse Dassin, who is a perfume shop girl by day, and an aspiring ballerina -- her mother being a well-known French ballerina. Further altering Lise’s back story is that Lise’s parents had been arrested by the Nazis, and she was protected by the rich Baurel family, whose son, Henri, wishes to distance himself from his family’s business.
As Lise is a ballerina, a ballet being created for her becomes the framework for the triangular love story that is set in motion. Jerry Mulligan (the American World War II vet), Adam Hochberg, (the composer), and Henri Baurel (the aspiring nightclub entertainer), all vie for Lise’s attention and affection. The famous An American in Paris ballet is now a ballet designed by Mulligan, with a score composed by Hochberg, and it is Baurel’s family, and an American art lover, Milo Davenport, who contribute the money to pay for the ballet.
The American in Paris ballet has designs influenced by Mondrian, and a neo-classic look created by Christopher Wheeldon. But for the switching of partners between Lise’s dance partner in the ballet company, and Mulligan, this ballet sequence doesn’t have narrative content. However, throughout An American in Paris, Christopher Wheeldon uses dance to tell this story with little exposition and relatively little dialogue. Wheeldon’s strengths as a choreographer were evident in the dance number, Fidgety Feet, and in the An American in Paris ballet.
What brings this story, and singing, and dancing, to life is the multi-talented cast. Wheeldon chose actors for the principal roles whose abilities had their strength in dance. Robert Fairchild, a principal dancer of the New York City Ballet, and Leanne Cope, a member of the Royal Ballet, play, dance, and sing the roles of Jerry Mulligan, and Lise Dassin. Both are winning in their roles and you immediately hope that these characters will get together in the end no matter what the obstacles.
The supporting roles are played by Broadway veterans including Veanne Cox as Madame Baurel, Jill Paice as Milo Davenport, Brandon Uranowitz as Adam Hochberg, and Max von Essen as Henri Baurel. All of them lived their parts – often moving forward the narrative of An American in Paris with their witty deliveries of the dialogue and their repartee.
Further enhancing the atmosphere of An American in Paris are Bob Crowley’s costume and scenery designs, and Natasha Katz’s lighting designs. This is accomplished through recreating the sights of Paris in digital and animated form – helping to create the visual and dramatic pictures in the show.
An American in Paris holds a unique place in terms of current Broadway fare, It is not only for the dance lover, but also would be enthralling and entertaining for all audiences.
Maurice Hines Tappin’ Thru Life
New World Stages
January 9, 2016
By Mark Kappel
Opening on January 11th, 2016, Maurice Hines Tappin’ Thru Life is described as a new song and dance musical. However its underpinnings reflect an autobiographical journey for Maurice Hines who started his career in a family act that played nightclubs, and performed on television variety hours -- and expanding his career by working in the Broadway theater as a performer and choreographer. With his brother, Gregory, and his father, the act was known as Hines, Hines and Dad, performers who were multiple threats – but one of their particular talents was the showmanship and bravura they displayed in their tap routines.
All of this and more was on display at New World Stages in this wholly entertaining evening with reminisces about Hines’ performing life supported by the tap-dancing brothers, John and Leo Manzari, the 12-year-old tap dancing wunderkind, Luke Spring, and the all female Diva Jazz Orchestra, in a show directed by Jeff Calhoun.
Maurice Hines began working in show business when he was five years old. Hines, as an able story-teller, describes his performing roots, and relates his experiences working with the royalty of music including Ella Fitzgerald, Frank Sinatra, Lena Horne, Judy Garland and others too numerous to mention. Also mentioned is the strained relationship he had with his brother, Gregory, and also how his parents, and grandmother supported his involvement in show business. This nostalgic journey is enhanced by photos of Hines’ family and the musical greats he worked with.
To elucidate his personal narrative Hines sings many of the standards including songs from Guys and Dolls, and My Fair Lady, Charlie Chaplin’s Smile, and vintage favorites such as Honeysuckle Rose which was sung in tribute to Lena Horne.
Especially poignant is Hines dancing a soft shoe number – choreographed by Henry LeTang for himself and his brother Gregory – with a spotlight substituting for Gregory Hines.
The Hines Brothers made their Broadway debuts dancing with French ballerina Jeanmarie in The Girl in Pink Tights, which was choreographed by the venerable Agnes De Mille. Hines has enhanced his theater credits through his career in the Broadway productions of Sophisticated Ladies and Bring Back Birdie, and national tours of Guys and Dolls, Jelly’s Last Jam, and Harlem Suite. He has also directed, choreographed and starred in Uptown…It’s Hot!, and directed and choreographed Hot Feet, both of which made it to Broadway.
But Hines’ roots are as an entertainer, and in Tappin’ Thru Life Hines exhibits his abilities as an actor, singer, and dancer – and story teller – in a performance showing off his charisma -- a true entertainer in the classic sense. Hines is supported by the incredible Manzari Brothers, Luke Spring – all of whom give Hines a run for his money in the tapping department – and the virtuoso performances by musician members of the Diva Jazz Orchestra.
Maurice Hines Tappin’ Thru Life is a show about Hines’ love for entertaining an audience, and thrives on what an audience gives to him in return. And for anyone who craves this genre of entertainment, sprinkled with some of the finest tap dancing you will ever see, you must experience this marvelous show for yourself.
Noel, Tallulah, Cole and Me, John Wilson’s Memoir of Broadway
By Mark Kappel
Published by Rowman and Littlefield, Noel, Tallulah, Cole and Me, John C. Wilson’s Memoir of Broadway’s Golden Age, is an engrossing, engaging, and entertaining journal of anecdotes by a veteran Broadway producer and director, whose relationships with the Broadway elite were unique.
John Wilson was a producer and director in both London and New York, and up until now, his story has remained relatively obscure. He left behind an unpublished memoir which was passed down through his family, and only recently, Wilson’s great nephew, Jack Macaulay, pursued publishers to bring this memoir to the reading public – with the assistance of Professor Thomas Hischak, a leading theater expert.
Wilson was involved in the theatre from 1925-1955, and he was the producer of, and/or director of many plays by Noel Coward, and he staged the original Broadway productions of Kiss Me Kate, and Gentlemen Prefer Blondes. He was also the romantic partner of Noel Coward for many years, and ultimately married the first cousin of the last czar of Russia.
Wilson’s track record as a producer or co-producer was enviable as he produced 37 Broadway productions and 15 were hits (having made a profit), and in London, out of the 17 productions he produced, 13 were hits. A prodigious number of plays, musicals, and revivals of plays and musicals, on Broadway, off-Broadway, London, and television. And in 1941 he began his tenure as general manager, co-producer, and director of the Westport Country Playhouse in Connecticut.
Wilson’s relationship with Noel Coward began in 1925 during Wilson’s travels in Europe, and he moved to London to be Coward’s lover and business manager. There are wonderful anecdotes about Coward in this memoir including Coward’s juggling of his appearances on stage, and writing plays and revues, and his casting decisions – including the casting of a young Laurence Olivier in the role of Victor Prynne in the original London cast of Private Lives.
Wilson’s memoir includes matter of fact descriptions of his experiences working with the many theater luminaries of the day. His interest in finding an actress who could play Lorelei Lee in Gentlemen Prefer Blondes focused on Carol Channing because he wanted an actress who could make an audience laugh in that role, and Channing was the only actress who had auditioned who fit these requirements.
Mr. Wilson also worked with Olivier in the London production of Edna Ferber’s and George S. Kaufman’s The Royal Family, and Greer Garson, playing a small role in the London production of Mademoiselle.
Wilson also closely worked with Tallulah Bankhead and writes in detail of Bankhead’s battles with Phillip Barry when she appeared in his play Foolish Nation, and mentioned his memories of working with Marlon Brandon in another Bankhead vehicle, Jean Cocteau’s The Eagle Has Two Heads.
Wilson knew well the movers and shakers in the theatre world as well as the socially connected in New York and London. The memoir has been annotated with biographies of the many luminaries Wilson came into contact with as well as descriptions of the plays and the projects he was involved in.
Noel, Tallulah, Cole and Me represents a remarkable documentation of theater history that informs and entertains.
“But He Doesn’t Know The Territory” The Making of Meredith Willson’s The Music Man By Meredith Willson
By Mark Kappel
Originally published in 1959, the University of Minnesota Press has re-issued Meredith Willson’s memoir, “But He Doesn’t Know The Territory” The Making of Meredith Willson’s The Music Man, an anecdotal journal focusing on The Music Man’s route to Broadway.
The Music Man has been praised by many as an iconic American musical based on the lifetime experiences of the composer Meredith Willson growing up in a small town in Iowa. The story of a con-artist salesman, Harold Hill, who makes a random stopover in Iowa City, Iowa, to sell musical instruments and band uniforms to the local children – but not having any experience or credentials to teach music or to organize a band. Harold Hill’s presence in Iowa City turns this small town upside down, he falls in love with the local music teacher, and changes the lives of the citizens of Iowa City in the most positive way.
Willson, himself, had a varied career in the music business. He was a musician, orchestrator, conductor, and composer of Broadway musicals and film scores. Willson also composed symphonic works and chamber music, and popular songs. He composed only four musicals. Three of which, The Music Man, The Unsinkable Molly Brown, and Here’s Love, made it to Broadway.
Willson’s memoir is as intimate as a memoir can be describing the genesis and development of a Broadway musical in the 1950’s during the time period that is often described as the Golden Age of Broadway Musicals. The Music Man had to make its own individual journey to Broadway which is a different journey from the journeys Broadway musicals must make today. It was a different time and place, and the story told in The Music Man reflects a more innocent time as well.
The Music Man is often performed by high school and college dramatic groups, and community theaters, even though it has only been revived once on Broadway. And many of the names attached to The Music Man are less familiar to audiences of today, but this memoir tells a fascinating story.
Among the inside stories was the long list of actors who were considered for the role of Harold Hill including Dan Dailey, Gene Kelly, Ray Bolger, Jackie Gleason, Danny Kaye, Lloyd Bridges, Phil Harris, Milton Berle, Art Carney, and Bert Parks (who eventually was a replacement in the role during its Broadway engagement). Although many of these actors were formally approached to play Harold Hill the reasons why they turned down the role are revealing in regard to what was at stake for an actor to be the star of a Broadway musical at the time. Particularly as so many of these actors had very successful film careers and didn’t want to put important film projects on hold. But it seemed to be a Eureka moment when Robert Preston auditioned for the role of Harold Hill and got the role which Preston also played in the movie version.
And then there was the pursuit of Kermit Bloomgarden to be the director – which is an example of persistence and intensity on Willson’s part – going after what you want – and the relief that the best of Broadway’s talent was confirmed to direct, as well as costume and scenery designers, and a theatre was also booked.
But Willson also journals the genesis of the script and how it developed working with Franklin Lacey – and what actually appeared on the Broadway stage after plot elements were manipulated and eliminated after more than thirty drafts of the script. Also described is the long tryout period on the road which was typical of the time during which the creative team had to make changes, persuade actors to absorb criticism, and also how audiences responded to the original material and new material as The Music Man evolved.
One of the out of town experiences described was during the final week of the Philadelphia tryout, when Robert Preston’s understudy, Larry Douglas, had to go on with little or no rehearsal, without having the latest script and music revisions, and choreography, yet every member of the cast was there to help him through it, an example of how important out-of-town tryouts are for creating camaraderie among the cast members.
For me this fascinating memoir was revealing on a personal note because The Music Man was the first Broadway musical that I experienced – unforgettable moments and unforgettable memories. Now these many years later I have been informed about how The Music Man reached Broadway. If you haven’t read this wonderful memoir already, it is a must read.
Bolshoi Ballet Dances The Lady of the Camellias
December 6, 2015
By Mark Kappel
Under the guidance of artistic director Sergei Filin, the Bolshoi Ballet has reached out to many Western European choreographers to acquire repertoire and commission new works. On December 6, 2015, Fathom Events presented a live screening of the Bolshoi Ballet’s production of John Neumeier’s The Lady of the Camellias – one of these new acquisitions – which had its company premiere in 2014.
Neumeier created The Lady of the Camellias for the Stuttgart Ballet, which premiered the ballet in 1978, as a vehicle for Stuttgart Ballet star, Marcia Haydee. The Stuttgart Ballet and American Ballet Theatre have both performed this ballet in New York.
The ballet is based on the familiar story by Alexandre Dumas, and Neumeier’s story-telling structure focuses on the relationship between Marguerite Gautier and Armand Duval. Neumeier conveys this story in romantic and compelling pas de deux, and all danced to piano concertos and piano music by Chopin. Neumeier has also interpolated the story of Manon Lescaut and Des Grieux which is presented in Marguerite’s flashbacks predicting what fate might be before her. This reference is in Dumas’ story as the book, Manon Lescaut, is gifted to Marguerite. In contrast to the opera approach to this story, the ballet is produced with a minimum of scenery which is enhanced by elaborate costuming designed by Jurgen Rose. The ballet has all of the ingredients to be mined by the Bolshoi Ballet’s dancers.
Neumeier begins the ballet with a Prologue in which Marguerite’s possessions are being auctioned after her death. Armand Duval arrives at this auction late and emotionally stressed – and begins to remember his relationship with Marguerite which is represented in episodes and flashbacks. Unlike other of Neumeier’s narrative ballets, Lady of the Camellias’ plot is told in a linear fashion. Neumeier has given most of the dancing to the interpolated characters of Manon Lescaut and Des Grieux, and several supporting characters that appear in Dumas’ original story. In the end Marguerite is left to her fate and dies alone.
Although Neumeier’s Lady of the Camellias is flawed in many aspects as it is more of a dance play than a ballet, and the combination of Chopin music and silence often does not provide the necessary dramatic underpinnings for the important events in the story, it is a vehicle for a superb dramatic ballerina.
The Bolshoi Ballet fielded a high caliber cast which also included a guest artist. Svetlana Zakharova displaying both her dancing and dramatic skills played Marguerite and guest artist Edvin Revazov of the Hamburg Ballet played the role of Armand. Zakharova was glamorous and sympathetic as Marguerite, and Revazov as Armand was tremulous, supportive, and dramatically believable throughout his romantic relationship with Marguerite.
Integral in this ballet are the characters of Manon and Des Grieux who represent the past and future of what the relationship between Marguerite and Armand might be like. These characters also shoulder most of the interesting and powerful dancing. These roles were danced in a multi-dimensional manner by Anna Tikhomirova as Manon Lescaut, and Semyon Chudin as Des Grieux.
Also notable were the performances of supporting characters in the ballet, Kristina Kretova as Prudence Duvernoy, Mikhail Lobukhin as Gaston Rieux, Andre Merkuriev as Monsieur Duval, Daria Khoklova as Olympia, and Vyacheslav Lopatin as Count N. These dancers gave flesh and blood to these characters in emotionally and dramatically charged performances, which, for some reason, Neumeier has only sketched out.
Neumeier’s The Lady of the Camellias remains a ballet that doesn’t reach its important plot points in an expedient manner, and often labors with too much or too little choreography to tell its story. However The Bolshoi Ballet’s performance of The Lady of the Camellias was a reflection of the company opening up its artistic horizons, and Fathom Events’ live screening of this performance allows a worldwide audience to view the Bolshoi Ballet dancing a ballet which has not been included in its touring repertoire.
Valentina Kozlova’s Dance Conservatory Performance Project Presents Nutcracker Winter Suite
December 5, 2015
By Mark Kappel
In a departure from past years, Valentina Kozlova’s Dance Conservatory Performance Project did not present a full-length production of The Nutcracker. Focusing on the intermediate and advanced students of Kozlova’s Dance Conservatory of New York, this year’s presentation was an abridged version, Nutcracker Winter Suite, which did not rely on the traditional libretto, and focused on the dancing itself.
With choreography and staging by Margo Sappington, Valentina Kozlova, and Vitaly Verterich, Nutcracker Winter Suite included all of the familiar pieces from The Nutcracker including Act I’s Snow Scene, and in the Land of the Sweets, the Grand Pas de Deux, the national dances, the Waltz of the Flowers and also dances which connected these divertissements including the interpolated character of the Christmas Star.
This performance presented on December 5, 2015 at Symphony Space, was shorter in length – compressed to about 70 minutes -- but still provided a great deal of dancing and a measuring stick for the excellent training and mentoring that Kozlova’s students are receiving.
In this performance the roles of the Sugar Plum Fairy and Her Cavalier were danced by Nikita Boris and Justin Valentine, prize winners at the Valentina Kozlova International Ballet Competition this past year. Both showed grace and poise, and professionalism in The Nutcracker Act II Grand Pas de Deux.
Valentine did double-duty partnering Revital Naroditski as the Snow King and Queen in the Snow Scene, and also notable were Caroline Grossman as the Christmas Star, Brecke Swan in the Arabian Dance, Mari Bell and Jack Furlong in the Russian Dance, Yuri Cho, Anna Christina Rocha, Elizabeth Seibel, and Katya Skorniakova in the Marzipan, and Isabelle Breier and Anna Guerrero in the Spanish Dance.
All of these dancers were featured in the equivalent of the ballet’s Act II Finale, providing a suitable ending to this presentation, and a celebration of the holiday season.
Fathom Events Presents The Kenneth Branagh Theater Company In The Winter’s Tale
November 30, 2015
By Mark Kappel
When one of the major stars of theater and screen organizes a theater company of his own one must take notice. Kenneth Branagh, who has appeared regularly on the London stage, has founded his own theater company which debuted in its first performances at the Garrick Theater in London. Participating in this venture as an actor-manager – and director – Branagh makes a personal artistic statement in his choice of plays that comprise this company’s repertoire, and how these plays are produced and performed.
Fathom Events has made it possible for a wider audience to experience the maiden voyage production of this new theater company, William Shakespeare’s The Winter’s Tale, which was screened worldwide on November 30, 2015.
The first recorded performance of The Winter’s Tale was in 1611 at Whitehall before King James I, and in 1613 The Winter Tale’s was presented as part of the wedding celebrations of King James’ daughter, Elizabeth (who became as the Winter Queen of Bohemia) to Frederick V. Elizabeth of Bohemia was the grandmother of the first Hanoverian, George I, to ascend to the throne of England.
Shakespeare’s The Winter’s Tale is an enigmatic play because it cannot be defined as a comedy or a tragedy in conventional terms. This play about jealousy and betrayal has both elements of comedy and tragedy. This production, co-directed by Kenneth Branagh and Rob Ashford, attempts to bridge and define this juxtaposition. This is accomplished in an intimate production that presents the twists and turns of the play’s plot to the audience in an immediate mode.
In this version of The Winter’s Tale, the play is presented in the environment of a Christmas Court and designed to appear that this tale is taking place within a Victorian Christmas Card. Snow is falling in the royal court of Bohemia. In this festive atmosphere, the royal family begins the Christmas celebration sitting down to watch the home movies of King Leontes of Bohemia, and his boyhood friend, King Polixenes of Sicilia, and it is from that starting point that Shakespeare’s tale is told.
This tragic comedy of obsession and redemption is initiated by King Leontes (played by Kenneth Branagh), who has power and wealth, a loving family and loyal friends but his jealousy sets in motion a series of events and intrigues that result in tragic consequences. Leontes is convinced that his friend, Polixenes (played by Hadley Fraser) is having an affair with his wife, Hermione (played by Miranda Raison), which destroys the friendship of these two kings. Leontes puts his wife on trial and then sends her to prison.
Upon his wife giving birth to their child, Leontes is convinced it is an illegitimate child and orders the child to be abandoned. Paulina (played by Judi Dench), and her husband Antigonus (played by Michael Pennington) protect the child, and put the child in the care of a shepherd in the kingdom of Sicilia.
From tragedy to well-mannered comedy, the plot of The Winter’s Tale shifts years later when the children of Leontes and Polixenes, Perdita (played by Jessie Buckley) and Florizel (played by Tom Bateman) find each other, and in spite of the doubts imparted by their fathers, they receive the blessing of both kings to marry. A political necessity as Leontes’ heir, Mamillius has died.
It is no wonder that although The Winter’s Tale was considered to be a comedy, it is now placed in the category of Shakespeare’s late romances as most of the play is filled with psychological drama. It is only in the final acts of the play that there are comedic moments, and the plot’s loose ends are tied up into a happy ending.
The co-directors of this production have been able to expose the sexual tensions and jealousy in the plot of The Winter’s Tale most effectively – and also by placing the action of the tragic components of the play in the colder climate of Bohemia – and then placing the more comic moments in the milder environment of Sicilia – the contrasts in The Winter’s Tale are emphasized.
The Winter’s Tale is also known for its curious bit of stage direction, “exit pursued by a bear” and in this production, the death of Antigonus by a polar bear is accomplished with projections and zips by in a flash.
Branagh plays Leontes as a tormented character susceptible to the Shakespearean tragic flaw of jealousy – a flaw many of Shakespeare’s characters suffer from. Branagh’s performance as Leontes convinces the audience that there might be some justification for his jealousy, and it is there that Branagh illuminates the emotional struggle that Leontes is going through.
Judi Dench as Hermione’s loyal friend, Paulina, is protective, speaks her mind, and has the foresight to protect the life of Perdita. Dench brings a quiet dignity to the role of Paulina commanding the stage during every moment she is before the audience.
Miranda Raison is imposing and full of grace as Hermione – especially in the scene where she transforms herself from statue to a spirit which haunts Leontes. But the other cast members Hadley Fraser, Jessie Buckley, Tom Bateman, and Michael Pennington all play well together creating a unique interpretation of one of Shakespeare’s enigmatic plays.
Fathom Events Presents David Suchet in The Importance of Being Earnest
November 3, 2015
By Mark Kappel
Fathom Events not only presents live cinema screenings of ballet performances, and has increased its offerings of live theater performances as well. Fathom Events made it possible for an international audience to see the recent London revival of Oscar Wilde’s The Importance of Being Earnest with David Suchet as Lady Bracknell on November 3, 2015.
Considered one of Wilde’s greatest achievements and a play that seems to age like wine, it is a parody and satire of Victorian social morays and view of marriage, with the added ingredient of false personas unraveling – in particular that of John Worthing, who has a double life – one in London and another in the country – in pursuit of the hand of Gwendolen Fairfax.
In this superb and sparkling revival directed by Adrian Noble, there is the secret ingredient of a male actor playing the role of Lady Bracknell – a tradition in British musical hall and pantomime that also goes back to Shakespeare’s day – and adds a particular resonance to the play’s comic moments.
In this revival of The Importance of Being Earnest, it is David Suchet who subtlety chews the scenery as the self-described gorgon, Lady Bracknell, wreaking havoc, verbalizing insolent barbs at the principal characters, and ultimately resolving the chaos that the principal characters have created. Whether intended or not this unique casting choice creates many more opportunities to mine the satire and comedic moments in Wilde’s play.
Then there is Suchet as the unique actor that he is as he lives and breathes Lady Bracknell, reading a line like it could cut a diamond, and makes the interview scene hilarious with subtle gesture, a wink and a smile, and wit. His glare would cut steel – and cut down anybody in Lady Bracknell’s way – a force to be reckoned with.
It wasn’t all that long ago that the Roundabout Theater Company in New York presented a very successful revival of The Importance of Being Earnest in which Brian Bedford played the role of Lady Bracknell. Also Mark Rylance appeared in the role of Olivia in William Shakespeare’s Twelfth Night on Broadway with the Globe Theater Company, and there have also been the acclaimed performances of Jefferson Mays in the musical The Gentleman’s Guide to Love and Murder, and Neil Patrick Harris in Hedwig and the Angry Inch. It is not such a contrast with traditional casting these days, but nevertheless a trend that exposes new and different aspects of these characters.
However Lady Bracknell is actually a supporting character in Wilde’s play, and it is the romantic entanglements of the four young characters that are the core of this play. Emily Barber as Gwendolen Fairfax, Michael Benz as John Worthing, Philip Cumbus as Algernon Moncrieff, and Imogen Doel as Cecily Cardew, direct their daggers at each other, unravel mysteries – and those mysteries are unraveled by the supporting character of Miss Prism (played by Michele Dotrice) who is having her own flirtation with the local vicar, Reverend Canon Chasuble (played by Richard O’Callaghan).
Adrian Noble’s able direction keeps this revival’s tempo moving forward at a quick pace but leaving room and space for the comic lines to land -- providing the opportunities for all of the actors in this revival to shine.
The alchemy of the direction and the strength of the acting performances by this talented cast results in a delightful revival of this comedy of manners in which all’s well that ends well.
Ballet Memphis Returns to New York
October 29, 2015
By Mark Kappel
Ballet Memphis, a youthful company and earning national recognition – directed by Dorothy Gunther Pugh, and based in Memphis, Tennessee -- returned to New York performing at the Joyce Theater from October 27 – November 1, 2015. This was Ballet Memphis’ second engagement at the Joyce Theater having made its Joyce Theater debut in 2007.
Ballet Memphis’ repertoire includes full-length ballets and one-act works, but has enhanced its reputation by commissioning new works on a regular basis. For this engagement, most of the works that Ballet Memphis performed were from the company’s Memphis Project and River Project series. Three of the new works presented on this program included local Memphis references whether it was in the music or in the subject matter. All of the works presented had their premieres within the last three years. Ballet Memphis consistently brings the flavor of Memphis to New York during its infrequent New York engagements.
On October 28, 2015, Ballet Memphis performed a mixed-bill program which included the work of four choreographers, two of which are company members. This survey of works from Ballet Memphis’ repertoire indicates the growth and range of the company – and the mentoring of choreographic talent that is so necessary for the art form.
The choreographer most familiar to New York audiences was Matthew Neenan, who was represented by The Darting Eyes.
The jumping off point for this piece was inspiration from images of baptisms along the shores of by the Mississippi River. Neenan included many ideas in this work as well as presenting images of local “characters”. These images were conveyed in a mix of dance styles from classical to modern and vernacular. As a musical soundtrack Neenan employed gospel, bluegrass, and Handel, which also reflected the myriad of images he was conveying in his piece.
Gabrielle Lamb is better known in New York as a dancer than a choreographer. She was represented on this program by I Am A Woman: Moult. In Lamb’s work women were costumed in corsets and hoops – and moved in controlled formations and patterns set against the movements of men wheeling mannequins on and off the stage. The dancers connected in groups yet created an atmosphere of randomness – and also isolation.
The remaining two works on this program were contributions by two of Ballet Memphis’ dancers.Steven McMahon was represented with the opening work on the program, Confluence, which was danced to a soundscape of Gospel music as well as Dvorak. Described as a work picturing the building of a community, Confluence is light and airy, specific in its choreographic vocabulary, and showed off the company’s dancers.
Reflecting women’s issues was Rafael Ferreras, Jr.’s Politics – presented in an office setting – with the movement vocabulary a mixture of ballet and hip-hop. This work included a cast of eight women – dancers who danced on pointe, and dancers who danced in sneakers – the latter dancing choreography influenced by the local Memphis derived hip-hop style of Jookin’ – and danced to spirituals sung by a group of local Memphis singers – and also Bach. The women, dancing in different styles, were not represented as rival groups, but in removing their sneakers and pointe shoes at the end of the piece, there seemed to be a unity and a joining together of these women.
All four works on the program presented a wide range of new commissions by Ballet Memphis, and were danced by a group of talented and committed dancers.
I wish the company could perform in New York more often in order to observe its artistic development, as the company experiments with the artistic visions of many different choreographers..
Paper Mill Playhouse Presents New Musical - The Bandstand
October 24, 2015
By Mark Kappel
In supporting its mission to present new musicals, and to do so making an evening out less expensive than travelling into New York to see a Broadway musical, the Paper Mill Playhouse opened its 2015-16 season with a new musical, The Bandstand. Being presented at the Paper Mill Playhouse from October 8 through November 8, 2015, the plot of The Bandstand focuses on a group of returning World War II veterans who have music in common – and ultimately form a band.
There is much to celebrate in The Bandstand. First it is an American musical with an important American story to tell, and it is a musical that has been inspired by American veterans returning from World War II – a metaphor for the struggles that many of the military veterans of recent Middle East wars are experiencing today. Their inspiring stories are what make The Bandstand both entertaining and compelling.
The collaborative team for The Bandstand does not have a Broadway track record. The Bandstand’s music has been composed by Richard Oberacker, and Robert Taylor and Richard Oberacker have collaborated on the book and lyrics. But the production is helmed by Andy Blankenbuehler, as both director and choreographer, who is represented on Broadway with his choreography for Hamilton, and was the director/choreographer for the Broadway musical, Bring It On!
Circa 1945, The Bandstand focuses on a mismatched band of military veterans who join together to compete in a national songwriting competition hosted by a local radio station in Cleveland that my take them to the national finals in New York City, and a possible career in a Hollywood musical. The leader and organizer of the band is an aspiring composer, Donny Novitski, who wishes to form a band consisting of only military veterans – all of whom have their own demons to cope with partially caused by their traumatic experiences during their World War II service. They encounter the challenges of adjusting to civilian life, complicated relationships they get involved in, which often distracts them from their professional goals. This is a story about the veterans who return to Main Street America.
As the story focuses on how the returning soldiers cope with post traumatic stress disorder, emotional and involving moments are presented – with the emphasis on bonding, and friendship and loyalties – and the aspirations of a young generation who aspire to a better life than what had been planned for them because of the eventuality and dislocation caused by World War II. This is not as maudlin as described. This is a vibrant and fascinating story – gripping – and most important, entertaining.
The original score for The Bandstand, influenced by 1940’s swing music, is lively and is that much more engaging as much of the music is played by the actors. Music is an important focal point in their lives, and the actors playing the music, performing it, and being inspired by it, enhances the story of these military veterans. Throughout the musical score draws the characters, and expresses those characters’ emotions. The final musical number, Welcome Home, expresses the frustration and outreach for support that our returning military veterans desperately need.
Director/choreographer Andy Blankenbuehler connects the plot elements at a quick pace including an opening number which presents a great deal of exposition, and introduces the principal characters. The choreography also represents the themes of the characters’ aspirations.
Although the characters need to be more explicitly drawn, the actors playing them bring these involving characters to life. The talent of the cast members cascades over the footlights – a wonderful combination.
Corey Cott as Donny Novitski gives a forceful performance as his theatrical, singing, musical, and dancing skills are tested – and Laura Osnes as Julia Trojan, Novitski’s best friend’s widow – plays her character sympathetically and also assertively Also notable was Beth Leavel in the supporting role of Mrs. Adams, as was the remainder of the featured cast including Joe Carroll as Johnny Simpson, Brandon J. Ellis as Davy Zlatic, James Nathan Hopkins as Jimmy Campbell, Geoff Packard as Wayne Wright, and Joey Pero as Nick Radel.
This musical could not have been placed in better hands than with this excellent cast. Even before The Bandstand opened at the Paper Mill Playhouse there had been buzz about a Broadway transfer. I hope that producers and investors will give the creative team of The Bandstand the opportunity to continue its work and ensure that The Bandstand will be seen by a wider audience. The exuberant standing ovation by the Paper Mill Playhouse’s audience indicated that the themes of The Bandstand strike a chord.
Bolshoi Ballet Dances Giselle
October 11, 2015
By Mark Kappel
To open the Bolshoi Ballet 2015-16 season of live screenings, Fathom Events presented one of the 19th century classics which have been in the company’s repertoire since time immemorial – Giselle. The Bolshoi Ballet currently has two productions of Giselle in its repertoire. One staged by Vladimir Vasiliev which veers from tradition to some extent, and Yuri Grigorovitch’s staging which is more traditional.
Presented on October 11, 2015, the Bolshoi Ballet danced Yuri Grigorovitch’s current production of Giselle, which premiered on May 2, 1987. As with other productions of the classics staged by Grigorovitch, they are produced with an ideal and parable in mind – linked to tradition – but also seen through the prism of a choreographer.
There is also a strong collaboration between Grigorovitch and his designer Simon Virsaladze in terms of the stage pictures that are incorporated into the overall production of the ballets that this team worked on together. And this production of Giselle was the last time they worked together as a team.
The tale of Giselle is typical of other Romantic ballets of the early 19th century in which an innocent woman is deceived by a man – whether it is an aristocrat or a peasant. In Giselle, the innocent village girl is deceived by an aristocrat, Count Albrecht, who disguises himself as a humble peasant. Count Albrecht’s deception unravels when Hans, the Gamekeeper, a rival for Giselle’s affections, reveals that Albrecht is engaged to the Duke’s daughter, Bathilde. When the deception is disclosed, Giselle dies of a broken heart.
It is in the second act of the ballet that Giselle’s forgiving spirit and Albrecht’s regret in his deception that saves Albrecht from the revenge of the Wilis. This simple story allows for a great deal of dancing filling out the details and emotions that are buried in the story, and also creates the differing atmospheres in the ballet’s two acts.
The collaboration of Grigorovitch and his designer, Virsaladze is very much in evidence in Act II of Giselle as a stage picture came out of thin air employing clever stage craft in which Giselle rose out of her grave through a trapdoor, and at the end of the ballet descended into her grave. One could not help not to notice such an appropriate and adept design element.
This particular performance also was greatly anticipated because it paired off the Bolshoi Ballet’s defacto prima ballerina Svetlana Zakharova in the title role with guest artist Sergei Polunin dancing the role of Albrecht. Zakharova was not your typical Giselle as she is not fragile while Polunin was remote as an aristocrat would be but not seemingly having any strong affection for Giselle. However their dancing was superbly matched.
Denis Savin portrayed Hans the Gamekeeper as a believable rival for Giselle’s affections, and Ekaterina Shipulina was an aristocratic and imperious Myrtha Queen of the Wilis.
Adding to the pyrotechnics of the performance were Daria Khokhlova and Igor Tsvirko dancing the Act I Peasant Pas de Deux cleanly and with polish.
City Center Fall for Dance Festival – Program Five
October 10, 2015
By Mark Kappel
The closing program presented by the City Center Fall for Dance Festival provided a sampler of a wide variety of dance styles. The Festival’s fifth of five programs, as seen on October 10, 2015, included a rare glimpse of a work by a choreographer that is little known in this part of the world, a modern dance company from Israel, a spirited flamenco performance from Spain, and a piece that paired off a classical ballet dancer with an actor/mime artist.
Opening this performance was the Israeli contemporary dance company, L-E-V, presenting the New York premiere of Killer Pig, a creation by L-E-V’s co-artistic directors, Sharon Eyal and Gai Behar. This piece is described as telling the story of a troubled person ‘s drive by a primal instinct to kill. The music by Ori Lichtik is a soundtrack for a tribal ritual with some of the dancers offering primal screams as they moved and convulsed in confined spaces and within groups. As danced by Gon Biran, Sharon Eyal, Rebecca Hytting, Mariko Kakizaki, Leo Lerus, Douglas Letheren, and Keren Lurie Pardes., this work had inate power.
Bill Irwin and Tiler Peck seemed to be a mismatched pair but brought their talents together in a collaborative work, Time It Was/116, choreographed by them – and Damian Woetzel. Danced to a ticking clock contrasted with Philip Glass violin music and silence, Irwin was represented as a Chaplinesque everyman who is a bit of an outcast, but wishes to seek a relationship with a ballerina. As they exchanged each other’s choreographic vocabulary these dancers revealed many aspects of their personalities – and displayed themselves as unique artists.
The Boston Ballet returned to perform at the City Center Fall for Dance Festival dancing a short work by Soviet choreographer, Leonid Yakobson, which proved to be the most intriguing piece on the program. Yakobson, whose work has rarely been seen in this part of the world was associated with the Mariinsky Ballet , and also choreographed for his own company, Choreographic Miniatures.
When Mikhail Baryshnikov had defected to the West, he often danced Yakobson’s solo, Vestris, and but for Yakobson’s Rodin danced by the San Francisco Ballet represents the limited exposure of Yakobson’s work in the United States. Also notable is that Yakobson’s version of Spartacus preceded Yuri Grigorovitch’s version by a decade.
This ballet oddity was Yakobson’s Pas de Quatre, an homage to the Romantic era choreographed to excerpts from Bellini’s opera, Norma, a work that was given its world premiere by Choreographic Miniatures in 1971. This production was lovingly staged by Vera Solovyeva and Nikolay Levitskiy.
Anton Dolin’s Pas de Quatre was also an homage to the Romantic era but that’s where the similarities end. Yakobson’s creation does not include rivalries among the ballerinas -- no parody either. The fluid choreography was evident when the ballerinas were intertwined in short group dances that framed each ballerina’s solo variation. Besides assured technique and mastery of style there was a calming gentleness in the performances of Maria Baranova, Erica Cornejo, Ashley Ellis, and Misa Kuranaga.
The program ended with the American premiere of Impetu, featuring Jesus Carmona’s virtuoso performance in his self-choreographed solo supported superbly by vocalists Jose Ibanez and Maka Ibanez, and musicians, Daniel Jurado, Oscar Lago, and Thomas Potiron. Cremona’s flamenco solo built up gradually in its power and emotionality. A fitting conclusion to this program and also this year’s City Center Fall for Dance Festival.
City Center Fall for Dance Festival – Program Four
October 9, 2015
By Mark Kappel
The City Center Fall for Dance Festival presented its fourth program on October 9, 2015 featuring an evening of varied dance which included a modern dance company, an Indian dance company, a tap dance company, and one of the leading ballet companies in the United States.
Opening this program with style and grace was Nrityagram from India, dancing the American premiere of Surupa Sen’s Shivashtakam (An Ode To Shiva). Choreographed by artistic director and company member, Surupa Sen, this piece was inspired by a 9th century Sanskrit poem describing the magnificence of Shiva, the cosmic dancer who creates and also destroys. Displayed was precise and stylized movement with commanding performances by Bijayini Satpathy and Surupa Sen, who were supported deftly by musicians, Rohan Dahale, Manu Raj, Jateen Sahu, and Siddhartha Sarkar.
In contrast the San Francisco Ballet was represented by Hans van Manen’s Solo, a six minute piece of choreography for three male dancers danced to violin music by J.S. Bach. The piece was created for the Nederlands Dans Theater in 1997, and has been performed by the San Francisco Ballet since 2012. Solo is a showcase for male virtuoso dancing incorporating movement of every part of the dancers’ bodies – and infused with self-deprecating humor and parody. Displaying their virtuosity was the cast of Gennadi Nedvigin, Joseph Walsh, and Hansuke Yamamoto who sprinkled their performances with entertaining showmanship.
Adding even more contrast was the Stephen Petronio Company dancing Petronio’s Locomotor, a piece in which Petronio explores forward and backward movement in random and symmetrical patterns -- choreographed to music by Clams Casino which included silence, church bells and a compilation of sounds. Petronio choreographs with clean lines which were emphasized in the energetic and dynamic performances of the company’s dancers, Cori Kresge, Gino Grenek, Barrington Hinds, Jaqlin Medlock, Nicholas Scission, Emily Stone, Joshua Tuason, and Melissa Toogood.
Closing Program Four of the Festival was a Festival world premiere choreographed by Michelle Dorrance for her company Dorrance Dance, Myelination, which also included improvisational work by the company’s dancers. This company is an accomplished group of dancers, who danced to live music by Gregory Richardson and Donovan Dorrance, dominated by percussion and voices with the dancers creating a score of their own with their piercing and focused top work. The piece opens with three intertwined dancers in front of the curtain in clever choreography combining arms and legs, then opening to ensemble and solo dances, building to a kinetic conclusion.
City Center Fall for Dance Festival – Program Three
October 7, 2015
By Mark Kappel
The City Center Fall for Dance Festival’s third program included participation by two major dance companies as well as a company from Brazil, and the pairing of a modern dancer with a classical ballet dancer. Another City Center Fall for Dance Festival performance that was enhanced by the variety of dance forms that was presented.
This performance on October 7, 2015 opened with Brazil’s Companhia Urbana de Danca performing Sonia Destri Lie’s EU DANCO – 8 SOLOS NO GERAL, which had premiered in 2011. Lie’s improvised choreography included street dancing and random vernacular dance choreography creating the atmosphere of an urban scene – all on a bare stage. Although the choreographic sequences did not build from one to another, there was spontaneity on stage that was physical and musical. Filling the empty stage space was the energy coming from the excellent dancing of Rafael Balbino, Johnny Britto, Raphael Russier Felipe, Miguel Fernandes, Jessica Nascimento, Julio Rocha, Tiago Sousa, Andre “Feijao” Virgilio, and Allan Wagner.
Fang-Yi Sheu’s Pheromones focused on the pairing of Sheu, and Herman Cornejo, principal dancer of American Ballet Theatre, in a duet which had premiered at the Vail International Dance Festival in 2014. Choreographed to Philip Glass’ Facades, this amorphous modern dance piece defined the striking and different styles of dance that each dancer is a proponent of – no emotional or choreographic variety – just experimenting with movement – and the dancers gave instinctive and polished performances.
Also on this program, the Houston Ballet presented the New York premiere of Stanton Welch’s Maninyas, an abstract work which is a series of solos and duets choreographed to Ross Edwards’ Maninyas Concerto for Violin Orchestra. First danced by the Houston Ballet in 2005, this work for five couples presents these dancers moving in and off the stage through the allusion of walking through shimmering curtains.
Welch’s choreography reflects influences from works by Jiri Kylian and Nacho Duato – and individualizing this work with his own touches of contemporary dance. The exceptional cast of Jessica Collado, Christopher Coomer, Karina Gonzalez, Oliver Halkowich, Elise Elliott, Ian Casady, Katelyn May, Rhodes Elliott, Allison Miller, and Charles-Louis Yoshiyama give the choreography an emotional and dramatic punch – responding to every note of Edwards’ music.
Closing the program was the Paul Taylor Dance Company dancing Taylor’s Brandenburgs, choreographed to the music by J.S. Bach., and premiered on April 5, 1988. In this closer look at Brandenburgs one can see Taylor invoking allusions to George Balanchine’s Apollo as Michael Trunsnovec is inspired by his three muses (Michelle Fleet, Parisa Khobdeh, and Eran Bugge) in intricate and emotional choreographic patterns – as intricate as the music this piece was choreographed to. One saw a master at work – and the wonderful and polished performances by the Paul Taylor Dance Company’s dancers.
City Center Fall for Dance Festival - Program One
October 1, 2015
By Mark Kappel
The City Center Fall for Dance Festival has become known for its variety, presenting important ballet and dance companies both domestic and foreign, and in recent seasons has also commissioned world premieres.
This programming was reflected in this year’s Festival. Its first program seen on October 1, 2015, presented this variety of programming which is available to the ticket-buyer at only $15 a ticket -- making it a bargain in this environment of high ticket prices for many dance presentations in New York City.
Opening this program was the Miami City Ballet, which has performed at the City Center Fall for Dance Festival in the past, but on this occasion the company performed in New York for the first time under the company’s new artistic director, Lourdes Lopez. The Miami City Ballet has earned its reputation for being an exponent of the Balanchine repertoire and style, and for this engagement the Miami City Ballet performed George Balanchine’s Allegro Brillante, which has become a standard work in the repertoire of many American ballet companies.
Clearly the Miami City Ballet has reinforced its reputation as being a ballet company that is a faithful interpreter of Balanchine’s choreography and style. Allegro Brillante is a choreographic snapshot but requires both brilliant allegro dancing as well as pure adagio. Patricia Delgado and Renan Cerdeiro led a strong cast of dancers which met the challenges of the ballet’s choreography.
As an ode to an everyman and outsider, Doug Elkins Choreography, Etc. presented Elkins’ Hapless Bizarre, which showcases a modern day Chaplinesque figure who just can’t seem to fit in – and this in a world that is more reminiscent of the 1960’s than the 21st century. In an atmosphere of “how to” books and advice, there is an off-stage voice who attempts to advise this hapless hero – danced by Mark Gindick – trying to be helpful in terms of how he confronts people of all kinds and stature – and how he can fit in. Even the costuming and the music feels like the 1960’s, and the modern and vernacular choreography also alludes to the 1960’s. At times the comedy and parody runs into walls, but Hapless Bizarre provided an entertaining and comic outlook on fitting into a fast-paced world that spans decades.
The L.A. Dance Project, founded by artists from many disciplines, performed Justin Peck’s Murder Ballades. Choreographed to music by Bryce Dessert, Peck exploits the best of the company’s dancers, Stephanie Amurao, Anthony Bryant, Aaron Carr, Julia Eichten, Morgan Lugo, and Rachelle Rafailedes, in a piece that channels Jerome Robbins’ N.Y. Export Op. Jazz. Peck paints a choreographic urban landscape that is integrated with a visual installation designed by Sterling Ruby. Peck’s vocabulary in Murder Ballades is that of contemporary dance with a classical ballet flair that appears from time to time. An overall vision or inspiration is not always coherent throughout the piece. However Murder Ballades showcases the L.A. Dance Project’s dancers.
Closing the program was Che Malambo, making its Festival debut, performing a work of the same name choreographed by Gilles Brinas in collaboration with Che Malambo’s energized dancers. The piece danced by this company of all male dancers, is inspired by a contest dance traditionally performed by gauchos that originated in the 17th century. Enhanced with flamenco style choreography, rhythmic drumming and song, with the dancers utilizing whirling lassos and rapid footwork, this piece becomes a spectacle of virtuoso dancing and a performance that is not only entertaining but exhilarating.
Daddy Long Legs – Two Character Musical Opens At Off-Broadway Davenport Theatre
September 26, 2015
By Mark Kappel
Daddy Long Legs, a musical version of the 1912 novel by Jean Webster, premiered at the Davenport Theatre on September 28th, 2015 for what will be an open-ended engagement. In short, Daddy Long Legs is the first gift of the new theatre season.
Webster’s lineage as the daughter of Mark Twain’s niece and Mark Twain’s business manager with family members also involved in the temperance and suffrage movements – and herself a graduate from Vassar College – is juxtaposed against choosing a heroine for her story that is exactly the opposite. About an orphan, without the privileges or station to be able to succeed in life, but she does.
Webster’s novel has inspired several stage adaptations and also several movies. The collaborative team who was inspired to create this musical version of Daddy Long Legs, Paul Gordon (composer and lyricist), and John Caird (librettist and director), have focused a great deal of their work on adapting great novels to the stage. Daddy Long Legs has been performed in regional theaters in the United States – the first production at California’s Rubicon Theatre Company in 2009 -- and a limited engagement in London. Daddy Long Legs has now made its way to the cozy Davenport Theater.
This two-character musical is set in the early part of the 20th century, and tells the story of Jerusha Abbott (played by Megan McGinnis), the oldest orphan in the John Grier Home. Jerusha is informed that one of the John Grier Home’s trustees has shown an interest in her because of her potential as a writer. That benefactor, Jervis Pendleton (played by Paul Alexander Nolan), but only known to Jerusha as Mr. John Smith, agrees to pay her way through college under the condition that he remains anonymous, and she must write him a letter every month – which not only describes her progress in school but also reveals her personal experiences, and her emotional self. These letters are filled with humor, fantasy, experiences, friendships, wit, frustration, and a growing love for reading and literature, while also describing how Jerusha faces challenges primarily left to her own devices – yet succeeds.
Mr. John Smith is assumed to be old and eccentric, but is actually a young New York bachelor who is the uncle of one of Jerusha’s school classmates. Jerusha names her benefactor, Daddy Long Legs after glimpsing his shadow – a tall long-legged man. Although Jervis doesn’t reveal himself as Daddy Long Legs to Jerusha, he does meet Jerusha under the guise of visiting his niece. When he meets Jerusha there is instant chemistry, and their affection develops over the years.
Jerusha is intellectually curious as she is exposed to a diversity of new ideas during her college years – even joining the Fabians. Jersusha’s earnestness emerges immediately – and the relationship between Jerusha and Jervis is just as much intellectual as emotional. Jerusha describes herself with self-deprecating humor, and an understanding of the benefits of an education.
Their relationship blooms through these letters – and through Paul Gordon’s romantic and melodic score. Jerusha is the heroine of her own story – much in the style of a Jane Austen novel and the universality of a Cinderella story – it is the coming of age of a young woman in a society that is not enthusiastic about a woman searching out educational opportunities much less working – only marriage is in her future.
A highlight of Paul Gordon’s score is “My Manhattan”, a valentine to New York, but there are many gems in Gordon’s score.
John Caird has created a straight forward staging that allows the characters to appear and disappear – and interact – to and from Jervis’ wood-paneled study and Jerusha’s trunk-filled room. Appropriate for an intimate theater’s stage and the immediacy of contact with the audience. This simple and uncomplicated story is told with directness as exemplified in Caird’s adaptation of the story as well.
McGinnis and Nolan have a wonderful chemistry between them, and besides their excellent vocal and acting skills, their performances are among the many reasons that make Daddy Long Longs the delightful and charming theatrical experience that it is.
I would like to pack this intimate and entrancing musical into my suitcase so I could take it wherever I go because of the life lessons that are contained in it.
Lincoln Center at the Movies and Fathom Events Present The San Francisco Ballet
September 24, 2015
By Mark Kappel
Lincoln Center and Fathom Events have entered into a joint venture which will facilitate cinema screenings of performances by American dance companies that will be transmitted all over the world. Under the banner of Lincoln Center at the Movies: Great American Dance, the participating companies during this first season will be the Alvin Ailey American Dance Theater, Ballet Hispanico, the New York City Ballet, and the San Francisco Ballet. This joint venture is significant as American dance companies have not jumped in with both feet in regard to the trend of dance companies all over the world turning to cinema screenings to present their performances internationally and expand their audiences.
Screened on September 24, 2015, the first presentation of this series was that of the San Francisco Ballet dancing Helgi Tomasson’s production of Romeo and Juliet.
The San Francisco Ballet premiered Tomasson’s production of Romeo and Juliet in 1994. Standing on the shoulders of choreographers who have translated Shakespeare’s well-known play to dance, and following Serge Prokofiev’s score, Tomasson has followed the blueprint of other productions of Romeo and Juliet. But in so doing, he has streamlined the story-telling to the point that exposition is minimal, and his neoclassic and academic style of choreography adds to the economy of the story-telling language employed to tell this familiar story.
Directed by the experienced dance film maker, Thomas Grimm, the three acts of this production of Romeo and Juliet have been edited down to two hours with the narrative explained and punctuated with quotes from Shakespeare’s play visible on the cinema screen. Act III is preceded by a montage of plot points from Act I and II, which provides the audience with flashback narrative leading up to the final tragic moments of the ballet.
Tomasson hasn’t included any significant departures in his adaptation of Romeo and Juliet but does include two interesting expositional components. Juliet appears in the market scene where Romeo kills Tybalt and observes this tumultuous scene, the anguish of her family, and knowing how this act of violence will effect her relationship with Romeo. Tomasson includes another narrative moment in which Friar Laurence sends a young priest on the mission to contact Romeo and inform him about the plot he and Juliet have conjured up – potions and deception – that would allow this couple to live happily ever after rather than ending in tragic circumstances. The young priest’s journey is represented in crossovers on the stage -- and bumping into and interacting with people along his journey. But the details of how he fails in his mission are not clear. Romeo is seen as being informed about Juliet's death.
One of the enviable pluses in Tomasson’s production is the designs by Jens-Jacob Worsaae which represent a colorful palette and historical accuracy. In many respects it is Worsaae who sets the narrative scene and provides the necessary exposition.
Also the dancers in the principal roles are successful in invigorating the characters. The pairing of Maria Kochetkova and Davit Karapetyan as Juliet and Romeo represent dancers who are capable of bringing to life Tomasson’s choreography and also add emotion and passion. Kochetkova is a waif-like Juliet and one sees her transformation into womanhood, and Karapetyan becomes more and more assured in his pursuit of Juliet even as the tragedy unfolds. Pascal Molat as Mercutio provides the needed comic irony, Luke Ingham as Tybalt the necessary passion-filled malevolence, and Joseph Walsh as Benvolio presenting himself as more than a dispassionate observer of the drama that unfolds.
Over the years, the San Francisco Ballet has made an effort to cast strong dancers and personalities in character roles in the full-length ballets that the company dances. Most notably in Romeo and Juliet was Sofiane Sylve as a cold Lady Capulet, Ricardo Bustmante as Lord Capulet, who is horrified and moved upon learning of Juliet’s death, and the compassion of Jim Sohm as Friar Laurence. Myles Thatcher brings a matinee idol quality to the role of Paris.
This screening was introduced by Kelly Ripa and Michael Strahan, and there was a short intermission feature about the young ballet students who participated in the performance of Romeo and Juliet, and also background on how the sword fights were taught and executed.
I hope that this first screening of the series – and the others to come – give a wider audience a perspective on the quality of the work being produced by American dance companies.
A Chorus Line FAQ by Tom Rowan
Published by Applause Theatre and Cinema Books
By Mark Kappel
Tom Rowan’s A Chorus Line FAQ is an authoritative book about all things concerning one of the most beloved Broadway musicals, A Chorus Line, which opened on Broadway in 1975.
Having seen A Chorus Line in its Broadway incarnation eight times, as well as the international company in London, and the most recent Broadway revival in 2006, I can attest to the fact A Chorus Line has proved to be an enduring Broadway masterpiece, and depicts a slice of American life that has proved itself to be universal, resonating with audiences all over the world. A Chorus Line is a musical in which the score, book, direction, and choreography aligned in a unique fashion.
It has been said if a story, play, musical or movie has a plot similar to Cinderella, you will have a hit. And A Chorus Line became a Cinderella a story for the 20th century – and a model for the reality television shows of our time with an audience rooting for the characters to get the job and succeed.
The book for A Chorus Line was developed out of interviews with gypsies – the backbone of American musicals – who dance in the chorus and sometimes are elevated to stardom, and some who were not. It is their stories that are represented in A Chorus Line.
Under Michael Bennett’s skilled direction – and his masterful choreography – the creative team of Nicholas Dante and James Kirkwood (as book writers), Marvin Hamlisch (composer), and Edward Kleban (lyricist), Robin Wagner (scenery designer), Theoni Aldredge (costume designer), and Tharon Musser (lighting designer) collaborated on an iconic musical that is universal and relevant to all audiences. Once must also credit Joseph Papp for taking the risk of developing A Chorus Line in workshops at the Public Theatre – and producing its first performances – and then transferring it to Broadway.
After knowing so much about A Chorus Line and its imprint on the American musical tradition, what don’t we know about A Chorus Line? That’s the starting point of Rowan’s book. And among the least known facts are that Neil Simon contributed to the musical’s book, the character of Zach was partially based on Michael Bennett’s professional and personal life, and there are exhaustive biographies of the creative team of A Chorus Line, and the original Broadway cast members.
One experiences how A Chorus Line was developed through its workshops, how the characters changed, how songs were integrated in this musical, and what second thoughts Michael Bennett and his creative team had along the way. These insights are also included in the descriptions and histories of A Chorus Line’s London production, national touring companies, the film version directed by Richard Attenborough (which included the revelation that Mikhail Baryshnikov had been considered for the role of Zach in one of the proposed film treatments of A Chorus Line), and A Chorus Line’s Broadway revival in 2006.
And there are interesting facts about Michael Bennett’s post A Chorus Line projects including Ballroom – Beverly Sills, Sada Thompson, and Dolores Gray were among those actresses considered for the leading role – and Dreamgirls – requiring Michael Bennett to persuade Jennifer Holliday to return to the cast – Holliday thereafter emerging as a major star in her Tony Award winning performance in the role of Effie White.
Therefore included in this book is everything you wanted to know about A Chorus Line and then some, making A Chorus Line FAQ a must have for those are lovers of A Chorus Line and for theater lovers in general.
National Ballet of China's the Red Detachment of Women
David Koch Theater
July 11, 2015
By Mark Kappel
The National Ballet of China's second offering during its Lincoln Center Festival engagement was a signature work in the company's repertoire, The Red Detachment of Women, which premiered in 1964. The Red Detachment of Women dates back to the Chinese Cultural Revolution, but the ballet's structure is similar to 19th century full-length ballets -- even the style of the choreography speaks Russian, although there are ample influences from Chinese traditional dance. The Red Detachment of Women received some notoriety as it was seen by President Nixon during his historic visit to China in 1972.
Based on a screenplay adapted from the movie of the same name, with choreography by Li Chengxiang, Jiang Zuhui, and Wang Xixian, the plot of The Red Detachment of Women focuses on the conversion of a peasant girl living in Hainan Island, joining the Chinese revolutionary forces, and her rise in the Chinese Communist Party -- during the Ten Year Civil War which took place from 1927-1937.
Qionghua (danced by Zhang Jian) rises from servitude after being harrassed by the wealthy landowner she works for -- ultimately joining the all-female battalion of Red Guards which defeats the landowner who once exploited her.
The exposition of the plot is expressed in short vignettes which are dominated by mime rather than dance. And then there are ensemble dances which are influenced by Chinese traditional dance forms, and classical ballet, which are performed in the atmosphere of dancers waving patriotic banners, and dancing to music that included themes from patriotic songs and anthems -- many of those themes recognized by enthusiastic audience members. These musical moments were supported by a full chorus.
There were many sections in the ballet that were effective fusions of choreography and theater craft. One of the more notable examples was an endless series of soldiers jumping across the stage building momentum along with the music as these revolutionaries went into battle.
The choreography, in many sections of the ballet, is highly militaristic, yet there are many moments in the ballet where emotions shine through as well as the earnestness of the protagonists in their beliefs. But there is no question that this ballet is tinged with propaganda.
At the performance on July 11, 2015, The Red Detachment of Women proved to be an excellent showcase for the company's dancers from the principals down to the character dancers. Both Zhang Jian as Qionghua, and Zhou Zhaojui as the revolutionary commander Hong Changqing, gave tour de force performances.
I look forward to a return visit by this company sooner than later, but also with a more balanced repertoire that reflects the company's expanding artistic vision.
Nationial Ballet of China Dances The Peony Pavilion
David Koch Theater
July 8, 2015
By Mark Kappel
The Lincoln Center Festival's major dance presentation this summer is the National Ballet of China which will be performing at the David Koch Theater from July 8-12, 2015. This marks the company's Lincoln Center debut although the company has appeared in New York at the Brooklyn Academy of Music in the past -- the most recent visit being in 2005 when the company performed its film to stage adaptation of Raise Your Lantern.
The National Ballet of China was founded in 1959 creating a new form in dance in China with the support of Russian teachers and choreographers. Emphasis had been placed on the 19th Century Russian classics, but the National Ballet of China, now under the directorship of Feng Ying, has commissioned new full-length ballets based on Chinese themes and stories, and has built on the legacy of inviting many Western choreographers to work with the company including Ben Stevenson, Roland Petit, Natalia Makarova, John Neumeier, and staging works by Maurice Bejart, and John Cranko.
For this engagement the National Ballet of China will be presenting two full-length ballets that have their cultural roots in China. Seen on Jully 8, 2015, the first of these works, The Peony Pavilion, is a ballet in two acts which was premiered in 2008. Based on a play written by Tang Xianzu in the 16th century, The Peony Pavilion is a ballet adaptation of this story in which Du Liniang (danced by Zhu Yan) falls asleep in her garden and dreams of meeting Liu Mengmei (danced by Ma Xiaodong). Du Liniang dreams that they fall in love, but upon awakening from her dream and being obsessed with her love Liu Mengmei, she dies. Du Liniang's ghost descends to the underworld where it is decided that she is supposed to marry Liu Mengmei, and she returns to her garden -- asking Liu to exhume her body and return her to life. When Liu Mengmei attempts to fulfill Du Liniang's wish, he is arrested, but is ultimately pardoned by the Emperor.
Choreographer Fei Bo, with the assistance of adapter and director, Li Liuyi, and producer, Zhao Ruheng, has structured this version of The Peony Pavilion in a non-linear narrative with the important signposts in the story presented in inner dialogues danced by the characters, and one short lvoe pas de deux in Act II danced by Du Liniang and Liu Mengmei. Du Liniang is also represented by two alter egos, the Flower Goddess (danced by Zhuang Jian), and Kunqu (sung by Yu Zuejiao) who appear and disappear in pivotal moments in what is more a dance play than a ballet.
Most of the choreography has its roots in contemporary ballet and modern dance, and in particular, modern dance is represented in the ensembles of dancers, who dance choreography that repeats itself in patterns. Throughout The Peony Pavilion there are stage pictures that are reflective of the hand of the piece's director, and the design team of Michael Simon, Emi Wada, and Han Jiang.
As a soundtrack for this ballet, Guo Weinjing has orchestrated and arranged the music of such Western composers as Debussy, Holst, Ravel, Prokofiev, and Respighi.
In many aspects the Peony Pavilion is a compelling showcase for the well-trained dancers in the company -- more as actors than as dancers -- but nevertheless an opportunity to see a different method of story-telling and a compelling theater experience by the National Ballet of China.
Valentina Kozlova's Dance Conservatory Performance Project
June 19, 2015
By Mark Kappel
On June 19th, 2015, the students of the Valentina Kozlova Dance Conservatory Performance Project performed an evening of excerpts from the 19th century repertoire, and new works, at Symphony Space in New York -- a program highlighting the progress and training of the young dancers that they are receiving under the guidance of Valentina Kozlova and her faculty.
Highlighted were three medal winners from the Valentina Kozlova International Ballet Competition, Justin Valentine dancing La Fille Mal Gardee Pas de Deux with Nikita Boris, and also dancing La Sylphide Pas de Deux with Revital Naroditski. And young Caroline Grossman showing her development as a dancer in Nina Buisson's Shattered Glass.
Also notable were Brecke Swan in both a variation from La Bayadere and in Margo Sappington's Christina's World, as well as the soloists, Caroline Grossman, Elizabeth Seibel, Mari Bell, Maria Celeste Rodriguez Perez, Anna Guerrero, and Nikita Boris in variations from Le Corsaire.
Valentina Kozlova, herself, brought her own artistry to the forefront dancing in Le Reve d'Isadora, inspired by the life and work of Isadora Duncan, choreographed by Margo Sappington, with Vitaly Verterich, who was compelling as Kozlova's partner.
The evening ended with Mari Bell, Nikita Boris, and Revital Naroditski dancing Jazz Samba from Margo Sappington's For Ella, and a deserved bow by all of the students who participated in the perfomance.
Paper Mill Playhouse Presents the World Premiere of Ever After
June 6, 2015
By Mark Kappel
Can there be another take on the Cinderella story -- a story that is universal and is the underlying plot line of most stories written in the past, present -- and no doubt the future?
For its final production of the season, the Paper Mill Playhouse presented a different approach to the Cinderella story, and another possible Broadway-bound musical, Ever After. Ever After, based on the 1998 film of the same that starred Drew Barrymore, is another film to stage adaptation that seems to be the current theater trend. Some of these adaptations "sing" and others do not. Ever After does sing. This clever and enchanting musical, which began performances on May 21, 2015 and will continue through June 23, 2015 -- is a delightful adaptation of a familiar story.
Ever After's protagonist is Danielle de Barbarac, the daughter of a nobleman in 16th Century France, and is committed to servitude to her stepmother. This tweaked version of Cinderella follows Danielle de Barbarac through her adventures standing up to her scheming stepmother, befriending Leonardo da Vinci, ultimately winning over the Crown Prince of France -- all without the help of a fairy godmother -- succeeding with her wits and street smarts. This is an empowered and educated Cinderella who is not in hot pursuit of a Prince Charming.
There are many plot twists in Ever After -- before Happily Ever After. The story begins wtih the arrival of Danielle's stepmother, who finds the living conditions she is confronting to be below her station. Danielle's father dies before his daughter reaches adulthood. But before he departs this earth, he has the intellectual audacity to give his daughter a copy of Thomas More's Utopia.
Danielle's first encounter with her possible Prince Charming, Prince Henry of France, is when he is in the act of running away from the palace and an arranged marriage to the daughter of the King of Spain -- and is stealing Danielle's father's horse. Prince Henry gives Danielle gold francs for her inconvenience. With the Prince's money in hand Danielle goes to court to reclaim a servant who was sold into slavery by her stepmother. Danielle disguises herself as a courtier, and it is at the royal court that Danielle and Prince Henry have another chance meeting that blossoms from friendship to courtship. This is the beginning of Danielle's journey towards Happily Ever After.
Danielle is a survivor -- climbing the social ladder from servant to princess -- and is an accidental princess at that. Her experiences, confrontations, decision-making, and solutions empower her. By a twist of fate, Leonardo da Vinci is enlisted to be a member of her support team, and when their relationship is tested, he persuades Prince Henry and Danielle to let their guard down in order to find happiness.
Ever After's story is involving and imaginative, and it is supported by a score which is chromatic, emotional, and true to the tradition of Lerner and Loewe, and Rodgers and Hammerstein -- tuneful with wry and witty lyrics, and is synergized with the self-deprecating satire that dominates Ever After's book. The score, with music by Zina Goldrich, and lyrics -- and book -- by Marcy Heisler, represent a seamless collaboration and succeeds in tellling a story that is a bit off beat.
Kathleen Marshall is at the helm as director and choreographer, and I hope will be given more time to improve the timing of punch lines in Ever After to allow them to successfully land with more regularity. The foundations are already there within the book and the score. The components just need some clarity and focus. But it stilll prompts one to say that fixes to flaws are easily made, and the work should continue.
Ever After also succeeds because of the talented cast members who bring the characters to life. As a substitute wicked stepmother, Christine Ebersole plays Baroness Rodmilla de Ghent with a glint in her eye and wit. Tony Sheldon brings to life an ageing but intuitive Leonardo da Vinci, and Charles Shaughnessy enlarges the character of King Francis with his adeptness at light comedy. The two protagonists, Margo Seibert as Danielle de Barbarac, and James Snyder, as the object of her affection, Prince Henry, have a unique chemistry.
The cast has great depth including the actors who play the smaller roles and assorted characters that Danielle encounters in her journey. Among them Charl Brown as Captain Laurent, Julie Halston as Queen Marie, Andrew Keenan-Bolger as Gustave, and Mara Davi as Marguerite de Ghent, and Annie Funke as Jacqueline de Ghent, Danielle's stepsisters.
All of the elements in this alchemy make for an entertaining theater experience.
Valentina Kozlova International Ballet Competition
May 30, 2015
By Mark Kappel
From May 26-30, 2015, the fifth annual Valentina Kozlova International Ballet Competition was held at Symphony Space in New York. The Competition consisted of four days of rounds for classical ballet, and contemporary choreography and dance, on the Youth, Student, Junior, and Senior Division levels with 180 dancers from 22 countries participating. Besides the awards, scholarships and contracts with professional companies were also on the line with the participants in the classical competition dancing varied repertoire including variations and duets from the 19th century classics -- and compulsory choreography for the contemporary dance competition -- for the men, choreographed by Austin Lam, and for the women, choreographed by Hyonjun Rhee. Also presented was new choreography.
The distinguished jury included Violette Verdy and Mikko Nissinen as Honorary Chairs, Andris Liepa as Chairman of the Judges, Tracy Inman as President of the Jury for Contemporary Dances, and the judges, Deborah Hess, Zhirui Zou, Miriam Messa Pelly, Frank Andersen, Bruno Agati, Nina Buisson, Alexandre Proia, Nina Ananiashvili, Oleksi Bessmertni, Jan Broeckx, Patricia Aulestia, Olga Guardia de Smoak, Pedro Carneiro, Sergei Soloviev, Hae Shik Kim, Sun Hee Kim, Jeon Mi Sook, Jelko Yuresha, Charles Askegard, Jacqulyn Buglisi, Hiller Huhn, Radenko Pavlovich, Shelly Power, Lawrence Rhodes, Jean-Pierre Bonnefoux, Setpime Webre, and Margo Sappington.
The combined Awards Ceremony and Gala took place on Saturday, May 30, 2015 at Symphony Space. During the Awards Ceremony awards were given to the following participants:
Gold Medal - Hanna Park and Kyung Min Kim
Silver Medal - Caroline Grossman
Bronze Medal - Nicole Diaz and Catherine Faia
Gold Medal - Nikita Boris
Silver Medal - Yein Yi
Bronze Medal - Yae Ji Park and Jessica Restivo
Gold Medal - Goh Eun Lee
Silver Medal - Revital Naroditski
Bronze Medal - Nika Afonina
Gold Medal - Nations Wilkes-Davis
Silver Medal - Leroy Mokgatle
Bronze Medal - Justin Valentine
Gold Medal - So Jung Lee
Silver Medal - Francesca Dugarte
Bronze Medal - Jae Eun Jung and Risa Mochizuki
Gold Medal - Wonjun Choi
Silver Medal - Sun Woo Lee and Gian Carlo Perez
Bronze Medal - Byul Yun
Gold Medal - Austin Lam
Silver Medal - Jeong Won Lee
Bronze Medal - Revital Naroditski
Solo 10-13 Years:
Gold Medal - Caroline Grossman
Silver Medal - Katya Saburova and Faith Marshal
Solo 14-16 Years:
Gold Medal - Min Seon Choi
Silver Medal - Nikita Boris
Bronze Medal - Revital Naroditski and Marlena Brinkmann
Solo 17-20 Years:
Gold Medal - Yoon Joo Hun and Hong Lee
Silver Medal - Maria Ribas
Bronze Medal - Hee Rae Kim
Gold Medal - Woo Sung Jeon
Silver Medal - Jeong Won Lee and Ui Heon Jeong
Bronze Medal - Not Awarded
Solo Over 21 Years:
Gold Medal - Yujin Lee
Silver Medal - Ga Yeong Kim
Bronze Medal - Yansi Mendez Bautista
Gold Medal - Austin Lam
Silver Medal - Icaro Freire and Young Chae Kim
Bronze Medal - Guilherme Riku
Gold Medal - Francesca Dugarte/Gian Carlo Perez
Silver Medal - Icaro Freire/Guilherme Riku
Bronze Medal - Lauren Heskath/Leroy Mokgatle
The Gala performance that followed featured many of the medal winners and among the highlights were Gian Carlo Perez and Francesca Dugarte dancing Don Quixote Pas de Deux, Nikita Boris and Justin Valentine dancing La Fille Mal Gardee Pas de Deux, So Jung Lee and Sun Woo Le dancing The Sleeping Beauty Pas de Deux, Goh Eun Lee and Beo Msu Park dancing Talisman Pas de Deux, Caroline Grossman dancing a variation from Le Corsaire, Hanna Park dancing a variation from Harlequinade, Austin Lam dancing How It Began, Leroy Mokgatle dancing Freedom The Tribute, Nations Wilke-Davis dancing a variation from Coppelia, and Icaro Freire and Guilherme Riku dancing Alter Ego.
In tribute to Maya Plizetskaya, Valentina Kozlova gave a heartfelt and emotional performance of Fokine's The Dying Swan. All part of an inspired evening of dance.
The next Valentina Kozlova International Ballet Competition will be taking place in April 2016.
The Royal Ballet Dances La Fille Mal Gardee
May 5, 2015
By Mark Kappel
Fathom Events' final presentation of this season, in its series of live screenings of the Royal Ballet, was on May 5, 2015 -- the Royal Ballet's performance of La Fille Mal Gardee. Choreographed by Frederick Ashton, La Fille Mal Gardee is a ballet in the Royal Ballet's repertoire that is recognized as a signature work. Based on Jean Dauberval's ballet of the same name, which premiered in the late 18th century, Ashton's version uses the same libretto and the music by Ferdinand Herold -- arranged by John Lanchbery -- and translated this fun Gallic tale into an English pastoral ballet which is further enhanced by Osbert Lancaster designs.
Ashton's La Fille Mal Gardee transcends time and place because this ballet has become a favorite of ballet audiences over decades -- and all over the world. The ballet has also served as an excellent showcase for the dancers appearing in the principal roles of Lise and Colas -- roles originally created by Nadia Nerina and David Blair when the ballet premiered in 1960.
The ballet's plot is as simple as it can be. Widow Simone wishes her daughter, Lise, to be married to a vineyard owner's son, Alain, while Lise prefers Colas, who is a young farmer. The plot's twists and turns evolve into a happy ending. But it is how the characters journey to that happy ending is where the comedy and the unexpected come into play -- and also is vastly entertaining for an audience.
Included in his choreography and concept Ashton channeled his Suffolk countryside reminiscences, Lancashire clog dances and other forms of folk dancing -- and also a maypole dance further reflecting the ballet's country roots. With the story involving a pony and cart, it is a ballet that charms the audience.
The pairing of dancers in La Fille Mal Gardee is most important not only in regard to the chemistry they bring to their roles, but also how they collaborate as dancers. Natalia Osipova as Lise and Steven McRae as Colas seemed to be in tune. They knew their characters and in many ways Osipova is a natural soubrette and McRae is a natural demi-character dancer -- and these are the primary requirements for the protagonists in this ballet. La Fille Mal Gardee is a comic ballet and the rapport between the dancers dancing the principal roles is an important element in the ballet's success.
Besides the principal roles of Lise and Colas, the comic elements are also presented by the leading characters of Widow Simone, Lise's mother, and Alain, Lise's suitor. Then you have the comic chickens with Michael Stojko as the bossy Cockerel.
Performing La Fille Mal Gardee as well as it does is one of the reasons why the Royal Ballet is an internationally-known ballet company.
The Life and Times of Cy Coleman
Published by Applause Theater and Cinema Books
May 1, 2015
By Mark Kappel
Printed by Applause Books, Andy Propst has written an absorbing and fact-filled biography of Cy Coleman, entitled You Fascinate Me So, The Life and Times of Cy Coleman.
Although Cy Coleman had a great reputation as a popular song writer and composed many successful Broadway musicals, he has not been as esteemed as other composers for the Broadway stage.
Propst chronicles Coleman's childhood, his musical education, and forging a career as a jazz and nightclub performer -- typical of living in New York -- but a reflection of Coleman's networking with colleagues and persistence in creating visibility for himself and his music, and putting a roof over his head.
Coleman began his days in the musical field as a child prodigy, then as a jazz pianist and composer of popular songs, and then adding another chapter to his life, he was a prolific composer of Broadway musicals until his death in 2004. Among his best known musicals are Sweet Charity, City of Angels, Barnum, and The Will Rogers Follies. But there are many others of his musicals that have their charm including Seesaw, The Life, I Love My Wife, Little Me, the star vehicle for Lucille Ballet, Wildcat!, and On The 20th Century, which is currently being revived by the Roundabout Theater Company in New York.
Propst's biography of Cy Coleman includes many interesting tidbits and details of Coleman's professional life. Perhaps little known is that Coleman and his then writing partner, Carolyn Leigh, auditioned to compose the score for Gypsy. One of the songs written for that audition for Gypsy, Be A Performer, found itself a new home in the score of Little Me.
Also included in the book is the genesis of Colelman's first pop hit, Witchcraft, and chapters on the significant musicals in Coleman's career. Particularly interesting were the details of the Broadway journey of Wildcat!, and how it was created as a vehicle for Lucille Ball. Also chronicled was the development of Sweet Charity, Seesaw's rocky road to Broadway and opening on Broadway, as well as the ups and down of casting Madeline Kahn in the role of Lily Garland in On The 20th Century.
At a time when Broadway's music was the popular music of the day, the background stories of how and why Coleman's music was recorded, and descriptions of how the songs were interpreted by leading recording artists and nightclub performers, presents a fascinating back story.
The details and anecdotes are annotated with quotes and enhanced with the aid of interviews with Coleman's colleagues, and actors he worked with on his musicals. Besides illuminating the career of one of Broadway's most important composers, Propst's You Fascinate Me So, is a must have for every Broadway musical fan.
Bolshoi Ballet Dances Ivan The Terrible
April 21, 2015
By Mark Kappel
Pathe Live concluded its presentations for the 2014-15 season with its April 21, 2015 screening of the Bolshoi Ballet's production of Yuri Grigorovitch's Ivan The Terrible -- a ballet created during the Soviet era, but presented in a new production that premiered in 2012.
The Bolshoi Ballet performed Ivan The Terrible in New York in 1975 -- the same year the ballet premiered in Moscow. Other than the Bolshoi Ballet, the only other ballet company to perform Ivan The Terrible has been the Paris Opera Ballet.
Like most ballets created during the Soviet era, there is a degree of rewriting of Russian history from a political and moral perspective. In this instance, a condemnation of a Russian czar who wielded uncontrolled power, and created chaos in medieval Russia.
The ballet opens with Czar Ivan IV being crowned and after 13 Boyar daughters are presented to be chosen to be his wife, he selects Anastasia, which proves to be a love match. Over time the relationship between Czar Ivan and the Russian nobility deteriorates. The Boyars plot against him -- led by Prince Kurbsky -- and Anastasia is poisoned when she mistakenly drinks the poison intended for Czar Ivan. Surrounded by political and military enemies, Ivan sinks into madness -- and is demonized -- taking his place in Russian history as Ivan The Terrible.
For his ballet version of Ivan The Terrible Grigorovitch chose Serge Prokofiev's music from the 1944 Eisenstein film, Ivan The Terrible, as well as excerpts from other of Prokofiev's musical pieces, including the Russian Overture, the Alexander Nevsky Cantata, and the Third Symphony. Similar to the formula in his production of Spartacus, Grigorovitch focused on a heroic style of choreography and gesture, creating a demonic portrait of Czar Ivan and tragic portraits of Ivan's wife, Anastasia, and his rival, Prince Kurbsky.
In an intermission interview with Boris Akimov, the creator of the role of Prince Kurbsky, he revealed that Kurbsky was not a principal character in Ivan The Terrible when the ballet was in rehearsals. In the end, Grigorovitch felt it would add to the plot -- based on historical research -- to depict the evolving relationship between Ivan and Kurbsky, who were close. But the relationship deteriorated into an adversarial one over time. Kurbsky also secretly loved Ivan's wife, Anastasia, which added tension to their friendship, and to the tragedy when Kurbsky's plot resulted in the horrible mistake of Anastasia being poisoned.
Throughout the ballet Grigorovitch utilizes the ensemble to represent every strata of Russian medieval society -- and does so with the ensemble manipulating the ropes of church bells -- acting as a Greek chorus observing the political chaos during the terrible times of Czar Ivan. Choreography for the ensemble groups tended to be ritualistic and repetitive which aptly enhanced these chaotic times.
But Grigorovitch was at his best when cleverly filling in the details with stage craft throughout this ballet including the horrifying depiction of how Ivan sinks into madness by being captured in the spider web of the ropes that ring the church bells.
Although Ivan The Terrible doesn't represent Grigorovitch at his best as a choreographer, he does create absorbing and involving stage pictures with the help of his collaborator, designer Simon Virsaladze. These stage pictures are similar to the illusions created by the great theater directors in Europe during the 20th century.
What makes a revival of Ivan The Terrible interesting and worthwhile is that this ballet provides two incredible roles for male dancers. Yuri Vladimirov created a sensation when he danced the title role, as did Boris Akimov in the role of Prince Kurbsky.
In this performance the title role of Ivan IV was danced by Mikhail Lobukhin -- and his arch enemy, Prince Kurbsky, was danced by Denis Rodkin. Both dancers gave virtuoso performances not only as dancers, but also as actors. These performances were contrasted with the portrayal of Anastasia by Anna Nikulina, a tragedy as she is caught in the middle of this political feud between Czar Ivan and Prince Kurbsky.
Ivan The Terrible is an epic ballet when performed well, and Pathe Live enabled a worldwide audience to experience this unique ballet that may not be toured widely by the Bolshoi Ballet.
Dance Theatre of Harlem Returns to City Center
April 10, 2015
By Mark Kappel
After a long hiatus the Dance Theatre of Harlem has returned to the City Center for a company engagement from April 8-11, 2015. As the Dance Theatre of Harlem's artistic director Virginia Johnson mentioned in the performance program, this engagement has been described as a homecoming for the Dance Theatre of Harlem -- performing again at the City Center and presenting repertoire that is sprinkled with vintage works, works from the recent past, and the new. Repertoire included familiar works but on the program danced on April 10, 2015, the Dance Theatre of Harlem presented a company premiere.
The company premiere was Nacho Duato's Coming Together, a piece employing music composed by Frederic Rzewski incorporating repeated text from a letter written by Sam Melville - a political activisit who was killed in the Attica prison riots that began in September 1971.
As in the musical composition Duato's choreography mirrors repetition with relentless movement that is influenced by Duato's artistic past at the Netherlands Dance Theatre. Although the sections of the piece move seamlessly from one section to another, the sections are also disconnected, jarring, and hyper in nature. The piece tends to be a showcase for male virtuoso dancing and Da'Von Doane, Anthony Savoy, Dylan Santos, Samuel Wilson, Francis Lawrence, and Jorge Andres Villarini were up to the task which was matched by the performances of the cast's female dancers, Chyrstyn Fentroy, Jenelle Figgins, Ashley Murphy, Emiko Flanagan, Alison Stroming, and Lindsey Croop.
When the Dance Theatre of Harlem began its artistic journey the works of George Balanchine held a significant place in the company's repertoire. Performed on this program was Balanchine's Agon in which Dance Theatre of Harlem's founding artistic director, Arthur Mitchell, had created a principal role. The astringent choreography is an example of Balanchine as the modernist -- yet a classic work that has stood the test of time.
The cast of Emiko Flanagan, Frederick Davis, Samuel Wilson, Chyrstyn Fentroy displayed how much they have grown into the roles in this ballet, with Fentroy displaying particular drama and tension in the pas de trois.
One of the company revivals was Christopher Huggins' In The Mirror of Her Mind, choreographed to the Second Movement of Henryk Gorecki's Symphony No. 3. On the surface of the piece depicted is a woman's inner dialogue contemplating past loves and ghosts from her past with the choreography's primary aspect being acrobatic lifting. One does not get the dramatic punch line untl the end when the lone female dancer (Ashley Murphy) expresses her anguish.
The Dance Theatre of Harlem's program ended with a rousing performance of Robert Garland's Return danced with panache by Jenelle Figgins, Da'Von Doane, Lindsey Croop, Frederic Davis, Dylan Santos, Jorge Andres Willarini, Chyrstyn Fentroy, and Francis Lawrence.
The Dance Theatre of Harlem's City Center engagement is one more step towards the company's evolving artistic growth.
Ballet West Makes Debut at Joyce Theater
March 25, 2015
By Mark Kappel
Ballet West, based in Salt Lake City, Utah, and established in 1963, has not performed often in the eastern part of the United States. The company has been directed over the years by the founder Wilhelm Christensen, followed by Bruce Marks, John Hart, Jonas Kage, and currently by Adam Sklute, acquiring a repertoire that represents the company's legacy, and is also forward-looking.
But for recent participation in the City Center's Fall for Dance Festival, Ballet West hasn't performed in New York in full company strength since its City Center engagement in 1980. At this time Ballet West might be better known for its participation in the television reality show, Breaking Pointe.
For its Joyce Theater debut engagement from March 25-29, 2015, Ballet West presented repertoire more in the contemporary mode dancing ballets that have been commissioned by the company during the directorship of Adam Sklute.
Represented on this program were works by Helen Pickett, Matthew Neenan, Nicolo Fonte (Ballet West's resident choreographer), and Val Caniparoli. Helen Pickett's contribution was the world premiere of Games. Pickett has used Vaslav Nijinsky's Jeux as a jumping off point also employing Debussy's music -- a contemporary reinterpretation for three dancers - -two female dancers and one male dancer. Originally envisioned as a game of tennis as a metaphor for the relationship of the three dancers, Pickett has updated this metaphor to the present and these characters are transported to an urban setting. The sexual relationships between them are transparent and the movement organic. The sexual and sometimes combative relationships between the three protagonists take place in an urban street and also in an office. This menage a trois of sorts -- portrayed and danced by Allison DeBona, Christopher Ruud, and Arolyn Williams -- is as real as one could get.
The remaining pieces on the program were New York premieres, but created by choreographers whose work has been seen in New York with some frequency.
Matthew Neenan's The Sixth Beauty, choreographed to solo piano music by Alberto Ginastera is a series of vignettes to evocative piano music representing different moods from dance to dance but similar in choreographic vocabulary. The highlight was an emotional and mood changing pas de deux danced by Christiana Bennett and Rex Tilton -- choreography that knitted together modern and contemporary ballet -- drifts back and forth.
Nicolo Fonte's Presto, choreographed by Ezio Bosso's Quartet No. 5: XI, Presto, is a dance for two couples dancing complex choreography at breakneck speed with angular and sudden movement highlighted in the choreography. Sculptural images are represented with movement as strident as Bosso's music. Presto was danced with intensity by Adrian Fry, Katherine Lawrence, Alexander MacFarlan, and Jacqueline Straughan.
The most substantial piece on the program was Val Caniparoli's The Lottery, based on Shirley Jackson's "The Lottery", with music by Robert Moran. Jackson's story -- isolated in a small town in the United States in 1948 -- depicts an ancient ritual updated for that time. The citizens gather for a pre-harvest event in the town and one of the citizens is chosen to be stoned to death. But unlike in Jackson's short story in which the chosen citizen is known -- Caniparoli keeps the dancers on stage and the audience in a state of heightened expectation of the "winning ticket" being picked by the individual dancers.
The locale for this ritual is within the boundaries of white picket fences with seven couples being introduced through a series of pas de deux -- and then the mood changes musically and choreographically as the tension is upped until the lottery begins. The dancer who is transformed into the "chosen one" dances his or her own ending to the ballet -- a dance of death -- with the stones plummeting on the community from above.
Caniparoli often channels Agnes de Mille in his concept and movement style, but Caniparoli keeps up the intensity and tension throughout the piece, and provides an excellent dramatic vehicle for Ballet West's dancers.
It is hoped that it won't be too long before Ballet West returns to perform in New York.
Steps Beyond Presents Artists Talk Series - American Dance Machine for the 21st Century
Steps on Broadway
March 22, 2015
By Mark Kappel
As part of its ongoing Steps Beyond Artists Talk Series, presented on March 22, 2015, was a panel discussion, Passing It On: A Conversation with the American Dance Machine for the 21st Century.
Since the American Dance Machine was reconstituted by founder/producing artistic director Nikki Feirt Atkins, and artistic director, Margo Sappington, the American Dance Machine for the 21st Century, has rededicated its mission to perform Broadway choreography in live concert form.
Besides Ms. Atkins and Ms. Sappington, other panelists included stagers Karin Baker, Tome Cousin, Robert LaFosse, and Lars Rosager, and dancers Georgina Pazcoguin and Amar Ramasar of the New York City Ballet, and Ariel Shepley.
Discussion focused on how Broadway gems are re-staged for the American Dance Machine with input from the original choreographers, stagers, and dancers who were involved in the creation of the choreography. Voiced by all panelists, what makes the American Dance Machine's presentations of these works by legendary choreographers as unique as they are was passing on the intent envisioned by the original choreographers -- and passing those intentions on to the next generation of dancers.
American Dance Machine performed at the Joyce Thater last year and plans future performances in New York next season.
The Hunchback of Notre Dame at the Paper Mill Playhouse
March 21, 2015
By Mark Kappel
As part of its current season, the Paper Mill Playhouse is presenting the East Coast premiere of a new film to stage version of The Hunchback of Notre Dame, which has been produced in association with the La Jolla Playhouse.
The animated flm to stage version of Walt Disney's The Hunchback of Notre Dame, inspired by Victor Hugo's 1831 novel, made its local debut on March 15, 2015 and will continue at the Paper Mill Playhouse until April 5, 2015.
The first stage adapation of Disney's The Hunchback of Notre Dame, directed by James Lapine, had been premiered in Berlin in 1999, but was not produced in the United States. This new version, directed by Scott Schwartz, has been adapted by the original composing team -- music by Alan Menken and lyrics by Stephen Schwartz -- who have used music from the Disney film, the Berlin production, and new music composed for this production -- and a new book by Peter Parnell. The intention was to draw on the essentials from Hugo's novel -- a novel filled with intrigue, scandal, corrupt politicians, and three of its major characters focused on the same love interest.
Taking place in the late 15th century, the back story of the tense relationship between Frollo and his brother, Jehan is presented, and Jehan's son, Quasimodo being placed in Frollo's care at Jehan's death. Quasimodo, as raised by Frollo, becomes the bell ringer of Notre Dame Cathedral in Paris, France -- and is trapped in the Notre Dame Cathedral. He, like other Parisians, is living under the tyrannical rule of his uncle, Frollo. Esmeralda, a gypsy girl, has captured the hearts of Quasimodo, Frollo, and Phoebus (the Captain of the Guard). Esmeralda survives on her wits and emotions -- and although she shows kindness to Quasimodo, contempt for Frollo, and perhaps true love for Phoebus, she uses all of them to survive. As the plot develops all of these characters' lives are intertwined.
Their adventures lead Quasimodo to freeing Esmeralda from Frollo's impresonment, and Esmeralda saving Phoebus from certain death. But upon being recaptured by Frollo and refusing to be his mistress. Esmeralda seals her fate. Quasimodo does triumph -- with the gypsies in support -- being inspired to throw Frollo to his death -- recognizing how contemptible Frollo is and his false sentiment when he sends Esmeralda to her death. And just as the story began, Quasimodo remains alone.
The Cathedral of Notre Dame is also a character in the story, and in this musical is depicted in a decorous design by Alexander Dodge. At the time Hugo wrote his book, France was in the midst of societal changes. It was Hugo's belief that new technology would spoil the peoples' appreciation of art. That belief motivated him to spotlight the grandeur of Notre Dame in his novel, thereby making it an important component in this story.
This adaptation features the vague theatrical convention that the actors are a troupe of balladeers who are telling Hugo's story, and take on their characters donning cosutmes and make-up in full view of the audience. Narration is interpolated -- breaking the fourth wall -- and in order to reveal crucial plot elements.
The onstage 32-member Continuoso Arts Symphonic Chorus enhances the musical atmosphere -- focusing on the operatic impulses in the score -- significant music that is filled with emotion and drama. There are anthem-like songs in the score and they amplify The Hunchback of Notre Dame's serious intent. For authenticity sake the second act opens with the chorus singing part of the score in Latin.
Although the score doesn't soar like an opera might, the score for The Hunchback of Notre Dame is compelling and melodic -- and draws the audience into the story.
As told in this musicalized version of The Hunchback of Notre Dame, this is not the archetype of what one would expect from a Disney production such as The Lion King, The Little Mermaid or The Beauty and the Beast -- and is much more weighted with the sobering intent of Les Miserables or The Phantom of the Opera.
The combination of music, lyrics, dialogue and designs makes for a compelling evening in the theater which is enhanced by the magnificent cast of Michael Arden as Quasimodo, Patrick Page as Frollo, Ciara Renee as Esmeralda, and Andrew Samonsky as Phoebus, and Erik Liberman as Trouillefou.
The Royal Ballet Dances Swan Lake
March 19, 2015
By Mark Kappel
If there is a reocurring theme in this season's Royal Ballet live screenings, it has been selecting bread and butter repertoire that is familiar. On March 19, 2015, Fathom Events presented one of those familiar ballets -- the Royal Ballet's current production of Swan Lake, which was staged for the Royal Ballet by Anthony Dowell in 1987. It is a production that has been seen often during Royal Ballet tours, and was created with authenticity in mind -- inspired by Professor Roland Wiley's book, which focused on Tchaikovsky's three ballet scores, and inspired by Anthony Dowell's pedigree as a distinguished interpreter of the role of Prince Siegfried during his dancing career.
As Wiley's research revealed, Swan Lake, at its premiere by the Bolshoi Ballet, was not the disaster that had been described or had been the conventional wisdom, although the Marius Petipa/Lev Ivanov version staged at the end of the 19th century for the Mariinsky Ballet, is the blueprint for all productions of Swan Lake. This production of Swan Lake is set in the time period of the late 19th century with its sense of history and manners. The narrative is told clearly through mime and pure execution of the choreography, although this production's distorted costume and scenery designs by Yolanda Sonnabend are abstract rather than historically detailed.
Over the years Frederick Ashton's Neapolitan Dance has been restored to this production of Swan Lake, David Bintley choreographed the first act waltz, and an always present magnificent corps de ballet serve as ingredients in the Royal Ballet's classic production of Swan Lake. In this production, the corps de ballet sections of the ballet are augmented by young ballet students who give this production a uniqueness that also emphasizes the sense of tradition that Swan Lake represents in ballet history.
Balletomanes will purchase tickets for performances of Swan Lake as often as there is a new generation of dancers to interpret the principal roles of the Swan Queen and Prince Siegfried. This performance featured Natalia Osipova in the dual role of Odette/Odile, taking on one of the classic roles that she has recently made her debut in since joining the Royal Ballet in 2013.
Osipova's performance was a unique melding of the Royal Ballet's tradition and Soviet tradition in the interpretation of these roles, and also in choosing the versions of the choreography she danced in Swan Lake's most famous dance passages. Although not poetic, Osipova's Odette proved to be interpreted in a subtle manner -- her performance was focused, well-coached, and refined. Her Odile was more confident and secure.
Osipova's Siegfried was Matthew Golding, who has a history of dancing principal roles in the classics. He offered stalwart partnering and in the moment acting which made his Siegfried compelling. Although the Natalia Osipova and Matthew Golding partnership was not fully formed, clearly Golding was commanding and presented Osipova in a delicate manner.
As always the Royal Ballet's character dancers added dimension to pivotal roles in Swan Lake including Gary Avis as the suitably menacing Von Rothbart, Elizabeth McGorian regal as Siegfried's mother, and Alastair Marriott as Siegfried's whimsical tutor.
This performance also showcased the company's talented dancers in supporting roles including Ryoichi Hirano as Benno, the Act I Pas de Trois as danced by Francesca hayward, Yuhui Choe, and Alexander Campbell, and Laura Morera and Ricardo Cervera in the Neapolitan Dance.
Conductor Boris Gruzin kept Tchaikovsky's music flowing -- music that was composed to be danced to -- and inspired excellent playing from the Royal Opera House's musicians.
The Royal Ballet is planning a new production of Swan Lake at some point in the future, and I trust that it will be a production that will be respectful of the company's tradition and association with this iconic ballet.
Hong Kong Dance Company Performs The Legend of Mulan
David Koch Theater
March 5, 2015
By Mark Kappel
Making its New York debut, the Hong Kong Dance Company performed its dance adaptation of The Legend of Mulan, at the David Koch Theater on March 5, 2015. Presented by the China Arts & Entertainment Group, an enterprise administered by the Ministry of Culture for the People's Republic of China, this engagement marked the fourth cooperative presentation between the China Arts & Entertainment Group and the David Koch Theater.
The Hong Kong Dance Company was established in 1981, and its current artistic director, Yang Yuntao, directed and choreographed this production of The Legend of Mulan, with a libretto adapted by playwright Gerard C.C. Tsang.
The story of Mulan dates back to a fifth century Chinese poem in which Mulan, a peasant girl, disguises herself as a man to join the army in place of her aged father. After gaining a reputation for her valor, and bravery, she gives up her position at the Chinese Court, and returns to her home town. The task of weaving at a loom and the sounds of working at a loom are metaphors for a simpler life -- closer to the people -- and a more rewarding life -- and remembrances of that simpler life are the motivations for Mulan to return to her father and to her village.
In this dance piece Mulan's memories of learning about life's experiences from her father -- and Mulan's relationship with her father represents the core of the story -- the relationship between father and daughter is prominent. Mulan raises the morale of the war-weary soldiers while in combat, but ultimately longs for the simpler life that her village had to offer.
The Legend of Mulan is told in contemporary, modern, folkloric, and acrobatic choreography in an economic language. The group war dances danced by an ensemble of soldiers do get repetitive in spite of the small inclusions of acrobatic virtuoso dancing -- but the visual images were striking. The movement is uncomplicated and not overwrought -- all enhanced with equally uncomplicated designs that add to the striking visual images.
In the title role, Pan Lingjuan, displayed both her dancing and acting abilities. One can see the transformation in her character and the emotion that accompanies her journey -- just as striking was the performance of Huang Lei as Mulan's sympathetic father -- and then there was the heroic dancing of Chen Jun as the General. The cast members contributed to what is an effective and sentimental re-telling of this legendary story that is ingrained in China's cultural history.
The Sound of Music FAQ By Barry Monush
Published By Applause Theater & Cinema Books
February 27, 2015
By Mark Kappel
It would be impossible to explain a phenomenon, and the 1965 Oscar-winning film version of Rodgers & Hammerstein's stage musical, The Sound of Music, and how it has become one. Capturing the public's imagination and dominating the box office beginning in the 1960's plus home video sales, television versions, stage revivals, recordings, cast reunions -- sing-along presentations of the film, a live television version which was shown nationwide in 2013, Lady Gaga singing a medley of music from The Sound of Music as part of the Academy Awards telecast, cast reunions, and a fascination with the Von Trapp Family.
Therefore Barry Monush's The Sound of Music FAQ, which is a guide to everything you wanted to know -- or knew -- about The Sound of Music, serves as a useful, descriptive, entertaining, and absorbing guide.
Included are detailed facts and fiction about the Von Trapp Family, and how their lives were portrayed in the stage and film versions. The casts of American and international stage versions of The Sound of Music, and how the cast members were chosen to be in The Sound of Music -- both stage and film. Also included is the shooting schedule of the movie with locations, and the rationales for making changes and adaptations from the stage version of The Sound of Music to the film version.
Then there is the statistical information which includes a comprehensive list of the cities where the film version of The Sound of Music had its road show engagements and revival engagements in the United States, Canada, the United Kingdom, Australia, New Zealand, and other parts of the world -- as well as box office receipts and snippets of the reviews of the film.
There is also a comprehensive discography of stage cast recordings and the film's cast recording, as well as the songs from The Sound of Music's score included in popular recorded albums -- as well as pop culture references to The Sound of Music.
The Sound of Music has touched people in a number of ways. From my own experience watching my brother perform the role of Captain Von Trapp in a school production of The Sound of Music or my own uncontrollable urge to get off a tour bus in the middle of Austria's countryside, and duplicate Julie Andrews' spins during the opening moments of the film version of The Sound of Music.
If you are a completist, The Sound of Music FAQ should have a permanent place in your library, and for those of us who have been touched by The Sound of Music in some fashion or another, Barry Monush's The Sound of Music FAQ is an indispensable guide in exploring The Sound of Music as a major American film musical and how it has been interwoven into America's cultural fabric.
The Royal Ballet Dances Wheeldon's The Winter's Tale
February 17, 2015
By Mark Kappel
On February 17, 2015, Fathom Events presented a screening of the Royal Ballet's production of Christopher Wheeldon's The Winter's Tale -- a ballet which revealed how much Wheeldon has improved as a choreographer/story teller.
It was during the 2014-15 season that the Royal Ballet presented the world premiere of Wheeldon's The Winter's Tale -- Wheeldon's second full-length commission for the company. Based on Shakespeare's play and collaborating with the same composer (Joby Talbot) and designer (Bob Crowley), who worked with him on Alice, Wheeldon's approach to telling the tale of The Winter's Tale is adventurous -- and also perilous -- as this is uncharted territory and a story not as well known as Alice. But Wheeldon has made an effort to bring some structure and coherence to his ballet version of The Winter's Tale that was somewhat lacking in his Alice.
The Winter's Tale is not Wheeldon's first dance adaptation of a Shakespeare play having created versions of A Midsummer Night's Dream (for Colorado Ballet), and Hamlet (for the Bolshoi Ballet). Wheeldon has compressed the essence of the play into three acts of nearly all pure dancing -- truly a challenge considering the play's complicated plot and high energy emotions. Wheeldon's approach is that of a psychological drama with a sprinkling of comic elements.
The plot of The Winter's Tale moves from the court of Sicily to the court of Bohemia -- 16 years later -- and then returns to Sicily. A prologue sets up the lynchpin of the plot with Leontes (danced by Edward Watson), Leontes' wife Hermione (danced by Lauren Cuthbertson), and Polixenes (danced by Frederico Bonelli) seemingly in a love triangle. Hermione is about to have a baby -- Leontes is jealous of Hermione's relationship with Polixenes -- and you have the ingredients for an archetypical Shakespearean tragedy.
At the beginning of the ballet Wheeldon cleverly presents the developing relationship between Leontes and Polixenes -- first as young boys -- growing to adulthood -- the relationship also developing between Leontes' pregnant wife, Hermione, and Polixenes, which Leontes obsesses about -- similar to Othello -- creating a breach among these three characters. In spite of the fact that Hermione is pregnant, the choreography has her being thrown about by Leontes, Polixenes, and palace guards -- which can be seen as less than realistic.
Leontes' madness is fueled by the death of his heir, Mamillius, the trial of Hermione and her death -- her child taken by Antigonus (danced by Bennet Gartside) -- and after surviving a storm, Antigonus abandons the child in Bohemia. Antigonus is the husband of another important character in the ballet, Paulina, who is involved in this intrigue -- and Antigonus is chased away by one of Shakespeare's famous stage directions, "Exit, pursued by a bear" -- illuminated by a projection of a bear.
The child is then taken into the care of a shepherd. Many years later the surviving child, Perdita (danced by Sarah Lamb), is courted by Prince Florizel (danced by Steven McRae) -- somewhat in the manner of Albrecht in Giselle, and Act Two of The Winter's Tale becomes an occasion for folk dancing -- and dances to celebrate the burgeoning love between Perdita and Florizel. However Florizel's father, Polixenes does not approve of the match, and Perdita and Florizel sail off to Sicily with Polixenes in hot pursuit.
Returning to Sicily, where the seeds for the tragedy were planted, Paulina (danced by Zenaida Yanowsky) recognizes Perdita as Leontes' child which results in a reconciliation of the two kings. Paulina then persuades Leontes to make a pilgrimage to visit the memorial statues of Hermione and Mamillius -- the statue of Hermoine comes to life and dances with Leontes in a moment that would originate in a Greek tragedy. Perdita is Leontes' heir and her engagement to Prince Florizel is blessed by both kings -- reuniting Leontes and Polixenes into an enduring friendship -- and a happy ending.
Wheeldon's choreographic language includes that of classical ballet, modern dance, and mime -- communicating anguish and dramatic tension through angula movement, repeated hand movement, and grimacing faces. The pure dance aspects of Act Two serve up very little of the ballet's narrative.
The Winter's Tale is an excellent vehicle for the dancers in the principal roles -- particularly Edward Watson in the role of Leontes. Wheeldon has drawn on these dancers' strengths and showcases them.
Talbot's commissioned score is accessible and underscores the narrative. Crowley's designs depend less on video and projections, representing a more conventional approach to scenery.
What is significant in The Winter's Tale is that Wheeldon has made a major step in his ability to tell a story, and has also created a vehicle for the Royal Ballet dancers that reflect the company's status as an important ballet company on the international scene.
Bolshoi Ballet Dances Swan Lake
January 25, 2015
By Mark Kappel
Yuri Grigorovitch's production of Swan Lake has evolved during the time period it has been in the Bolshoi Ballet's repertoire.
Grigorovitch's production premiered in 1969, and at the time of its premiere, the Russian Ministry of Culture required that Grigorovitch include a "Happy Ending". But in 2001 When Grigorovitch had the freedom to revise his production of Swan Lake, he substituted an ending to match the sadness and tragedy reflected in Tchaikovsky's music.
New York audiences have had a recent exposure to this production of Swan Lake during the Bolshoi Ballet's Lincoln Center Festival engagement in 2014. Pathe Live offered an additional opportunity for audiences to acquaint themselves with Grigorovitch's version of Swan Lake in a live screening that was presented on January 25, 2015.
Grigorovitch tells the story of Swan Lake with Soviet era economy -- condensing the ballet into two parts -- eliminating much of the mime -- and enlarging the role of Von Rothbart -- renamed the Evil Genius -- into a major character and dancing role in the ballet. He has also included the intrusive character of the Fool, and Grigorovitch rechoreographed the national dances in Act III for each of the individual princesses seeking Siegfried's hand in marriage -- all on pointe.
Grigorovitch's production includes choreography by Vladimir Bourmeister, Marius Petipa, and Alexander Gorsky, besides his own.
Grigorovitch has also re-arranged Tchaikovsky's score -- reinstating music usually cut and cutting other music that is traditional in most productions of Swan Lake. This editing is focused on making the story-telling of this enigmatic ballet clearer and also espousing a particular point of view of what Swan Lake is about. Instead of a "Happy Ending", Grigorovitch has presented the audience with an ambivalent ending in which Siegfried is shown to betray Odette, and lives with the guilt for doing so. In spite of the reduction of mime, telling the story is the most successful aspect of Grigorovitch's production of Swan Lake.
There is a point of view in this production of Swan Lake. Grigorovitch has proscribed that the dancer portraying the Swan Queen to do so in a cold manner as if the two roles of Odette and Odile are spirits or ghosts -- all in a dream that Siegfried is caught up in. Fate takes the hand of the leading characters in this version of the ballet, and there is less emphasis on the poetic.
In Act I Siegfried is presented with a sword rather than with a crossbow signifying his coming of age, and becoming a warrior/soldier.
Svetlana Zakharova playing the dual role of Odette/Odile brought dramatic powers to her performance besides her technically secure dancing. Both her Odette and Odile were commanding and assertive. She was equally matched by her Siegfried, Denis Rodkin, who had been seen as the Evil Genius during the Bolshoi Ballet's New York engagement last year -- and in the role of the Evil Genius was Artemy Belyakov, who brought a youngish and unrelenting personality to this role.
Igor Tsvirko brought the appropraite and heart stopping pyrotechnics to the role of the Fool.
Grigorovitch incorporates each of Siegfried's potential brides into the character dancers in Act III. There is a hint of the folkloric in the choreography but these dances are danced on pointe. Angelina Karpova (Hungarian Bride), Maria Vinogradova (Russian Bride), Anna Tikhomirova (Spanish Bride), Xenia Zhiganshina (Neapolitan Bride), and Maria Semenyachenko (Polish Bride) brought their own individuality to their performances of these dances -- which have musical choreography and room for interaction with Siegfried -- and move the story forward.
Also enhancing this production of Swan Lake were the performances of the Bolshoi Ballet's character dancers, Yekaterina Barykina as the Princess Mother, Alexei Loparevich as the Tutor, and Alexander Fadeyechev as the Master of Ceremonies.
The music was elegantly and movingly played by the Bolshoi Orchestra guided by conductor Pavel Sorokin.
Although the Bolshoi Ballet's production of Swan Lake cannot be described as being emotionally compelling in all its aspects, it does have a unique perspective on this story, and provides a showcase for all of the dancers in every role in the production.
Mariinsky Ballet's Swan Lake
Brooklyn Academy of Music
January 22, 2015
By Mark Kappel
The Mariinsky Ballet opened its engagement at the Brooklyn Academy of Music with its production of a Swan Lake, a version by Konstantin Sergeyev that dates back to 1950. In the intervening years since this production's premiere, the Mariinsky Ballet has toured the world with Swan Lake -- and last performed this production of Swan Lake in New York in 2002.
Typical of Soviet era productions of the 19th century classics, there are revisions in this production which includes a "Happy Ending", a reduction of mime, and the intrusion of the character of the Joker. Although these additions and distractions make this production different from others that are performed today, more than just the essence of Swan Lake is presented in the Mariinsky Ballet's production. The Mariinsky Ballet performs Swan Lake with a distinct recognition of heritage. This is a clear and straightforward production, and when beautifully danced, it reinforces the Mariinsky Ballet's reputation for being one of the best ballet companies in the world.
In contrast to the revisions, this production is traditional in many respects. The story is told mostly in dance terms. It is implied that Siegfried must marry. Despondent about the choices he must make, Siegfried sets off on a hunting trip to the forest where he comes upon Odette, the Swan Queen, who is under the spell of the evil Rothbart. She is a human being at night and a swan by day. Siegfried makes a vow of eternal love to her, but Rothbart is accompanied to the ball by Odile, who resembles Odette. Siegfried is fooled -- and in most productions of Swan Lake, Siegfried and Odette are doomed forever due to Siegfried's breaking of his vow. It is only the "Happy Ending" that is unusual, and perhaps, a little jarring in this production. In the closing moments of this production, Siegfried breaks Rothbart's wing, and Rothbart dies. The evil spell has been broken -- and Siegfried has freed the Swan Queen along with the other Swan Maidens. Siegfried's vow of eternal love to Odette has triumphed.
How this production conveys this story is a fusing of choreography and designs. In Act II the swan corps de ballet moves across the stage as one revealing the poetry and eloquence that is innate in this ballet. Simple design elements such as lanterns carried by the ensemble at the end of Act I indicating that day is turning into night, and creating the image of the Act II Lakeside Scene, the Swans swimming across the lake in theatrical illusion -- and to see the Swan Queen emerge in human form as she meets and confronts Siegfried -- an image used in George Balanchine's restaging of Act II of Swan Lake.
The Mariinsky Ballet offers a superb corps de ballet, excellent character dancing, and a feeling of the poetic that permeates this production of Swan Lake.
As in most productions and performances of Swan Lake, the ballet rests on the shoulders of the two principal dancers dancing the roles of Odette/Odile and Prince Siegfried. On January 22, 2015 these principal roles were danced by Oxana Skorik and Xander Parish.
Skorik is among the young dancers being groomed for better things within the Mariinsky Ballet, and British-born and trained, Xander Parish joined the Mariinsky Ballet after having been a member of the Royal Ballet. Although both dancers are still trying to find their way in these roles their "in the moment" acting, and defined execution of the choreography they danced, speaks much to their future performances in these roles -- that they will grow and develop. However they did make the Black Swan Pas de Deux the theatrical experience it should be, and were powerful as well as lyrical in Act IV.
In support the Mariinsky Ballet's character dancers, Yuri Smekalov as an assertive and dancing Rothbart, Elena Bazhenova as Siegfried's mother, and Soslan Kulaev, as the Tutor, brought the narrative to life, while Yaroslav Baybordin brought the required pyrotechnics required to the role of the Joker.
The national dances in Act III were performed with aplomb and flair. The music was magnificently played by the Mariinsky Orchestra although there were moments when the musical tempi got bogged down under the direction of Gavriel Heine.
In all the Mariinsky Ballet's performance of Swan Lake may be one of the highlights of this current dance season -- a welcome opportunity to see a production of one of the classics performed in a manner in which the dancers have a full understanding of what the ballet is about, and the ballet's lineage.
Mariinsky Ballet Dances Ratmansky's Cinderella
Brooklyn Academy of Music
January 18, 2015
By Mark Kappel
In the midst of the cold winter month of January, the Brooklyn Academy of Music is sponsoring a residency of the Mariinsky Theater of St. Petersburg, Russia, with the bulk of the performances being performed by the Mariinsky Ballet. These performances were part of an historic moment in New York City's history as three major Russian ballet companies performed in this city within the space of six months in three different venues. These companies have also danced full-length story ballets that haven't been performed in New York by visiting ballet companies in some years.
The first performance I attended during this residency was on January 18, 2015 in which the Mariinsky Ballet presented Alexei Ratmansky's first version of Cinderella, a full-length ballet premiered by the company in 2002. Among Ratmansky's first ventures in creating a full-length ballet, he did use the basic structure of Prokofiev's well-known score, but his vision was a more modern day concept -- a concept for the 21st century.
Ratmansky has revised the libretto of Cinderella relocating the story in an urban environment. That environment includes the street people and entertainers that would inhabit such an environment -- and the visuals are steel girders and columns -- an industrial town -- and no references to royalty or royal deference. Costumes also reflected a retro, but haute couture fashion sense.
Ratmansky's Cinderella is showcased in minimal decor by Ilia Utkin and Yevgeny Monakhov emphasizing the decay in urban life. The scenery is steel-framed and monochrome -- metal staircases -- and an empty clock transforms into a chandelier for the ballroom scene. There is also a 1930's atmosphere that permeates the scenery as well as the choreography. The atmosphere is similar to the depression-era movies produced in the United States.
To fit into this different environment, Cinderella's Stepmother (danced by Anastasia Petushkova) is a self-absorbed social-climbing socialite, and her father (portrayed by Soslan Kulaev) has a problem with alcohol often seeking out Cinderella for money to feed his habit. The Fairy Godmother is described as a Fairy-Tramp (portrayed by Lyubov Kozharskaya), but is presented as a bag lady who doesn't transform into the Fairy Godmother that is traditional, or makes magic. Cinderella's Stepsisters, named here as Khudishka (danced by Xenia Durovina) and Kubishka (danced by Anna Lavrinenko) seemed to be unfeeling and ambivalent -- and are not comical. The stepsisters' dance teachers (danced by Biktoria Brileva and Yuri Smekalov) seemed to be drawn as characters similar to dance contestants on Dancing with the Stars.
The four seasonal variations are danced by male dancers offering a very different choreographic vocabulary in contrast with Prokofiev's rhythmic and syncopated music than seen in other productions of Cinderella.
Spring was danced by Vladislav Shumakov, Summer was danced by Boris Zhurilov, Autumn was danced by Konstantin Ivkin, and Winter was danced by Andrey Solovyov -- all costumed and portrayed to look like street entertainers -- and in the Prince's search for Cinderella in Act III his search takes him to a brothel and a gay bar. This is not a traditional Cinderella nor do the characters transform themselves or evolve through the ballet -- nor is there any romance -- and there is certainly no magic.
Ratmansky's choreography is an odd mix of ballet, contemporary ballet, modern dance, and variations on popular dances -- somewhat an instance of change for change sake without a particular perspective of the Cinderella story that is uniquely his own. Ratmansky's voice has been heard much clearer in other full-length ballets he has choreographed.
Often the choreography in this production of Cinderella was out of sync with Prokofiev's score. The score was magnificently conducted by Valery Gergiev, but his interpretation of Prokofiev's score seemed at odds with Ratmansky's interpretation of the score.
At this performance, the title role was danced by Anastasia Matvienko, and the Prince was danced by Alexander Sergeyev. The Mariinsky Ballet is a magnificent company, and the principal dancers and the company members all gave committed performances and illuminated Ratmansky's complicated concept of the story.
Royal Danes Perform at the Joyce Theater
January 14, 2015
By Mark Kappel
Auguste Bournonville's choreography has gone in and out of fashion over the years. American ballet companies perform the Bournonville repertoire intermittently and American audiences haven't had the opportunity to appreciate it as much as they might. Fortunately, Bournonville specialists, the dancers of the Royal Danish Ballet, have performed Bournonville's classic ballets during American tours, and also in self-organized ad-hoc groups.
The principals and soloists of the Royal Danish Ballet, who are dancing at the Joyce Theater from January 13-18, 2015, are participants in an ad-hoc group -- directed by one of the company's principal dancers, Ulrik Birkkjaer. For this Joyce Theater engagement, the dancers of the Royal Danish Ballet are performing an all-Bournonville program.
The last time the Royal Danish Ballet performed in New York was in 2011. That engagement did include examples of the Bournonville repertoire -- staged by the company's artistic director, Nicolaj Hubbe, who has recently experimented with new productions of Bournonville ballets that have been deemed controversial. This performance's program included excerpts from several of Bournonville's ballets -- some better known than others -- and presented with spare and minimal production elements.
Besides the Bournonville training and the stage manners, what distinguishes the Royal Danish Ballet's dancers is that they have danced the Bournonville repertoire in continuity. Bournonville's choreography is notable for its quick steps, and quick changing of positions. In execution acting plays an important part in the performance of the choreography. Lifting is at a minimum, and the male and female dancers share an equal partnership on stage and also in importance of the roles they play on stage. Most often the parts played by the dancers are neither kings nor queens -- sometimes supernatural creatures -- but usually characters that one would be familiar with in everyday life.
Before the performance Danish dance critic Erik Aschengreen greeted the audience and provided an overview of the Bournonville ballets that this group of dancers was to dance.
The program opened with the Pas de Sept from A Folk Tale, a ballet that premiered in 1854. A Folk Tale's story focuses on Hilda and Junker Ove who eventually wed -- this Pas de Sept is danced as part of the wedding festivities. Performed here in simple costumes, one can see the schooling and exhuberance of the dancers.
The Pas de Deux from Flower Festival in Genzano is only danced out of context as the full-length ballet was last performed in 1929 and only this pas de deux has survived. The ballet, created in 1858, takes place in Genzano, Italy at the time of the village's flower festival.
What distinguished this performance of the Flower Festival At Genzano Pas de Deux, danced by Ida Praetorius and Andreas Kaas, was the fact that the dancers put this pas de deux in narrative context with their acting as well as their dancing.
Two rarely seen excerpts were included in this program. The Jockey Dance from Bournonville's final ballet -- From Siberia to Moscow, a ballet performed last in 1904, was revived with the assistance of rare ballet films from the early 20th century. This excerpt is a unique combination of virtuoso and character dancing -- a competition danced with enthusiasm and swagger by Sebastian Haynes and Marcin Kupinski.
Le Conservatoire was premiered in 1849 and takes place at the Paris Opera Ballet School. In 1926 dances from the ballet's first act -- including the Pas de Trois -- were fashoned as a divertissement. In this piece Bournonville's French roots were showcased.
Perhaps the best known and most performed of Bournonville's ballets is his full-length La Sylphide. The Paris Opera Ballet premiered the first version of La Sylphide in 1832, and Bournonville created his own version for the Royal Danish Ballet in 1836. In La Sylphide, James is about to get married but follows his ideal love, the Sylph, into the forest and through the subterfuge of Madge the Witch, kills the Sylph. The second act of the ballet is nearly all dance and it was those excerpts that were represented in this program.
In spite of the fact that these excerpts were performed out of context, without the proper scenery and lighting, and no corps de ballet, Bournonville's humanity showed through. Besides the brilliant dancing by Gudrun Bojesen in the title role with Ulrik Birkkjaer as James, Sorella Englund as Madge -- Susanne Grinder, Kizzy Matiakis, and Femke Slot as the Three Sylphs -- these dancers were acting in the moment and brought the story to life.
The rousing finale of this performance was the Pas de Six and Tarantella from Napoli. Created in 1842, this 3-act ballet is a signature ballet for the Royal Danish Ballet, as Gennaro saves his love, Teresina, from Golfo, who rules the Blue Grotto. Gennaro and Teresina are re-united and the ballet's third act includes a classical pas de six, and a tarantella, as part of the ballet's wedding celebration.
It was in this piece that the Royal Danish Ballet dancers pulled the stops out providing a rousing finale to an excellent performance.
During the Dance Chat which followed this performance Erik Aschengreen mentioned that the Royal Danish Ballet is planning a Bournonville Festival in 2018, and I hope that the Royal Danish Ballet will perform in New York well before then.
The Bolshoi Ballet Dances The Nutcracker
December 21, 2014
By Mark Kappel
As part of the holiday season, Pathe Live presented a screening of the Bolshoi Ballet dancing Yuri Grigorovitch's The Nutcracker on December 21, 2014
One of several Grigorovitch productions being presented by the Bolshoi Ballet during the 2014-15 season, this production of The Nutcracker has been a mainstay of the Bolshoi Ballet's repertoire since its premiere in 1966. This is not an innovative production of The Nutcracker. Grigorovitch tells the story in choreographic language that is simple, economic, and musical. All aspects of this production give the impression of opening a Christmas card -- and also presenting itself as a large grand production while at the same time reflecting many intimate moments.
The Nutcracker was not the popular ballet it is today. In Russia, The Nutcracker was thought of as a ballet for children and ballet school productions. Grigorovitch decided to change the conventional wisdom concerning productions of the Nutcrackers by casting children when he needed to in his production, but the primary protagonists would be danced by adult dancers.
In Grigorovitch's production the story of The Nutcracker focuses on Marie and her adventures with the Nutcracker Prince. There is the traditional Christmas Party in the first act where Drosselmeyer (danced by Andrei Merkuriev) presents the Stahlbaum's daughter Marie (danced by Anna Nikulina) with a Nutcracker Doll -- who is transformed into the Nutcracker Prince (danced by Denis Rodkin) -- triumphing over the Mouse King (portrayed by Vitaly Biktimirov). Marie and the Nutcracker Prince triumph over the menacing mice but it is a celebration of young love -- and both roles are danced by adult dancers.
Act II takes the audience to the Land of the Sweets and the divertissements are choreographed for a couple each -- all of which were the toy dolls under the Christmas tree in the first act. Represented are the Spanish Dolls (danced by Andrei Bolotin and Elizaveta Kruteleva), Indian Dolls (danced by Anna Rebetskaya and Alexander Voytyuk), Chinese Dolls (danced by Svetlana Pavlova and Yegor Sharkov), Russian Dolls (danced by Anna Leonova and Alexander Vodopetov), and French Dolls (danced by Vlsdislav Kozlova nad Maria Vinogradova).
Large ensembles were not ignored with the Snow Scene and the Waltz of the Flowers danced by large ensembles employing the Bolshoi Ballet's large corps de ballet.
Marie's dream is contrived by the dashing and nimble Drosselmeyer who was played and danced with elan by Andrei Merkuriev. In the end Marie awakens from her dream but is encouraged because her Nutcracker Doll has not been broken or harmed. As played by an adult dancer one also feels that the dreams of childhood have now ended as Marie moves on to adulthood.
Anna Nikulina was a charming Marie, and Denis Rodkin, who is taking over a variety of roles at the Bolshoi Ballet, was the appropriately dashing Nutcracker Prince. The combination of these two excellent dancers made for an exciting Grand Pas de Deux.
As visiting foreign ballet companies rarely perform their productions of The Nutcracker when touring the United States, this screening of the Bolshoi Ballet's production of The Nutcracker was a welcome opportunity to see a different and intriguing production of The Nutcracker.
Aschengreen's Dancing Across The Atlantic
By Mark Kappel
Esteemed Danish dance critic Erik Aschengreen has written a history of the Royal Danish Ballet with an interesting slant. In his new book, Dancing Across the Atlantic, USA-Denmark 1900-2014, Aschengreen examines the unique ties and relationships between the Royal Danish Ballet and the United States -- the many Danish-born and Danish-trained dancers who left Denmark to pursue their careers in the United States, and the cross-pollination of American artists.
Focused on is the unique relationship that George Balanchine has had with the Royal Danish Ballet. First being invited to work with the Royal Danish Ballet as a balletmaster to re-stage works by Mikhail Fokine and Leonid Massine, and his own two ballets, Barbau and Apollo. It wasn't until after World War II that Vida Brown staged Balanchine's Symphony in C for the Royal Danish Ballet and a choreographic connection began in earnest between Balanchine and the Royal Danish Ballet. But there were also the many male Danish dancers who made the pilgrimage to work with Balanchine at the New York City Ballet including the New York City Ballet's current artistic director, Peter Martins.
Another instance of cross-pollination was former Royal Danish Ballet dancer, Stanley Williams, who became an influential teacher on the faculty of the School of American Ballet, the ballet school that Balanchine established in New York.
The only straying away from Balanchine were descriptions of productions created for, or staged for, the Royal Danish Ballet by Jerome Robbins, Glen Tetley, and the moderns, Lar Lubovitch, Murray Louis, Alvin Ailey, Paul Taylor, Jose Limon -- and another American who has worked often with the Royal Danish Ballet, John Neumeier. Also included are modern and contemporary choreographers who came from the United States and settled in Denmark to direct and modern and contemporary dance companies.
The Royal Danish Ballet performed at Jacob's Pillow in 1955 which was the first among several American appearances that the Royal Danish Ballet has made in the United States. The reviews of performances during these American tours were mixed and the New York segments of these tours were not major box office successes. Somehow American audiences haven't warmed to Auguste Bournonville's classics as they have to Russian classics. Bournonville's ballets, and the traditions of Bournonville, seem to be an acquired taste for American audiences. That, in spite of the fact, that Americans have admired the Royal Danish Ballets's dancers.
The company has had to face the challenging paradox of preserving the past -- Bournonville's influential ballets - -and also absorbing the Russian 19th Century classics, the works of European choreographers and American choreographers, to complete a transformation which makes the Royal Danish Ballet less isolated artistically than it had been. In fact through the choices of the Royal Danish Ballet's artistic directors, its repertoire is less unique than it had been, absorbing the work of choreographers who have established themselves in Central Europe.
Included in Dancing Across The Atlantic is information and biographies of Danish dancers who have danced with American ballet companies, American dancers who have danced with the Royal Danish Ballet, and general overviews of the three Bournonville Festivals presented by the Royal Danish Ballet, which have garnered the company international recognition. Having attended performances during the first Bournonville Festival myself, I can attest to the fact that many American dance critics recognized the positive attributes of the surviving Bournnonville repertoire and appreciated how these ballets were preserved and danced.
It should be noted that the book has an introduction by Nicolaj Hubbe, the Royal Danish Ballet's current artistic director -- and in many instances the book defends Hubbe's controversial productions of Bournonville ballets and other controversial artistic choices he has made -- and the book has been underwritten, in part, by the American Friends of the Royal Danish Ballet. However on balance the narrative and the photos are worth the time to read this book which provides a unique overview of one of the oldest established ballet companies.
Valentina Kozlova's Dance Conservatory Performance Project's The Nutcracker
December 6, 2014
By Mark Kappel
Valentina Kozlova's Dance Conservatory Performance Project's production of The Nutcracker was given its annual performances at Symphony on December 6, 2014. Presented as a showcase for the students of Valentina Kozlova's Dance Conservatory of New York, these performances always present a high level of student training and potential professional dancers.
The production includes new choreography for Act I by Margo Sappington, and Act II has been staged by Valentina Kozlova with choreography after Marius Petipa and Vasily Vainonen. At these performances Margo Sappington appeared as a guest artist in the role of Countess Drosselmeyer, who creates the magic, and guides Clara through her Christmas dream.
At the evening performance that I attended Brecke Swan and Nick Palmquist danced the roles of the Sugar Plum Fairy and Her Cavalier, Isabele Breier danced the role of Clara, and Revital Naroditski and Jack Furlong danced the Snow Pas de Deux.
There were also notable performances in featured roles including Elizabeth Seibel and Justin Valentine in the Arabian Dance, and Nikita Boris and Anna Guerrero in the Spanish Dance.
However it was enjoyable to watch the spontaneous performances of the younger students in the roles of the children in the Christmas Party in Act I and in the divertissements in Act II. The spontaneity enhanced their performances. And also to see the result of the training that is being given to the students as well as performance opportunities.
As it always does annually, the Valentina Kozlova's Dance Conservatory Performance Project's production of The Nutcracker is an entertaining two hours that takes you away from the problems of the day.
Also announced at this performance was the upcoming Valentina Kozlova International Ballet Competition which will take place from May 26-30, 2015 at Symphony Space.
Arthur Laurents' Mainly On Directing
By Mark Kappel
Arthur Laurents' career in the theater is legendary -- a career that spanned several decades as a playwright, book writer for musicals, and a director. Among the major Broadway musicals he was associated with included West Side Story, Gypsy, and La Cage aux Folles -- each musical ground-breaking, and revived, and performed frequently all over the world. Broadway musicals would not be Broadway musicals without him. He was also known for being outspoken, and rationalizing the off and on again professional relationships he had in the theater.
Therefore reading Laurents' Mainly On Directing (now in paperback by Applause Theatre & Cinema Books) is a must read for anyone working in the theater and those who are fans of theater. Mainly On Directing focuses on the collaborative and combative relationships that may or may not result in a Broadway hit. Those relationships include fellow directors, producers, choreographers, designers, actors, composers, lyricists, and book writers. Although Laurents also comments on, and describes his relationships with choreographers throughout the book, there is a section in the book which focuses on the relationship between a theater director and a choreographer which would be a must read for concert dance choreographers as well.
Laurents, who passed away in 2011, left an enormous legacy as the book writer for West Side Story and Gypsy, and who directed productions of these musicals during his long career. His insights into his own work and how to direct reveal themselves as engrossing and intriguing revelations.
In particular are his numerous anecdotes about directing Angela Lansbury, Tyne Daly, and Patti LuPone in revivals of Gypsy and also his thoughts about the Sam Mendes directed revival of Gypsy which starred Bernadette Peters. How he brought out the best performances from these major theater stars -- as well as Lee Remick in Anyone Can Whistle -- represents his amazing intuitiveness as to how the creative mind works. Also how he pushed buttons, persuaded, and manipulated -- these actresses to give the best performances they had in them -- to serve the material and also to live up to their potential in their interpretation of the roles they performed.
Equally revelatory are his descriptions of his work on La Cages aux Folles -- on the road to Broadway, working with Gene Barry for him to feel more at ease in the part of Georges -- giving him gestures and theatrical allusion to make him feel comfortable in a part he was uncomfortable in portraying.
Also there are the inside stories about those collaborators Laurents might have worked with on some of his famous musicals -- including Michael Bennett as co-director and choreographer on La Cage aux Folles -- and his collaborations with Leonard Bernstein, and Jerome Robbins -- and his relationships with the many theatrical producers he worked with. How he encouraged, cajoled -- and often outwitted -- producers to get what he wanted highlights a skill set one usually doesn't associate with theater directors.
Also fascinating were his thoughts about the most recent Broadway revival of West Side Story in 2009, which Laurents refers to as the bi-lingual production of West Side Story. Inspired by a Spanish-language production of West Side Story produced in South America and seen by Laurents' long-time companion, Tom Hatcher.
The process of translating dialogue and lyrics into Spanish, and directing the actors while shifting from one language to another -- and placing as much emphasis on acting and realism as singing and dancing in this revival of West Side Story, resulted in a provocative production of West Side Story that made this musical even more relevant to today's audiences.
Mainly On Directing is a thought-provoking book of anecdotes, stories and self-examination.
Mikhailovsky Ballet Presents Don Quixote
David Koch Theater
November 22, 2014
By Mark Kappel
To end the Mikhailovsky Ballet's first New York engagement, the company danced its lively and comic production of Don Quixote. The roots of the company's production of Don Quixote date back to Alexander Gorsky's production of Don Quixote for the Bolshoi Ballet in 1900 -- in which Gorsky used the original scenario from Marius Petipa's version of Don Quixote, and some of Petipa's choreography. However as staged by Mikhail Messerer, Messerer has made his own revisions and there are also choreographic contributions from Nina Anisimova, Igor Belsky, Robert Gerbek, Kasyna Goleyzovsky, and Fyodor Lopukhov. This production was premiered by the Mikhailovsky Ballet in 2012 with detailed designs by Vyacheslav Okunev.
In the ballet Don Quixote, the Don is actually the observer rather than a catalyst for the plot which focuses on the romance of Kitri and Basilio -- the Don acts as a facilitator to make their marriage possible and tricking Kitri's father into blessing their marriage. The ballet is a showcase for virtuoso dancing and the Mikhailovsky Ballet served ample helpings of it.
In a similar approach to the company's production of Giselle, the Mikhailovsky Ballet's production of Don Quixote is straight-forward. As in other productions of Don Quixote danced by Russian ballet companies, there is a prologue and the order of scenes of Act II is different from versions of Don Quixote danced by ballet companies in Europe and the United States. The scene in which Basilio fakes his suicide precedes the dream sequence. The figure of Don Quixote also appears prominently in the dream sequence connecting with the dryads in the corps de ballet, the Queen of the Dryads and the vision of Kitri as Dulcinea. Before that dream sequence, Don Quixote fights his way through a spider web to reach the setting where the dryads appear to him. Also the Act III wedding scene takes place in the Duke's palace -- a more opulent environment than the village that Kitri and Basilio live in. There are also a few other touches such as the puppet show which is included in the gypsy camp scene.
Although Okunev's costumes and scenery are colorful, the dancers are part of a human painting from scene to scene. They animate every moment in the ballet bringing humanity to each character. That is evident from the dancers in the principal roles and those dancers in the principal character roles. The ballet also moves forward at a brisk pace. The added character dancing does not bog down the story-telling or gets in the way of the virtuoso dancing displays.
For the matinee on November 22, 2014, the role of Ktri was danced by Oksana Bondareva and the role of Basilio was danced by Leonid Sarafanov. This was a beautifully matched pair with Sarafanov as an excellent and caring partner, but also a dancer with clean technique that is also secure. He and Bondareva pulled off the virtuoso choreography in Acts I and III with ease and stayed in character throughout.
Ekaterina Borchenko made a commanding Queen of the Dryads.
Besides the virtuoso performances by the principal dancers, this production of Don Quixote was enhanced by the excellent performances by character dancers including Marat Shemuinov as an elegant Don Quixote, Pavel Maskennilov as the bumbling Gamache, and Alexey Kuznetsov as the comedic Sancho Panza. They all made their characters sympathetic and charming.
Also there were notable performances by Andrey Kasyanenko as Espada, Valeria Zapasnikova as the Street Dancer, Victoria Zaripova as Mercedes, and Veronika Ignatyeva as Cupid.
This production of Don Quixote was a company effort from the dancers as well as the coaching for this choreography and staging, and the designs that enhanced the story-telling. The Mikhailovsky Ballet's performance of Don Quixote was a fitting end to discovering this company and becoming familiar with its dancers -- and all making an excellent impression.
Mikhailovsky Ballet Presents A Mixed-Bill Program
David Koch Theater
November 19, 2014
By Mark Kappel
For its third program, seen on November 19, 2014, the Mikhailovsky Ballet presented a diverse mixed-bill program which included ballets from the 19th century, the Soviet era, and a contemporary work choreographed by the company's previous artistic director, Nacho Duato.
Duato's Prelude is choreographed to music by George Handel, Ludwig Van Beethoven, and Benjamin Britten. Premiered by the Mikhailovsky Ballet in 2011, this ballet was Duato's exploration of the combination of modern dance and ballet.
Structurally Prelude is a series of disconnected dances which make distant references to Giselle, and to the work of Jiri Kylian, and other European contemporary choreographers. The dances alternated between real and fantasy -- ending with a lone couple on stage disappearing as they walked up stage. The choreography proved to be meandering and out of focus -- although a stretch in style for the Mikhailovsky Ballet dancers.
The cast of Irina Perren, Leonid Sarafanov, Marat Shemiunov, Ekaterina Borchenko, Sergey Strelkov, Irina Kosheleva, and Ivan Zaytsev gave committed performances in Prelude, but Prelude did not serve the dancers well.
Also included in the program was Marius Petipa's Le Halte de Cavalerie which was premiered at the Mariinsky Ballet in 1868. In 1919 Petipa's production was revived at the Mariinsky Ballet by Alexander Shiryaev. Le Halte de Cavalerie disappeared from the repertoires of Russian ballet companies during the Soviet era. But in 1968 Pyotr Gusev reconstructed Le Halte de Cavalerie and restaged the ballet for the Mikhailovsky Ballet in 1975.
Le Halte de Cavalerie's plot has its antecedents in La Fille Mal Gardee, and Coppelia -- with a bit of Graduation Ball. A local village boy, Peter (danced by Leonid Sarafanov) is the object of affection of two village girls, Maria (danced by Anastasia Soboleva) and Teresa (danced by Kristina Makhviladze). A soldiers regiment arrives in the village and must be accommodated by the villagers. Peter objects and is arrested -- and Maria sets up a scheme to save him. Peter and Maria then make their wedding plans -- which are objected to by Peter's other admirer, Teresa, who has captured the attention of the Colonel and other members of the regiment. The Colonel blesses the marriage, the soldiers leave the village, and the village returns to normal.
Choreographically the ballet includes a classical pas de deux for the protagonists -- and character dances danced by Teresa and her regimental admirers -- and the villagers. The classical pas' adagio includes a ribbon dance -- and the choreography provides a great deal of dancing and also communicates the plot well. Le Halte de Cavalerie is a bit of froth, but the humor was conveyed clearly and was deftly danced and portrayed by Sarafanov, Soboleva, and Makhviladze -- and also notably Roman Petukhov as the tipsy Colonel.
Another rarity included in this program was Asaf Messerer's Class Concert. Commissioned by the Bolshoi Ballet Academy in the 1960's to showcase the students of the Academy, Class Concert was taken into the Bolshoi Ballet's repertoire in 1963. Asaf Messerer crafted Class Concert to be a performance version of a ballet class -- featuring the traditional sequence of exercises and steps. There are also vignettes interspersed in between the ballet class exercises including one featuring a group of girls scurrying around to get ready for class -- and the little boys appearing in a section with watering cans -- a metaphor that their talent was being nurtured as if they were flowering plants in a garden.
Class Concert opens with boys and girls in elementary basics of a ballet class building up to turns and jumps -- acrobatic lifts by couples , and a series of virtuoso jump and turn sequences by the company's principal dancers and guest artists.
There are allusions to Auguste Bournonville's Le Conservatoire and Harald Lander's Etudes as vehicles to display the balletic vocabulary from class to dancing a piece of choreography. Here restaged by Mikhail Messerer, the choreographer's nephew, the Mikhailovsky Ballet acquired Class Concert in September of this year, and Class Concert shows off the well-trained dancers of the company from the principals downto the corps de ballet -- as well as the locally recruited, young ballet students.
Mikhailovsky Ballet Presents A Ballet From The Soviet Era
David Koch Theater
November 16, 2014
By Mark Kappel
The Mikhailovsky Ballet's second program, during its first New York engagement, was a ballet that was created during the Soviet era in Russia, The Flames of Paris. The Flames of Paris' libretto by Nikolay Volkov and Vladimir Dmitriev -- as revised by Mikhail Messerer -- is based on Felix Gras' novel, Les Rouges du Midi. All about revolution, The Flames of Paris is a metaphor for revolution in Russia, and was commissioned to mark the 15th anniversary of the Bolshevik Revolution.
Set in Paris and Versailles, the plot shifts back and forth from the activities of the revolutionaries to the intrigue by France's royalty and aristocrats.
This ballet is an anomaly as The Flames of Paris has only been performed by Russian ballet companies in the West. There are several Russian ballet companies that have restaged this ballet including a revised version staged by Alexei Ratmansky for the Bolshoi Ballet. These performances of The Flames of Paris by the Mikhailovsky Ballet were the first in the United States.
Danced to a commissioned score by Boris Asafiev, with choreography by Vasily Vainonen and revised by Mikhail Messerer, The Flames of Paris is a genre of ballet rarely seen in this part of the world.
Messerer's production of Vainonen's 1932 ballet -- which premiered in 2013 -- is a reconstruction rather than a revision. Messerer has drawn from his past knowledge of the ballet and it is obvious that there is no restraint in presenting the revolutionary aspects and spirit contained in the ballet's plot. There are French flags waving everywhere in the ballet. An expression of nationalism that is communicated by the committed performances of the Mikhailovsky Ballet's corps de ballet and principal dancers.
This three-act ballet is short and sweet, and as performed on November 16th, 2014, the running was only a little over two hours. The simple plot is woven in and out of the dance sequences. Philippe (danced by Ivan Vassiliev), leader of the revolutionaries, recruits Jeanne (Angelina Vorontsova), her brother, and father to join the revolutionaries after they had beve been harassed by the local Marquis. At Louis XVI's palace, an actor, Antoine Mistral (danced by Leonid Sarafanov), is killed because of his knowledge that the King has entered into an alliance with Prussia to stamp out the revolution. Diana Mireille (danced by Irina Perren), an actress, reveals the King's plans to the revolutionaries and the revolutionaries storm the palace.
Among the many dance sequences in the ballet is a first act divertissement for the court's entertainment which features Diana Mireille, Antoine Mistral, and a Cupid, that is a reflection of the elitism of the aristocrats of the royal court. This is juxtaposed against the Basques and Auvergnese character dances that are danced by the revolutionaries. The celebration of the successful revolution culminates in the third act, a pageant which features the allegorical dances of Freedom, Equality, and Fraternity -- the dance of Freedom has all of the characteristics one would see in the opening ceremony of an Olympic Games with high and acrobatic lifts which were superbly executed by Marat Shemuinov and Irina Perren.
The third act reaches its height with the performance of the often seen Flames of Paris Pas de Deux danced by Vorontsova and Vasiliev, in which both dancers pull the stops out and fire all of the guns. This was a feast of virtuoso dancing.
Throughout the ballet the stage comes alive with real live action and atmospherics created by the corps de ballet on stage. In spite of its Soviet era characteristics, The Flames of Paris is joyful and entertaining.
Billy Elliot From London
November 15, 2014
By Mark Kappel
Besides presenting live screenings of the Royal Ballet, Fathom Events has also presented live screenings of theater performances that have originated from London. There was a synergy in Fathom Events presenting a live screening of the London production of Billy Elliot - The Musical as Billy Elliot's story is linked to the aspirations of a young British ballet student. Fathom Events presented screenings of Billy Elliot on November 12 and 15, with a third live screening on November 18.
The film version of Billy Elliot had been a surprise success when it was released in 2000 -- and its transition from film to stage retains the film's focus on the miners' strike in County Durham in Northeastern England during the regime of Prime Minister Margaret Thatcher -- a time of political confrontation.
In the midst of this politically-charged atmosphere, a young boy, Billy Elliot, discovers he has a natural talent, and a passion for dance. He transitions from his boxing classes to ballet classes with the assistance of a local dance teacher. With the affirmation of his father and family, he auditions for the Royal Ballet School to successfully pursue his dance studies -- and becomes a professional dancer. In the film, Billy Elliot assumes the role of the leading swan in Matthew Bourne's unconventional production of Swan Lake. In the stage version, Billy Elliot sets off for the Royal Ballet School where he has earned a scholarship. There is a fantasy sequence in the stage version in which the younger Billy Elliot dances with the older Billy Elliot -- a professional dancer. It is one of the musical adaptation's weaknesses not to see Billy Elliot fully realizing his dream of being a professional dancer and also receiving the full affirmation from his father and family for achieving this dream.
The film's screenwriter, Lee Hall, wrote the book and lyrics for the stage version of Billy Elliot in collaboration with Elton John. They provide a book and score that tells the story in an effective manner. And the musical itself is in the able directorial hands of Stephen Daldry and choreographer Peter Darling.
The London production of Billy Elliot opened in 2005 and has been thriving. A Broadway production ran for more than three years. The story is inspirationl to many and seems to touch everyone.
There have been a series of young actors who have taken over the title over the years and this live screening was as much a celebration of the success of Billy Elliot as it was for the many actors who have performed the title role. One of the original Billy Elliots in the London producition, was Liam Mower, who has become a professional dancer and is dancing with Matthew Bourne's company, New Adventures. Mower appears in this live screening as the older Billy Elliot -- truly coming full circle.
The London production of Billy Elliot does not sugar-coat the political struggles taking place in Great Britain in the 1980's and the difficulties that a typical Billy Elliot might have in pursuing his dreams. This is a Cinderella story of sorts. But it is not only the character of Billy Elliot that is the primary focus of this musical, but also the many people who support him emotionally, and mentor him. Ultimately Billy's father and brother -- and his grandmother -- and the local coal miners raise some of the money to enable Billy Elliot to auditon for the Royal Ballet School. The London production of Billy Elliot captures the grit, and anxiety of the political and economic atmosphere that existed in Great Britain in the 1980's.
This live screening of Billy Elliot - The Musical reaches emotional heights as performed by an appealing cast who are living their roles as the musical's story unfolds. Elliott Hanna in the title role is an absolute marvel. Besides his dancing ability, he is a superb actor and very comfortable on the stage. He is a star in the making.
Also notable was the sympathetic performance by Ruthie Henshall as the local ballet teacher, Mrs. Wilkinson, and Deka Walmsley's transformative performance as Billy's father, Jackie. The performances of Ann Emery as Billy's Grandma, Chris Grahamson as Billy's older Brother, Tony, Zach Atkinson as Michael, and Demi Lee as Debbie are fresh and these actors are exceptional in their roles.
This particular performance ended with a special finale including as many as 25 of the actors who played the title role during Billy Elliot's London engagement. Billy Elliot is a special experience unto itself and to see the London production is a unique opportunity that Fathom Events has made possible.
American Dance Machine for the 21st Century Makes Its Joyce Theater Debut
November 14, 2014
By Mark Kappel
The American Dance Machine for the 21st Century is making its Joyce Theater debut from November 11-16, 2014. Founded by artistic producer, Nikki Feirt Atkins, with Margo Sappington as artistic director, the American Dance Machine's mission is to be a living archive of musical theater dance.
In fulfilling its mission, the American Dance Machine has acquired and reconstructed original choreography from legendary Broadway musicals. During the Joyce Theater engagement one can see dance excerpts from musicals that haven't been performed on a New York stage in decades. Presented during this Joyce Theater are musical numbers by the greats of the Broadway stage, and those who are following in the footsteps of the greats. Represented on the stage is the work of Joe Layton, Jerome Robbins, Jack Cole, Michael Bennett, Susan Stroman, Margo Sappington, Jerry Mitchell, Rob Ashford, Henry Le Tang, Ron Lewis, Andy Blankenbuehler, and Tommy Tune.
Among those not seen in decades included Popularity from George M! (choreography by Joe Layton) performed by Peter Chursin, the Charleston from Billion Dollar Baby (choreography by Jerome Robbins), Beale St. Blues (choreography by Jack Cole) that had been performed on the Sid Caesar Comedy Hour, Turkey Lurkey Time from Promises Promises (choreography by Michael Bennett) performed by Rosie Lani Fiedelman, Jessica Lee Goldyn, and Khori Petinaud -- and the most provocative piece on the program -- Margo Sappington's One on One from Oh! Calcutta! danced by Georgina Pazcoguin and Craig Hall of the New York City Ballet.
Bu there is also more from the past, and recent past, and recently minted choreography from Broadway musicals which included Pick Yourself Up from Never Gonna Dance (choreography by Jerry Mitchell), the title dance from Thoroughly Modern Millie (choreography by Rob Ashford), Simply Irresistible from Contact (choreography by Susan Stroman), the Music and the Mirror from A Chorus Line (choreography by Michael Bennett), That Rhythm Man from Black and Blue (choreography by Henry Le Tang), City Lights from The Act (choreography by Ron Lewis), the Club from In The Heights (choreography by Andy Blankenbuehler), Mr. Monotony from Jerome Robbins' Broadway, and Doin' The Production Code from A Day in Hollywood, A Night in the Ukraine (choreography by Tommy Tune).
The American Dance Machine's presentation of these excerpts is cleverly connected from one to the next -- although it is nostalgic to see these pieces on a stage again, all of the choreography presented is powered by its own energy.
Besides the polished, dynamic and energetic performances by the American Dance Machine's company members, all of these excerpts were accompanied by live music.
The American Dance Machine's performances of these classic dance numbers prove that they can be just as entertaining to watch in concert form as they would be within the context of the Broadway musicals that they were choreographed for.
Mikhailovsky Ballet Makes New York Debut
David Koch Theater
November 12, 2014
By Mark Kappel
New York audiences have often seen performances by both the Bolshoi Ballet and Mariinsky Ballet. However there are many other distinguished ballet companies in Russia -- most of which have yet to make it to American shores. From November 11-23, 2014, the Mikhailovsky Ballet, based in St. Petersburg, Russia, makes its American debut at the David Koch Theater in an engagement sponsored by the Russian Ministry of Culture.
The Mikhailovsky Theatre was established by Czar Nicholas I in 1833, and after 1926, the theater became the home of experimental ballets and opera. The ballet company was founded in 1933 by Fyodor Lopukhov, but even before Lopukhov founded the ballet company, in 1923 a young George Balanchine staged dances for the opera, The Golden Cockerel, at the theater. There have also been Russian ballet luminaries who have directed the company including Leonid Lavrovsky, Oleg Vinogradov, and Farukh Ruzimatov.
Under the overall direction of Russian businessman Vladimir Kekhman, which began in 2007, the Mikhailovsky Ballet has been redefining its artistic identity. One of Kekhman's decisions was to appoint Nacho Duato as the company's artistic director -- an association that ended with Duato's departure for Berlin where he is now the artistic director of the State Ballet Berlin. In appointing Mikhail Messerer as the company's Balletmaster in Chief, the company has re-focused on its classical roots.
Known before as the Maly Ballet of St. Petersburg, and now renamed after the theater the company performs in in St. Petersburg, the company has played second fiddle to the better known Mariinsky Ballet. The Mikhailovsky Ballet has toured abroad and has had several successful seasons in London. To enhance this engagement the Mikhailovsky Ballet was accompanied by its own orchestra.
To open the engagement, the Mikhailovsky Ballet danced Nikita Dolgushin's production of Giselle, which was premiered by the company in 2007. With designs by Vyacheslav Okunev, the Mikhailovsky Ballet's production of Giselle is straight-forward and to the point. There are no major revisions or surprises. With the combination of dance and mime, the story is clearly told -- and that, in and of itself, is a major achievement.
Characters are referred to by different names than are known in productions of Giselle danced by other ballet companies. Albrecht is referred to as the Count, Hilarion is referred to as the Gamekeeper, and Albrecht's squire, is referred to as the Count's armor-bearer.
There are a few important dramatic moments that are missing including among them Giselle's mother telling the story of the Wilis and what Giselle's fate might be. Mime is evident in all aspects of this production of Giselle. The dancers are telling the story as they are dancing. An interesting detail is Albrecht's squire warning Albrecht that he should reconsider his relationship with Giselle because he has a fiance. The Mikhailovsky Ballet's production of Giselle is respectful of tradition.
Because this production is as straight-forward as it is, the performances of the dancers in the principal roles makes such a production come alive and give it dramatic realism.
In the November 12th evening performance, Angelina Vorontsova gave a detailed characterization in the title role. Her Giselle was a hesitant young girl and was not passionate until the first act's mad scene. Her Albrecht, Ivan Vasiliev, is an accomplished dancer and stylist, but did not seem aristocratic enough in the role of Albrecht. Sadly the height disparity between these two dancers marred some of the theatrical allusions that are inherent in the second act's choreography.
Ekaterina Borchenko's Queen of the Wilis was more ethereal than threatening. But notable were Yulia Tikka and Andrey Yakhnyuk in the Peasant Pas de Deux, and Anna Naumenko and Valeria Zapasnikova in the Act II Wilis variations.
The program's description of the Mikhailovsky Ballet's production of Giselle is a "Fantasy Ballet in Two Acts" and this reverent production of Giselle is refreshing as compared to other productions of Giselle in which reinterpretation and change for change sake are the focus.
Bolshoi Ballet Dances The Legend of Love
October 26, 2014
By Mark Kappel
Pathe Live initiated its 2014-15 season of live screenings with the Bolshoi Ballet's production of Yuri Grigorovitch's The Legend of Love on October 26, 2014.
Inspired by a drama by Turkish poet, Nazim Hikmet, and danced to music composed by Arif Melikov, the Bolshoi Ballet premiered The Legend of Love in 1961 -- and it was last danced in New York by the Bolshoi Ballet in 1979. The Legend of Love has been absent from the Bolshoi Ballet stages for ten years. The Legend of Love had been symoblic in the Soviet era for the integration of contributions made by artists of several nationalities that made up the former Soviet Union. In fact composer Melikov included five separate chords at the beginning of the ballet which symbolized the five participants from the nations who collaborated on this ballet.
The ballet begins in the royal apartments of Queen Mekhmene Banu (danced by Maria Allash in place of the indisposed Svetlana Zakharova) who can save her dying younger sister, Princess Shryin (danced by Anna Nikulina), by giving up her beauty to Shyrin. This cure is proposed by A Stranger (danced by Evgeny Golovin) and in spite of this person's questionable reputation, the Queen decides to sacrifice herself for the sake of her sister. But when she discovers that she is disgured and Shryin falls in love with the Queen's favorite, the painter Ferkhad (danced by Denis Rodkin), the Queen questions her actions.
Upon discovering the relationship between Shyrin and Ferkhad, Queen Mekhmene Banu dictates that Ferkhad must accomplish an impossible task to win Shyrin. That task is to bore a hole through the mountains to unblock a water source and make the water accessible to the people. As described in an intermission interview, poet Hikmet interpreted water as the symbol for freedom. If the water is freed then the people would also be free.
Although Queen Mekhmene Banu is finally reconciled to the relationship between Ferkhad and Shyrin, upon entreaties from the people, Ferkhad decides to remain in the mountains to complete his task winning the respect of the people.
The narrative is spread over three acts and three hours as this love triangle unfolds, self-implodes, and resolves itself.
Yuri Grigorovitch has structured The Legend of Love in a fashion to showcase the dancers in each of the principal roles while only using the classical vocabulary with hints of folk movement. The heroic and the lyric are fused. Also Grigorovitch includes enough spectacle to utilize the resources of the Bolshoi Theatre.
Maria Allash was a superb Queen fulfilling the role's technical and acting requirements. Communicating the character's emotions is a special challenge because for most of the ballet the Queen's face is veiled. Anna Nikulina portrayed Shyrin as an equal to the Queen and also met the role's technical and emotional challenges. Considering the soaring level of the performances by Allash and Nikulina, it would have been an even greater challenge to equal them in the role of Ferkhad. However Denis Rodkin captured one's attention whenever he was on the stage. If there is a Grigorovitch dancer, he is one.
Also notable was the performance of Vitaly Biktimorov as the evil Vizier.
One commends the opportunity to see the Bolshoi Ballet dance Grigorovitch's The Legend of Love which has been rescued from temporary obscurity by this Bolshoi Ballet revival.
City Center Fall for Dance Festival - Program V
October 18, 2014
By Mark Kappel
The fifth and final program of the City Center Fall for Dance Festival on October 18, 2014, included all of the elements of an international evening of dance. This was also a program of dance that had a theme running through it. Three of the four pieces on the program grappled with the theme of man's relationship with nature and the environment.
From Britain was Wayne McGregor/Random Dance dancing the New York premiere of excerpts from McGregor's Far, a work for 10 dancers performed to a score by Ben Frost.
Far was inspired by McGregor's research of the Age of Enlightenment, a time period when scientists studied the connection of the brain to body movement. McGregor's relentless choreography highlighted every body movement possible by a human being. The piece opened with dancers carrying torches -- and ended with the highlight of Far, a duet -- and in between was McGregor's choreographic exploration. One can be awed by what the dancers can do, but McGregor's artistic statement in Far is one he has made many times over in other pieces he has choreographed.
The Festival also presented its commission of Swedish choreographer Pontus Lidberg's This Was Written On The Water. The piece begins with the appearance of a couple (Isabella Boylston and James Whiteside of American Ballet Theatre), on a stage with snow falling -- exploring their relationship in quiet and gentle partnering -- ending as peacefully as it began. Boylston and Whiteside were eloquent in their manner of dancing.
Aakash Odedra performed Nritta, a virtuoso and rhythmic traditional Kathak variation. Although intentionally created in the abstract, the references to man and nature were evident. Odedra's performance of his own choreography was amazing to watch, and was also emotionally engaging.
Closing the program was the auspicious New York debut of the Sarasota Ballet of Florida dancing Frederick Ashton's Les Patineurs. Earlier this year, the Sarasota Ballet presented an Ashton Festival and Symposium, and has found its niche in performing Ashton's works.
This production of Les Patineurs was staged with care and reverence by the Sarasota Ballet's artistic director, Iain Webb, and Margaret Barbieri, the company's assistant director, based on their professional experience working with Frederick Ashton.
The Sarasota Ballet's dancers danced the choreography in authentic Ashton style, but the dancing was enhanced by American exhuberance. Ashton's Les Patineurs is a reflection of simplicity as it is a depiction of a Victorian skating party danced to music by Giacomo Meyerbeer. The Sarasota Ballet's Les Patineurs was performed with the designs by Willliam Chappell which added to the authenticity of this production. Ashton's choreography includes adagio dancing and virtuoso dancing while at the same time the dancers are portraying distinct characters.
Logan Learned was out front as the Blue Boy with Victoria Hulland and Jamie Carter as the White Couple, and Kate Honea and Nicole Padilla as the Blue Girls.
The Sarasota Ballet's New York debut was a notable one and one looks forward to when the company will return to New York for an enggement in its own right.
City Center Fall for Dance Festival - Program IV
October 17, 2014
By Mark Kappel
The City Center Fall for Dance Festival's Fourth Program, seen on October 17, 2014, included choreography that offered a notable variety of contemporary ballet and modern dance forms. There were themes running through all of the pieces danced on this program which presented similar views of dance and society in the 21st century.
Two ensemble pieces were represented on this program which reflected very different views of the urban landscape.
The program opened with Brian Brooks' Torrent, a collaborative effort by the Brian Brooks Moving Company and Juilliard Dance. Premiered in 2013 and danced to Max Richter's interpretation of excerpts from Vivaldi's The Four Seasons, Brooks choreographed this piece for 28 dancers including members of his own company and students from the Juilliard School.
The choreography was regimented with sequences of intertwining groups of dancers -- presented in a cycle of forming and disappearing ensembles of dancers. With the youthful dancers on the stage, Torrent presented the urban landscape from that age group's point of view.
In contrast was the presentation of Rennie Harris Puremovement in Harris' Students of the Asphalt Jungle -- a work inspired by traditional African dance and culture, but also including vernacular and street dances. This was a different reflection of the urban landscape. Although inspired by traditional African dance, Students of the Asphalt Jungle is an entertaining display of macho street dancing which defied gravity and could fuel a power plant.
Both the Australian Ballet and BJM - Les Ballets Jazz de Montreal presented works by contemporary ballet choreographers which depicted relationships in the 21st century.
The Australian Ballet was represented on this program with the world premiere of Ostinato, choreographed by the Australian Ballet's resident choreographer, Tim Harbour.
Choreographed to Bill Evans' Peace Piece, Ostinato explores the distant relationships of three people attempting to make contact with each other. Although the choreography didn't always connect the dots, Ostinato was beautifully danced by Daniel Gaudiello, Ty King-Wall, and Robyn Hendricks.
Les Ballets Jazz de Montreal's Celine Cassone and Alexander Hille, danced Benjamin Millepied's passionate duet, Closer. Closer was choreographed to Phillip Glass' Mad Rush and with its contrasting sections of music, Millepied created a duet in which there is frequent contact between the dancers, and there are sections in which the contact is more intimate and intense.
Closer was presented with the two dancers, and the music played live by pianist Brigitte Poulin, and what would seem to be an intimate piece filled the City Center stage.
Kathryn Posin Returns With Her Company - Fridays At Noon at the 92nd Street Y
Buttenheiser Hall - 92nd Street Y
October 17, 2014
By Mark Kappel
Having been awarded a Fullbright Fellowship to restage her works, Stepping Stones, and Scheherazade, for the National Ballet in Sofia, Bulgaria, Kathryn Posin was motivated to revive her company and present a program of dance inspired by her experiences in Bulgaria.
This engagement ,which began with the Fridays At Noon Program, and will continue until October 19, 2014, marked Ms. Posin's return to the 92nd Street Y where she made her choreographic debut in 1967.
"Voices of Bulgaria and America" is the culmination of a more than 10-year collaboration, both in the United States and Bulgaria, with Bulgarian dancer /choreographer, Momchil Mladenov, a former principal dancer with the Suzanne Farrell Ballet. Bulgarian dancers currently working with the Louisville Ballet, the Suzanne Farrell Ballet, and the Boston Ballet participated in this program as well.
The program presented included six separate works which employed a variety of dance styles -- including the ladies in pointe shoes -- while also juxtaposing variant dance styles. Only one piece on the program was the sole work of Kathryn Posin. The remaining five pieces were collaborative efforts created by Ms. Posin and Mr. Mladenov.
Two of the presentations on this program were choreographed to music composed by Bulgarian composer, Emil Tabakov. One of which was choreographed to his Concerto for Violin, Vibraphone, Marimba, Bells and Mixed Choir, and entitled, Buried Cities. A representation of Bulgarian themes of political instability and redefining the future, which was a collaborative effort by Mladenov and Posin.
The second piece was Motivy, created to Tabakov's Motivy 1 and 2 for Double Bass, which was played live by Bulgarian bassist Victoria Tsvetkova, and was also a choreographic collaboration with Momchil Mladenov. Motivy was a duet danced by Violeta Angelova and Boyko Dossev. All three were integrated along with the chair that Tsvetkova used to stabilize her double bass -- manipulsting the dancers, a chair, a double bassist, and a double bass.
Other pieces on the program were inspired by the Eastern European roots of the composers which included You Are (Wherever Your Thoughts Are) created to a quartet composed by Steve Reich and based on a text by Rabbi Nachman of Breslau, a work commissioned by The Yard in 2011 and for the Jewish Studies Program at the Gallatin School of New Yrk University.
Also the Balto-Finnic Song from Posin's Bridge of Song, danced to folk songs sung by an Estonian Choir, created for the Milwaukee Ballet - a dance for eight dancers.
Fly, Fly, My Sadness, a duet for Megan Dicinson and Ryan Redmond, also had a connection with Bulgaria. Choreographed to Mongolian Hurlr-Hun Tu Double Throat singing and the Bulgarian Angelite Choir, incorporated popular culture including an I-Pod and a scooter.
The American connection was noted with Century Rolls -- a work for eight dancers created to a piano concerto composed by John Adams. This collaboration by Mladenov and Posin represented an American interpretation of their experiences from a cultural point of view.
These works by Kathryn Posin and Momchil Mladenov were heartfelt as were the performances of the dancers, Violeta Angelova, Megan Dickinson, Miriam Earnest, Yumelia Garcia, Dimitri Kleioris, Amber Neff, Ryan Edmond, Adrianna de Svastich, Boyko Dossev, Amar Ramasar, and Phillip Velinov.
After this performance Wendy Perron moderated a panel discussion focusing on music and dance in present-day Bulgaria. Besides Kathryn Posin and Momchil Mladenov, panelists included Bulgarian composer, Emil Tabakov, and Pavlina Dokovska, Director of Piano at Mannes College of Music.
A further enhancement to this program ws that it was live streamed to 70 countries.
The Royal Ballet Dances Manon
October 16, 2014
By Mark Kappel
To open its season of Royal Ballet live screenings, Fathom Events presented the Royal Ballet dancing Kenneth MacMillan's Manon on October 16, 2014. Created for the Royal Ballet in 1974, Manon has occupied a permanent place in the company's repertoire, and has also been acquired by many ballet companies around the world.
Based on the familiar novel, Abbe Prevost's Manon Lescaut, MacMillan employed music composed by Jules Massenet from his lesser known operas and pieces of music rather than from Massenet's opera version of Manon Lescaut. The music -- and the designs by Nicholas Georgiadis -- are melded together to create a ballet that is grand in scale yet intimate at the same time.
The ballet focuses on Manon Lescaut, a young girl, who falls in love with Des Grieux, a young student -- in spite of her brother's scheming and efforts to lead her into a questionable moral life. Manon succumbs to the life of money and luxury provided by her older lovers, but still harbors feelings for Des Grieux. Their plot to re-unite and escape Manon's immoral life, results in Manon being banished to a penal colony in Louisiana -- where she dies.
MacMillan's forte had been examining the relationships between men and women -- how they developed and how they thrived -- from a psychological point of view. Manon's story is that of a young woman who finds herself controlled by corrupt men, and ultimately pays the price for it.
Manon was conceived in the grand opera house style with a great many dancers, including character dancers, with dancing and mime that convey the story. MacMillan was a man of the theatre, and he was very adept at making every entrance and exit emphatic and important. The choreography is the blueprint for each dancer's character.
The ballet's focal moments are the love pas de deux danced by Manon and Des Grieux which have choreographic signposts about how their relationship begins and ends badly. In an informative intermission interview, Deborah MacMillan, Kenneth MacMillan's widow, mentioned that MacMillan was obsessed with figure skating at the time he was creating Manon and this obsession was incorporated into the pas de deux in Manon. The need for two skaters to be in sync is reflected in the synchronization that appears often in MacMillan's pas de deux in Manon.
Manon requires the best of dancer/actors and those were on display in this performance of Manon with Marianela Nunez in the title role and Federico Bonelli as Des Grieux. Their pas de deux were filled with unbridled emotion, ardent, and was a reflection of how passionate these characters are. There was a fine chemistry in their partnership.
The role of Lescaut, danced by Ricardo Cervera, and Lescaut's Mistress, danced by Laura Morera, are characters in contrast. Lescaut is cunning, exploitive yet in his drunken solo in the second act there is a self-parodying humor. Both Cervera as Lescaut and Morera as Lescaut's Mistress portrayed their characters as survivors although Lescaut loses his life at the end of the second act. Also notable was Christopher Saunders as Monsieur GM.
This was a great opportunity to see one of the world's greatest ballet companies in a ballet that was lovingly tailored to the company's dancers.
Can-Can At Paper Mill Playhouse
Paper Mill Playhouse
October 12, 2014
By Mark Kappel
In the past few years the Paper Mill Playhouse in Milburn, New Jersey has become the launching pad for major Broadway productions. Among the more recent productions have been the national tour of The Little House on the Prairie, Newsies, the current Broadway revival of Les Miserables, and the upcoming new musical, Honeymoon in Vegas. But the Paper Mill Playhouse's reputation has always rested on its first-class musical revivals that have been produced with care, reverence, and a fresh point of view.
From October 1-26, 2014 the Paper Mill Playhouse is presenting the premiere of the Broadway-bound revival of Cole Porter's Can- Can, in a re-tooled version, with a new script by Joel Fields and David Lee based on Abe Burrows' original book, new direction by David Lee, and new choreography by Patti Colombo. This new production of Can-Can still sets the story in Paris in 1893 -- but most of the script has been rewritten while still retaining Abe Burrows' original characters and intent.
Can-Can had its Broadway premiere in 1953, and there was a subsequent short-lived Broadway revival in 1981. There was also a 1960 movie version which did not give Can-Can its due.
Can-Can recreates a slice of Paris life in the 1890's -- enhanced by Cole Porter's magnificent score which includes classics such as "I Love Paris", "C'est Magnifique", and "It's All Right With Me".
The plot revolves around the lascivious and scandalous dance, the Can-Can, which is banned in nightclubs and dance halls in Paris. Many of the club owners are only steps in front of the police from being closed down for the performances of the insidious Can-Can. But the most astute club owners use their wits and street smarts to outwit the police and judges -- protecting their interests -- and making money on the scandalous Can-Can.
One of those dance hall owners is La Mome Pistache (played by Kate Baldwin), owner of Bal du Paradis, who re-ignites a love affair with a local judge, Aristide Forestier (pby Jason Danieley), who is enforcing the ban on the Can-Can. They are perfect romantic leads.
How their romance and business interests collide is the narrative kernel of Can-Can. Opposites attract -- and opposites fall in love. It is Paris after all!
There is also a subplot involving the seamstress/dancer Claudine, who is involved in a love triangle coping with a lovesick sculptor, Boris Adzinidzinadze (played by the hilarious and charming Greg Hildreth), and art critic, Hilaire Jussac (played suavely by Michael Berresse). Ultimately the suitors vie for Claudine's affection in a duel -- a comic parody of a fencing match -- that also involves Aristide Forestier as Jussac proves to be the villain of the piece and has his dirty hands involved with everyone in his sights.
The role of Claudine requires an actress who is a triple threat and this production has one in Megan Sikora -- in a role played by Gwen Verdon in the Broadway production of Can-Can, and played by Gillian Lynne in the London production of Can-Can.
This production of Can-Can is infused with tongue in cheek humor and remarkable poise is displayed by cast members as they often pierce the fourth wall and involve the audience as the plot unravels. There is an energy that connects with the audience the moment the curtain goes up. Can-Can has been re-born.
This production of Can-Can is visually stunning all to the credit of Costume designer Ann Hould-Ward, and scenery designer, Rob Bissinger.
All of the new elements in this revival of Can-Can have been woven together to create a brand new version of Can-Can that is the definition of what a Broadway musical is -- and should be. Outstanding performances by the actors, an involving story to tell, wonderful music, energetic dancing that is interwoven into the plot -- and totally entertaining and charming -- and a must see. It is a musical that an audience can fall in love with. Don't miss it at the Paper Mill Playhouse.
City Center Fall for Dance Festival -
October 11, 2014
By Mark Kappel
The City Center Fall for Dance Festival's Second Program, seen on October 11, 2014, did not disappoint in regard to presenting a variety of dance styles as well as an American premiere.
Opening the program was the Lucinda Childs Dance Company dancing Childs' Concerto, a work for seven dancers, danced to music by Henryk Gorecki, which had been premiered in 1993. Childs establishes choreographic patterns that are inspired by Gorecki's music -- there is structure and repetition of steps but the simplicity reaps great rewards. Watching Concerto was watching a master at work in her own unique style. The piece was danced by a well-disciplined ensemble of dancers.
The Semperoper Ballett Dresden, under the direction of Aaron Watkin, has made a dedicated effort to keep the works of William Forsythe in the company's active repertoire. Watkin, himself, danced under the guidance of Forsythe as a member of Ballett Frankfurt.
At this performance the Semperoper Ballett Dresden presented the American premiere of Forsythe's Neue Suite -- a series of connected pas de deux -- danced to music by Handel, Berio, Willems, and Bach. Forsythe not only choreographed the piece but also designed the scenery, costumes and lighting, and it was given its Dresden premiere in 2012.
Neue Suite is a series of duets which develop in style from neo-classical to modern and post-modern. Some of the early duets are kissing cousins to George Balanchine's modernist Agon, then moving on to the Jiri Kylilan hybrid of contemporary ballet and Martha Graham -- to finally what is Forsythe's current style of a duet with rapidly changing positions to the soundscape of Thom Willems.
In the end, Neue Suite was well danced by the dancers of the Semperoper Ballett Dresden, but this was not a discovery of a Forsythe work that reflects new choreographic directions.
Company Sebastian Ramirez and Honji Wang of France performed their collaboration, AP15, choreography that is a fusion of contemporary and urban vernacular dance -- also infused with a sense of wit and humor -- an entertaining novelty and showcase for the virtuoso dancing by Ramirez and Wang.
Ending the program was the Alvin Ailey American Dance Theatre dancing Ohad Naharin's Minus 16, a piece including excerpts from Naharin's works, Mabul, Anaphaza, Zachacha, and Three, that he created from 1992-2005.
Minus 16 opens with a solo that is a tossed salad of choreography delivered with subtle humor and showmanship -- including an approach to Cole Porter's "C'est Magnifique" that was a choreographic riff. This was followed by the full cast in choreography performed while sitting in chairs -- the dancers stripping down to their underwear -- and shouting in a ritualistic manner. But before a series of random dances as a finale, the song "Over The Rainbow" set the tone for cast members to search out audience participants who improvise and try to fit into a large group dance.
In every aspect Minus 16 presents itself as improvisational and spontaneous -- an audience pleaser and a rousing finale to this evening of dance.
City Center Fall for Dance Festival - Program I
October 9, 2014
By Mark Kappel
The City Center Fall for Dance Festival's first program was a reflection of the Festival's mission to present a variety of dance styles and to insure that audience members are paying an affordable ticket price to experience it. In fulfilling its mission annually, the Festival is one of the most important dance events of the New York dance season.
This program opened with Black Grace's performance of adaptions of two pieces choreographed by the company's founding artistic director, Neil Ieremia. Minoi, which had premiered in 1999, melds traditional Samoan dance styles with western contemporary dance, and Pati Pati, which premiered in 2009, is a series of excerpts from older works that included body percussion merged with Samoan seated dance.
The dancers created a soundscape with hand clapping and chanting -- in unison -- alternating in male and female groups -- and combined groups -- in ritualistic style on a dimly lit stage. What made these pieces come alive was the excellent ensemble of dancers.
The San Francisco Ballet presented the New York premiere of Hans van Manen's Variations for Two Couples, danced by Sofiane Sylve, Luke Ingham, Vanessa Zahorian, and Carlos Quenedit, which was given its San Francisco Ballet premiere in 2014. The piece consists of a series of duets set to excerpts from string music composed by Benjamin Britten, Einojuhani Rautavaara, J.S. Bach, and Astor Piazzolla.
van Manen's choreography is an uncomplicated response to the varied string music that it is danced to -- varied in mood and tempi. van Manen maintains the fundamentals in his choreographic language and refrains from over choreographing Variations for Two Couples. This work is subtle and refined. All four dancers gave polished performances in this sophisticated and involving piece.
Russell Maliphant/Sadler's Wells London presented the American premiere of Maliphant's Two x Two -- a work originally created as a solo in 1997 and expanded into a trio in 2009. For these performances the work has been reworked again to be danced as a duet by Fang-Yi Sheu, and San Francisco Ballet principal dancer, Yuan Yuan Tan.
Two x Two depicts two moving figures in pools of light -- sometimes dancing in unison and sometimes in counterpoint to each other -- dimly lit, shadowy and atmospheric. The choreographic vocabulary is modern emphasizing its point of view in the first few minutes of the piece. Repetition did not serve the piece well but Fang-Yi Sheu and Yuan Yuan Tan served the choreography well.
The City Center Fall for Dance Festival also commissions new works. Ending this program was the world premiere of Mark Morris' Words, performed by the Mark Morris Dance Group and Music Ensemble. Mark Morris used the musical landscape of a piano and violin arrangement of Mendelssohn's Songs Without Words - - a piece for 16 dancers.
Morris' choreography was varied and musical -- and joyous - - and also had its moments of self-parody and self-deprecating humor. Morris employed the prop of a square piece of cloth which was walked on and off the stage by two of the company's dancers to delineate the entrances, exits, appearances and disappearances, of dancers. Elements of surprise in Morris' choreography were accentuated with the use of this prop, but seemed overused in this short piece.
Overall Morris could certainly create more sections for Word. Any premiere by Mark Morris is significant and it is also an important commission by the City Center Fall for Dance Festival.
Pacific Northwest Ballet at the Joyce Theater
October 8, 2014
By Mark Kappel
The Pacific Northwest Ballet has returned to New York to perform at the Joyce Theater from October 8-12, 2014 with a mixed-bill program that includes commissioned ballets. This engagement made unambiguous the artistic philosophy and vision of the company's artistic director, Peter Boal.
All of the choreographers represented on this program have had their work danced in New York before. But Pacific Northwest Ballet's presentation of these new works was an opportunity to see how they were developing as choreographers -- and all of the works on the program were created for Pacific Northwest Ballet within the last year and a half.
Christopher Wheeldon's Tide Harmonic was choreographed to Joby Talbot's piece for chamber orchestra of the same name. Talbot has frequently collaborated with Wheeldon as Talbot composed the scores for both of Wheeldon's full-length ballets, Alice and The Winter's Tale.
Composer Talbot's description of the music focuses on the forces that act upon water -- and the energy that flows through the water and from the water. In Tide Harmonic references to water are matched in Holly Hynes' blue-hued costume designs. There is an ebb and flow in the choreography -- and constant movement.
Tide Harmonic is a work for four couples, with the choreography focusing on partnering -- there are the neo-classical influences from George Balanchine but also flowing movement influenced by the moderns. Wheeldon drew on the stregnth of the dancers he worked with -- Lindsi Dec, Jerome Tisserand, Margaret Mullin, James Moore, Laura Tisserand, Batkhurel Bold, Elizabeth Murphy, and Joshua Grant.
Alejandro Cerrudo's Memory Glow is a commision by Pacific Northwest Ballet in conjunction with support from the Joyce Theater's Rudolf Nureyev Prize for New Dance. Memory Glow is an atmospheric piece with the choreography drawn upon Jiri Kylian-style flowing movement with its roots in modern dance. The stage is framed with lights -- dancers dance to and on the music -- and pauses -- with an emphasis on emotional longing.
The closing work on this program was a preview performance of Justin Peck's Debonair, which is scheduled for its official premiere by the Pacific Northwest Ballet in November. It is difficult to hang a hat on what was the point of view and purpose of Peck's Debonair -- which followed the musical patterns of George Anthiel's Serenade for String Orchestra No. 1 -- yet at the same time, meandered. There were allusions to George Balanchine's Vienna Waltzes and Jerome Robbins' Variations on I'm Old Fashioned, but there was a haziness as to where the choreographer's journey would take us.
The focal duet was danced by Carla Korbes and Jerome Tisserand -- which was well danced though there were moments of disconnection -- underscored by the ending of Debonair with only Korbes and Tisserand on the stage.
It should be noted that Carla Korbes will be retiring at the end of this season.
Any ballet company that makes a commitment to new work must be praised and Pacific Northwest Ballet has made such a commitment. All of these new works seemed a bit cramped on the Joyce Theater stage, but showed the depth of the company's talented dancers.
The program being presented by Pacific Northwest Ballet is a sampling of the company's repertoire and only a sampling of the dancers in the company. One welcomes a return to New York with the full company.
National Ballet of Canada Returns to New York with Alice
David Koch Theater
September 10, 2014
By Mark Kappel
The National Ballet of Canada had been a vital participant in the New York dance scene through the 1970's. Since then the company's New York performances have been sporadic. After nearly a decade, the National Ballet of Canada has returned to New York to perform Christopher Wheeldon's Alice's Adventures in Wonderland, at the David Koch Theater from September 9-14, 2014.
Currently under the artistic direction of former National Ballet of Canada principal dancer, Karen Kain, the company has focused on the commissioning of new works -- particularly full-length ballets - and touring. One of the results of this commitment was this engagement, which was presented by the Joyce Theater, and has provided the opportunity for the National Ballet of Canada to present Alice's New York premiere.
Commissioned as a co-production between the Royal Ballet and the National Ballet of Canada, Alice was premiered by the Royal Ballet in 2011, after a period of nearly two decades during which the Royal Ballet had not commissioned an original full-length ballet. The Royal Ballet turned to Christopher Wheeldon to create Alice, and he did so with a creative team that included Joby Talbot as the composer, playwright Nicholas Wright acting as dramaturg, and Bob Crowley, designer of the costumes and scenery. In telling Lewis Carroll's stories, this was a skillful team whose contributions made an enormous impact on this production of Alice -- and supported Christopher Wheeldon's approach and interpretation of Lewis Carroll's tales. Although the stories are steeped in the 19th century, this creative team utilized 21st century stage craft to support Wheeldon's vision and highlight the ballet's story-telling. Carroll's stories are aptly described as surreal and the designs re-create that surreal atmosphere.
Wheeldon has adapted Carroll's tales to begin at a garden party at Alice Liddell's home where Lewis Carroll himself is one of the guests. Clearly there is an attachment between Alice and Jack the Gardener, and that relationship is developed through Alice until the ballet's conclusion. The antics and behaviors of Alice's relatives and party guests reflect allusions to the characters that they play in Alice's adventures. Alice does fall into a rabbit hole to begin her journey to Wonderland -- and with the help of video and projections, the audience can experience Alice's freefall in great detail-- as well as her arrival in Wonderland.
Alice's Mother is transformed into the Queen of Hearts, Lewis Carroll becomes The White Rabbit, Alice's Father becomes the King of Hearts, and then there is the interfering and overbearing Duchess. Alice's adventures are presented in choreographic vignettes as Alice confronts and resolves issues with the many characters that intervene in her attempt to return home. At the end of the ballet there is an Epilogue in which the principal characters are in present-day dress with the dancer portraying Alice reading Alice in Wonderland on a bench -- the ballet has the bookends of Carroll being a photographer and a modern day Carroll in the Epilogue is also a photographer. Unfortunately this Epilogue is not entirely clear which does not bring Alice's Adventures in Wonderland to a satisfying end.
Wheeldon has created short choreographic vignettes which illuminate Alice's adventures with each character from the tap-dancing Mad Hatter to the Queen of Hearts -- dancing choreography that is an homage to Aurora's Rose Adagio in The Sleeping Beauty -- more of a parody than homage. There were many other parodies and pastiches from the great 19th century classics in Alice.
Alice meets other well-known characters along the way including the Cheshire Cat, and the White Rabbit -- often in scenes in which there are set choreographic pieces that are not always connected.
Having already seen the Royal Ballet dance Wheeldon's Alice, the question is what do the National Ballet of Canada's dancers bring to this ballet. The ballet rests on the shoulders of the dancer playing Alice and this role was in the able hands and feet of Sonia Rodriguez, an accomplished dancer-actress. Alice's Jack was danced by Naoya Ebe in the Romantic hero mold. They were a winning and sympathetic pair of heroine and hero.
In the dual roles of Lewis Carroll/The White Rabbit was Robert Stephen, Jack Bertinshaw as both the Magician and The Mad Hatter, Rex Harrington as the Father/King of Hearts, and Jonathan Renna as the Duchess -- adding a bit of themselves to these characters.
Ex-Bolshoi Ballet principal dancer and new recruit to the National Ballet of Canada, Svetlana Lunkina, is also an accomplished dancer-actress and brought a great deal of authority to the role of the Queen of Hearts. She was imperious when required to be imperious, and also comic when required to be comic.
The National Ballet of Canada's production of Alice distinguishes itself with its sophisticated actor-dancers and a roster of excellent character dancers who make every role in the ballet -- both major and minor -- important in telling the story of Alice's Adventures in Wonderland.
Bolshoi Ballet Performs Spartacus at Lincoln Center Festival
David Koch Theater
July 26, 2014
By Mark Kappel
The third full-length ballet, and final presentation performed by the Bolshoi Ballet during the company's Lincoln Center Festival engagement, was Yuri Grigorovitch's Spartacus, a ballet based on Raffaello Giovagnoli's novel about a slave uprising against the Roman Empire led by the Thracian slave Spartacus.
Grigorovitch's Spartacus premiered in 1968 and as widely toured by the Bolshoi Ballet for decades, the ballet has received notoriety as an example of the ballets that dominated the Bolshhoi Ballet's repertoire during the Soviet era. It is also unique in the ballet repertoire as being a vehicle for a male dancer in the title role, whereas in the 19th Century repertoire, the female dancer is dominant.
The Bolshoi Ballet performed Spartacus during the company's last New York engagement in 2005. Over the years, some of the Soviet era references have been refined and the focus of the ballet is now on the primary protagonists in the ballet -- particularly focusing on what motivates them to make the decisions they make and the actions that they take -- taking actions that are filled with major consequences. The essence of Grigorovitch's Spartacus is a Shakespearean tragedy and the intimacy between the primary characters in the ballet.
This doesn't mean that the Roman army, the Thracian slave army, and the Roman entertainers aren't represented in large numbers on the stage. They are. But the structure of the ballet is focused on choreographic monologues danced by the principal characters of Spartacus, Crassus, Phrygia, and Aegina. The choreographic monologues represent each character's emotional struggles and also what conflicts with their ambitions and intimate relationships. These monologues also establish their characters. Both Spartacus and Phrygia show their inner strengths even though they are being humiliated by the treatment they are receiving at the hands of the Romans. Theses distinctions bring more humanity to the spectacle that is Spartacus.
Spartacus has been a vehicle for the Bolshoi Ballet's best male dancers presenting a heroic and macho image -- dancing and gestures that are broad and large. Any performance of Spartacus rests on the shoulders of the male dancer dancing the title role.
In the performance on July 26, 2014, Denis Rodkin stepped into the title role in Spartacus to continue that lineage. Capable of the technical requirements of the role, Rodkin's Spartacus was a sympathetic character -- a victim of circumstances. Rodkin along with Maria Vinogradova as the long-suffering Phrygia, portrayed their characters as being compelled to do what was needed in order to survive. Vinogradova's Phrygia was assertive and strong. The pairing of Vinogradova and Rodkin was one of the highlights in this performance of Spartacus.
Vladislav Lantratov's Crassus was commanding and somewhat maniacal, and Ekaterina Krysanova's Aegina was calculating and assertive. These interpretations served the characters they were portraying and made the spectacle of Spartacus more involving on a human level.
The performances by the dancers in the principal roles showed that they inhabited these roles as well as danced these roles.
Spartacus is choreographed to the thematic and movie style music composed by Aram Khachaturian which was wonderfully played by the Bolshoi Orchestra.
Spartacus was the rousing finale to the Bolshoi Ballet's Lincoln Center Festival engagement -- an engagement that was well attended and well received. I hope we won't have to wait another deacade for the Bolshoi Ballet to perform in New York in the future.
Bolshoi Ballet Performs Don Quixote at Lincoln Center Festival
David Koch Theater
July 23, 2014
By Mark Kappel
During the company's second week of its New York engagement, the Bolshoi Ballet followed its performances of Swan Lake with performances of its current production of Don Quixote. Don Quixote was given its world premiere in 1869 and has been staged in revised productions and revivals since the Bolshoi Ballet's own company premiere of Don Quixote, which dates back to 1900 in a production staged by Alexander Gorsky. It has become a staple of the Bolshoi Ballet's repertoire -- and a ballet that has only been exposed to the rest of the world in the past few decades. The Bolshoi Ballet presented the American premiere of Don Quixote at the Metropolitan Opera House in 1966.
Performed by the Bolshoi Ballet during the company's last New York engagement in 2005, this was the Alexei Fadeychev production of Don Quixote, premiered in 1999, and incorporates choreography by Marius Petipa and Alexander Gorsky.
Giving this production historical gravitas was the use of costumes, based on sketches by Vasily Dlyachtkov, from a production of Don Quixote dating back to 1903.
The plot of Don Quixote focuses on an episode in the Cervantes novel about the romance between a tavern keeper's daughter, Kitri, and a barber, Basilio -- Kitri's father, Lorenzo, hopes to make a better and more lucrative match for his daughter, which provides the conflict and also the comic relief in Don Quixote.
And as performed by the Bolshoi Ballet on July 23, 2014, Don Quixote is an entertaining comic ballet enhanced by the showmanship and comic timing of the dancers. In this particular production, there are theatrical moments that are magnified, and it is a showcase for virtuoso dancing.
The crowd scenes come alive with the dancers portraying individual characters of their own. The audience becomes involved immediately with the story that is being told. Also included are stylized Spanish and Gypsy dances, and then there are the dramatic details.
From the principals down to the corps de ballet, the dancers are adept at using their capes and fans to great effect, dancers dancing with castanets -- and perhaps the most poignant moment in the ballet comes in the Dryad Dream scene where Cupid shoots Don Quixote in the heart, and Don Quixote clutches his heart in the hope that he will find his true love, Dulcinea, in the future.
The sequence of scenes presented in the Bolshoi Ballet's production of Don Quixote is in a different order than in most productions seen in New York. The comical tavern scene comes before the Dryad Dream scene, and added to the tavern scene are the remarkable flamenco and gypsy dances that are performed as only the Bolshoi Ballet dancers can. And as in all of the roles in this ballet, the dancers not only dance and perform these roles, they inhabit them. Also rather than in a small Spanish village, the marriage of Kitri and Basilio takes place in a Duke's palace.
All of the scenes were brightly lit to enable the audience to see all that was going on on the busy and active stage, and the quick musical tempi coming from the orchestra pit heightened the coordination between the conductor and the dancers.
Having already seen Kristina Kretova dance the role of the Neapolitan Bride in Swan Lake earlier in the Bolshoi Ballet's engagement, one could imagine that Kretova would play the role of Kitri as an out-going and exuberant young woman chasing Basilio as if he had a target on his back. Mikhail Lobukhin danced the role of Basilio as a subtle virtuoso. This was a partnership that had chemistry and Lobukhin was supporting Krevota effectively in every possible way to achieve the striking results of Kretova's pyrotechnics -- including her long-held balances. It was exciting to watch.
Equally remarkable was Denis Rodkin's Toreador, who was not only a flirt with the ladies but in control -- particularly in using his cape to establish his character. Similarly inhabiting their characters were Kristina Karasyova as Mercedes and Anna Tikhomirova as a Street Dancer.
The Dryad Dream scene was filled with light and color, and the character of Don Quixote was integrated into the choreography. Kristine Kretova had the opportunity to show off another side of her dancing which was equally matched by Anna Nikulina as Queen of the Dryads, and Yulia Lunkina as Cupid. Also notable were Chinara Alizade and Daria Khokhlova as Kitri's friends, and Maria Vinogradova and Ana Turazashvili dancing the first and second variations in the Wedding Act.
Alexey Loparevich's emotionally convincing portrayal as Don Quixote himself, Alexander Petukhov's comedic portrayal of Sancho Panza, and Denis Savin's over the top Gamache were examples of the fine character dancers that the Bolshoi Ballet has in its ranks.
The Bolshoi Ballet literally lit up the stage in its production of Don Quixote and one wished that there had been more performances of Don Quixote to be able to see what all of the Bolshoi Ballets dancers would have brought to the principal and featured roles in this ballet.
A Second Cast in the Bolshoi Ballet's Swan Lake at Lincoln Center Festival
David Koch Theater
July 18, 2014
By Mark Kappel
A second performance of Yuri Grigorovitch's Swan Lake, as danced by the Bolshoi Ballet at the David Koch Theater on July 18, 2014 -- as part of the Lincoln Center Festival -- revealed even more details in this Soviet-era production of one of the 19th century classics.
Although interpretations of characters seems to be the same no matter which dancer is dancing the principal roles, different dancers bring out details in the choreography and aspects of this production that one could only see visiting Grigorovitch's Swan Lake more than once.
This second performance was led by a pair of dancers, who have been touted to be stars of a younger generation of Bolshoi Ballet dancers, and have been mentored by the Bolshoi Ballet's current artistic director, Sergei Filin.
Olga Smirnova (as Odette/Odile) and Semyon Chudin (as Prince Siegfried) forged a partnership early in their careers, and this was in evidence in this performance of Swan Lake. As young as they are, they both bring artistry and musicality to these iconic roles -- as well as a strong sense of narrative in their performances. The latter is a challenge considering the abstraction that is emphasized in Grigorovitch's production of Swan Lake.
Smirnova's strengths were featured in the lyrical white acts and less so in the Black Swan Pas de Deux -- even though she was commanding in her overall performance of the dual role in this ballet. Chudin was princely in manner and displayed a clean and refined technique. Both dancers gave committed and absorbing performances. These are dancers whose careers are worth watching in the future.
The role of The Evil Genius dominates this production of Swan Lake and Artemy Belaykov was suitably strong and heroic in the role. Also admirable was the virtuoso dancing of Alexander Smoliyaninov as the Fool.
As in the performance of Swan Lake I attended on July 16th, Daria Khokhlova and Chinara Alizade evoked their artistry in dancing with Prince Siegfried in the Act I Pas de Trois.
Also notable were the performances of Anna Turazashvili as the Hungarian Bride, Yulia Lunkina as the Russian Bride, and Anna Tikhomirova as the Spanish Bride. There is a great depth of talent within all ranks of the Bolshoi Ballet.
Also one must mention the gravitas that Kristina Karasyova gave the role of the Princess Mother establishing her character the moment she walked on the stage -- as well as Alexei Loparevich's comic turn as the Tutor. And the Bolshoi Ballet's magnificent corps de ballet.
Grigorovitch's Swan Lake is a reflection of the Soviet era it was created in which is different from the productions one usually sees in this part of the world. This was a marvelous opportunity to see this different approach in interpreting the story of Swan Lake, and experiencing the different approaches by the dancers in telling the story.
Bolshoi Ballet Performs Swan Lake at Lincoln Center Festival
David Koch Theater
July 16, 2014
By Mark Kappel
In 2005, when the Bolshoi Ballet last performed in New York -- the artistic director was Alexei Ratmansky -- and the company was in the midst of internal artistic tensions. In the last year there have been symptoms of continued artistic struggles culminating in an assault involving the Bolshoi Ballet's current artistic director, Sergei Filin -- and on the positive side, worldwide screenings of the company's performances which have raised the company's profile. It has been far too long since the Bolshoi Ballet has performed in New York.
Presented by the Lincoln Center Festival and performing at the David Koch Theater, to open the Bolshoi Ballet's first New York engagement since 2005, the company chose Yuri Grigorovitch's revised version of Swan Lake, which had premiered in 2001. The last time the Bolshoi Ballet performed Swan Lake in New York was in 1990.
This revival is presented in two parts with an adapted libretto by Yuri Grigorovitch and incorporates choreography by Marius Petipa, Lev Ivanov, and Alexander Gorsky. As in his other ballet productions, Grigorovitch's designer collaborator was Simon Virsaldze.
Grigorovitch has captured the essence of Swan Lake. His production of Swan Lake is not a literal representation of the familiar story. Grigorovitch has streamlined the libretto of Swan Lake reducing mime in every scene -- while racing to the next -- in cinematic style. Even the minimalist scenery moves quickly from one scene to another -- alternating between reality and fantasy.
Performing the ballet in two parts, in two and a half hours, the story is there -- and there are many details and additions as well. But one has to pay attention in experiencing this production of Swan Lake to find those story-telling elements and character development moments as one would be seeking out clues in an Agatha Christie mystery.
Among the many changes that Grigorovitch has made in his production of Swan Lake, he has transformed the character of Von Rothbart into the Evil Genius. Fewer dramatic signposts and references to time and place are included in this production. But on balance there is also a great deal more dancing than in most other productions of Swan Lake.
The Evil Genius is not a cardboard villain and makes himself known with heroic gesture and choreography that sets himself off in flight. The Evil Genius also has a solo variation to dance in Act III. Prince Siegfried makes his entrance dancing -- and also participates in the Act I Pas de Trois. Another departure from traditional productions is each of the foreign princesses leading the national dances in the third act -- the often cut Russian Dance is included -- and although the choreography incorporates character dancing, the princesses and the female members of their entourages, all dance on pointe.
To accommodate his changes Grigorovitch moves music from one place to another during the course of the ballet and also adds music that is usually cut from other productions of Swan Lake. Besides the conspicuous restoration of the Russian Dance, Odile's variation and Siegfried's variation in the Black Swan Pas de Deux are from sections of the score that are usually not incorporated into most productions of Swan Lake.
In this production of Swan Lake, Grigorovitch gives the impression that he is manipulating the pieces of a puzzle -- and somehow the sum of the parts still preserves both the quiet and powerful moments that are in traditional productions of Swan Lake.
Perhaps the weakest dramatic moment in Grigorovitch's Swan Lake is the ending. The Evil Genius abducts Odette and whisks her away. There is some ambiguity in regard to Odette's fate although Siegfried is left behind -- and it is not clear whether he is grieving or is experiencing another emotional crisis.
In this July 16, 2014 performance the cast was Anna Nikulina as Odette/Odile with Artem Ovacharenko as Prince Siegfried. Nikulina showed fear -- as well as being intrigued -- in her encounter with Siegfried in Act II -- not necessarily eloquent -- but far more commanding as Odile in Act III. Ovacharenko was a Hamlet-like Siegfried sensing his confusion between fantasy and reality.
Nikulina and Ovacharenko developed a strong partnership through the ballet, their characters clearly drawn, and their dancing reflected a clean and refined technique.
Denis Rodkin presented himself as commanding and sinister in the role of the Evil Genius. Grigorovitch introduced the character of the Fool in his production of Swan Lake -- who offers a bit of comic relief and virtuoso dancing -- as displayed by Denis Medvediev.
The Bolshoi Ballet's corps de ballet projected a refined unity of style, and the Bolshoi Ballet's orchestra, under the baton of Pavel Sorokin, presented all of the nuances and breathed life into Tchaikovsky's score. This was an auspicious beginning for the Bolshoi Ballet's New York engagement.
Boston Ballet Features Familiar Works In Its Second Program
David Koch Theater
June 28, 2014
By Mark Kappel
In its second mixed-bill program the Boston Ballet continued to trend in the direction of the eclectic in terms of the styles of the dance pieces that were presented. The Boston Ballet's second program -- seen on June 28, 2014 -- featured familiar works -- two of them, the Boston Ballet had previously danced during the company's appearances in the City Center Fall for Dance Festival.
Performed by the Boston Ballet at the City Center Fall for Dance Festival in 2004, was one of the two familiar pieces, Plan To B, created by the Boston Ballet's resident choreographer, Jorma Elo. Danced to music by van Biber, Elo gives the company's dancers a workout and sets up a contest of speed and agility.
Elo's choreography is non-stop and aggressive, and performed on a stage where the atmosphere changes with varying lighting effects focused on a white panel. There is a combination of both subtle and virtuoso dancing.
Credit to the cast of Lia Cirio, Whitney, Jensen, Isaac Akiba, Bo Busby, Jeffrey Cirio, and Sabi Varga for revealing so much of the dynamics in Elo's choreography.
In 2009 the Boston Ballet acquired Nijinsky's version of Afternoon of a Faun, which was staged by Ghislaine Thesmar. The Boston Ballet had danced Afternoon of a Faun at the City Center Fall for Dance Festival in that same year. As at the City Center Fall for Dance Festival, the Faun was danced by Altan Dugaraa, and at this performance the Nymph was danced by Erica Cornejo.
The staging and the performance reflected the era when the ballet was premiered and it is to the credit of the Boston Ballet that this once scandalous piece is being preserved and danced with such great respect for its heritage.
Another familiar piece on this program was George Balanchine's Symphony in 3 Movements, one of Balanchine's iconic works that the New York City Ballet premiered during its Stravinsky Festival in 1972. The Stravinsky Festival was an important artistic benchmark for George Balanchine as he produced many works that have been given permanent places in the repertoires of ballet companies all over the world.
The choreographic style presented in Symphony in 3 Movements is a throwback to Balanchine's aesthetic of the 1950's angular movement and minimalist presentation -- and heightened tension.
As I have found in seeing this ballet danced by companies other than the New York City Ballet, each company brings its own dynamic to the choreography and how the choreography interprests Stravinsky's music.
This was the case in the Boston Ballet's cast led by Kathleen Breen Combes, John Lam, Misa Kuranaga, Jeffrey Cirio, Rie Ichikawa, and Bradley Schlagheck.
In the last few years the Boston Ballet has become an American depository for the works of Jiri Kylian. For this New York engagement, the Boston Ballet presented Kylian's Bella Figura which was created for the Netherlands Dance Theater in 1995 -- and was performed by that company in New York in 1999.
The Boston Ballet acquired Bella Figura in 2011, a work danced to the music of Lukas Foss, Giovanni Battista Pergolesi, Alexandra Marcello, Antonio Vivaldi, and Giuseppe Trellis, with moments accented by silence.
In many ways Bella Figura represents Kylian's choreographic journey from his early work combining ballet and the choreographic style of Martha Graham. In Bella Figura, Kylian's choreography is a reflection of choreographers working in Europe where movement, scenery and lighting are presented in combination and dominate the visual images in dance pieces.
In Bella Figura Kylian expresses himself in choreographic vignettes which are differentiated from each other using scenery and lighting effects. There is the typical Kylian signature in the choreography, but there are equally weighted expressions in Bella Figura where the dancers are dancing as well as when they are standing still.
The Boston ballet dancers -- which included Rie Ichikawa, Ashley Ellis, Dalay Parrondo, Emily Mistretta, Rachel Cossar, John Lam, Lasha Kozashvili, Bradley Schlagheck, and Bo Busby -- rose to the challenges Kylian set forth in Bella Figura. And marked the Boston Ballet's one-week New York engagement in which the company's dancers showed off their versatility.
Boston Ballet Returns to New York
David Koch Theater
June 25, 2014
By Mark Kappel
The Boston Ballet was founded by E. Virginia Williams in 1963 as New England's first professional ballet company. The company has been expanding its reputation under the guidance of its artistic directors with Violette Verdy succeeding E. Virgnia Williams to be followed by Bruce Marks, Anna-Marie Holmes, and the company's current artistic director, Mikko Nissinen, who took over the company in 2001.
In spite of the company's growing reputation, the Boston Ballet had not appeared in New York, in an engagement in its own right, for decades. Marking its 50th anniversary season, the Boston Ballet has triumphantly returned to New York to perform two different programs at the David Koch Theater from June 25-29, 2014. The Boston Ballet transported its New York audience to a European opera house to view dance pieces that are dominating European opera house stages. It's a journey that New York audiences don't often experience.
The first program presented on June 25, 2014 represented the acquisition and commission of contemporary works that the Boston Ballet has made, and has also staked the company's reputation on. All three works on this program were given their New York premieres at this performance.
William Forsythe's The Second Detail was created for the National Ballet of Canada in 1991 and was given its Boston Ballet premiere in 2011. Working with his frequent collaborator, Thom Willems, Forsythe created a non-stop theatrical dance work which focuses on atmospherics as much as choreographic impulse.
Forsythe has described the choreography for The Second Detail as neo-classical -- clean lines, classical ballet vocabulary -- but owes more to modern dance than classical ballet. The atmosphere on stage is stark but for chairs positioned behind the dancers -- and a sign with only "THE" on it. Patterns of choreography are repetitive as they are danced by single dancers and groups in random selection -- some of the dancers moving on the music and others moving at odds with the music and each other. The steps are sometimes classical and sometimes modern -- or blurring these different styles.
In comparison to Forsythe's In The Middle Somewhat Elevated, The Second Details is its polite cousin. The Boston Ballet's ensemble danced Forsythe's choreography with succinctness and a bit of tongue in cheek humor.
Former etoile of the Paris Opera Ballet and now artistic director of the National Ballet of Spain, Jose Martinez made his American choreographic debut in creating Resonance for the Boston Ballet in February 2014. The choreography is a pastiche of classical ballet and contemporary dance with the music as a soundtrack at times and a spring board at other times. The dancers move -- and appear and disappear behind moving panels and dimmed lights -- and one of the two pianists is also revealed and disappears behind the moving panels.
The choreography glided over Liszt's Transcendental Etudes and the atmosphere was adeptly created by the costumes and scenery created by Jean-Marc Puissant. In Gower Champion/Broadway-style choreography, Martinez not only moved the dancers but also made the scenery dance.
The cast of Lia Cirio, Lasha Khozashvili, Dusty Button, Alejandro Virelles focused on the emotional mood swings in the choreography.
Concluding the program was Alexander Ekman's Cacti created for the Netherlands Dance Theatre 2. Swedish-born Ekman set his choreography to music of Joseph Hayden and Franz Schubert, with some of Schubert's music improvised and composed by Tinta Schmidt von Altenstadt, David Marks, Saskia Viersen, Artur Trajko, and Ian Pieter Koch.
For the most part Ekman's focus is on parody and satire. Cacti is a spoof of postmodern dance with references to the every day and ordinary tasks of life that comprises the human experience.
Ekman's choreography and overview for Cacti reflects self-deprecating humor down to including a spoken monologue that was a combination of program notes and a suggested sensitive and laudatory review of the dance itself. Everything is included. Even the cactus plants that the dancers bring on to the stage.
The choreography is dominated by quick hand movements with the dancers on platforms -- at first -- and owing much to modern and post modern styles of dance. However the highlight of the piece is a duet which is danced to an inner dialogue of what the dancers are thinking when executing Ekman's choreography. Movement builds to a self-deprecating ending with a speaker describing the end of the piece.
Both The Second Detail and Cacti were danced by a large ensemble of dancers coming from all ranks within the Boston Ballet -- and it is to the dancers' credit that they danced each piece as a unit expressing each choreographer's intent.
This performance was a welcome return to New York for the Boston Ballet and what I trust will be the beginning of a new relationship between the company and New York audiences.
Valentina Kozlova's Dance Conservatory Project 10th Anniversary Gala
May 10, 2014
By Mark Kappel
The performance of Valentina Kozlova's Dance Conservatory Performance Project on May 10, 2014 at Symphony Space in New York was not only the Project's spring concert, but was also in celebration of the 10th anniversary of the Dance Conservatory of New York, which is directed by Valentina Kozlova.
To highlight this special occasion, Valentina Kozlova returned to the stage to perform the solo, Reve d'Isadora, created for her by Margo Sappington, and inspired by the dancer Isadora Duncan. Danced to the music of Sergei Rachmaninoff, this celebratory work was an expression of why Valentina Kozlova is a compelling artist, and also why Margo Sappington described Kozlova as her choreographic muse.
This was not only an occasion to celebrate Valentina Kozlova's achievements as director of her own ballet school and also as a teacher and coach, but also to celebrate her students' achievements, the choreographers whose work was on the stage, the teachers and coaches, and the volunteers and donors.
Those students were on display with performances of the Diana and Acteon Pas de Deux danced by Darrah Brewster, partnered by Craig Salstein, soloist of American Ballet Theatre, La Bayadere Pas de Deux danced by Hannah Park and Charles Askegard, former principal dancer of the New York City Ballet, The Sleeping Beauty Pas de Deux danced by Demitra Bereveskos and Vitali Krauchenka, former member of American Ballet Theatre, and Nikita Boris and Jack Furlong Jr. dancing Marius Petipa's Satanella Pas de Deux.
Also performing on the program were alumni of the school including Anuta Rathe dancing Gabrielle Lamb's solo, Conseillez-Vous Soigneusement, Aynsley Inglis dancing Christopher Caines' If You Sigh, and Sarah Steele dancing Hyonjun Rhee's Toccata and Fuge.
As always the anticipation in attending these concerts, danced by Valentina Kozlova's students, is to note their improvement and development over a period of time, and also to know that they might be commanding the stage as professional dancers.
Cincinnati Ballet Returns to New York
May 6, 2014
By Mark Kappel
The Cincinnati Ballet returned to New York to celebrate the company's 50th anniversary making its Joyce Theater debut from May 6-11, 2014.
The company had not performed in New York since its frequent performances at Brooklyn College in the 1980's. Artistic director David McLain was at the helm of the company at that time, and the repertoire represented a cross-section of works from the Ballets Russes period, works by Ruth Page, and productions staged by Frederic Franklin.
Under McLain's successors, Ivan Nagy, Peter Anastos, Richard Collins, and Nigel Burgoine, and since 1997, Victoria Morgan, the company's repertoire has expanded to include productions of the 19th century classics, 20th century classics by American choreographers, ballets by George Balanchine, the works of major European ballet choreographers, contemporary choreographers, and choreographic contributions by directors, Peter Anastos and Victoria Morgan.
Having seen the company dance in Cincinnati during the intervening years, the legacies of these artistic directors have been used as the foundation and jumping off point to where the company is today.
For this engagement, the company's current artistic director, Victoria Morgan, co- ordinated an eclectic program of contemporary ballet works that were all created for the Cincinnati Ballet's dancers.
The evening began with an introduction by Grammy Award-winning guitarist/composer, Peter Frampton, in which he celebrated the company's 50th anniversary and introduced Hummingbird in a Box, choreographed by Adam Hougland, the company's resident choreographer. It was in 2013 that the Cincinnati Ballet produced this collaborative work with music and lyrics by Frampton and Gordon Kennedy.
Frampton composed seven new songs for Hummingbird in a Box -- in which Hougland's simple and clear contemporary choreography which spoke to the quirkiness of the music and lyrics. The music's quirkiness was reflected visually in the costumes for the ladies which were tutus enhanced with black feathers.
The solo for the song, Hummingbird in a Box, danced by Janessa Touchet, was notable for moments in the choreography which focused on quick bird-like movement.
The final song, Norman Wisdom, in- corporated the choreographic motifs that had been danced by the dancers in other parts of the ballet.
A second recent premiere on this mixed-bill program was Val Caniparoli's Caprice, which was also premiered by the Cincinnati Ballet in 2013. Choreographed to Niccolo Paganini's Caprices for Solo Violin which were played live by Haoli Lin and Yabing Tang -- alternating and playing the final piece of Caprice together.
This work for ten dancers has its roots in classical ballet, but includes movement from modern dance vocabulary. Caniparoli's choreography responded to every note of music -- sometimes lyrical and other times combative. In particular the sections of Caprice danced by Abigail Morwood, Rodrigo Almarales, Sarah Hairston, and James Gilmer reflected the dancers' strengths.
The third and final premiere, Trey McIntyre's Chasing Squirrel was premiered by the Cincinnati Ballet in 2004 at the Vail International Dance Festival. Choreographed to Latino-influenced music by several composers and recorded by the Kronos Quaretet, this work for ten dancers references the Latin feel of the music, and costumes typical of the current club scene. The piece's choreography is whimsical, includes vernacular dance, and also combines Latin macho by the male dancers, and the confidence of the ladies -- with an air of punk. There is humor and theatricality in Chasing Squirrel.
I trust we won't have to wait additional decades before the Cincinnati Ballet performs in New York again.
Valentina Kozlova's International Modern Dance Competition
April 28 & 29, 2014
By Mark Kappel
After the success of the Valentina Kozlova International Ballet Competition last year, it had been announced that a competition devoted to modern dance performance and modern dance choreography would be held in New York in 2014. Directed by Valentina Kozlova, the Valentina Kozlova International Modern Dance Competition was presented for the first time on April 28 and 29, 2014 at the Symphony Space in New York.
To adjudicate the performances of the dancers and the work of the choreographers, a distinguished jury was invited including Andris Liepa, Diane Hakak, Jeon Mi Sook, Jelco Yuresha, Charles Askegard, Patricia Aulestia, Nina Buisson, Tracy Inman, Virginia Mecene, Wendy Perron, Igal Perry, Margo Sappington, Risa Steinberg, and Septime Webre.
The Competition provided a showcase for modern dance performers as well as choreographers -- several of the competitors were both dancers and choreographers.
Before the scholarship and award winners were announced it was emphasized by Ms. Kozlova that the judges had reached a consensus that artistry was the foremost criteria in choosing the award winners. That theme was evident in the performances by the dancers and the choreography presented in the Gala portion of this program.
It was on April 29, 2014 that the awards and scholarships were bestowed combined with a gala performance. The award winners were:
Gold Medal - Jong Kyung Im
Silver Medal - Tamas Krizsa and Alex Anderson
Bronze Medal - Andile Ndlovu
Alex Anderson was also given a Special Jury Award for Choreography and an opportunity to perform in a dance gala at the Kremlin in Moscow.
Silver Medal - Anuta Rathe, Anna Guerrero, Aynsley Inglis, and Hannah Park for their performance of My Sister Shows Me Every Star
Bronze Medal - Anna Guerrero, Mayu Oguri, Hannah Park, Nikita Boris, and Darrah Brewster for their performance of Tears of Stone
Gold Medal - Maki Onuki and Tamas Krizsa for their performance of Together Apart
Bronze Medal - Amanda Mortimer and Colin Fuller for their performance of The Lucid Dream
Silver Medal - Barbara Pereira
Bronze Medal - Caroline Grossman
Silver Medal - Nikita Boris and Darrah Brewster
Bronze Medal - Maria Bodea and Michelle Quiner
Gold Medal - Hannah Park and Hyuna Kim
Silver Medal - Kaitlyn Yiu
Bronze Medal - Jillian Quiner
Division 4 (Women)
Gold Medal - Gyeong Jin Lee
Silver Medal - Anna Guerrero
Bronze Medal - Aynsley Inglis
Division 4 (Men)
Gold Medal - Alex Anderson and Jong Kyung Im
Silver Medal - Andile Ndlovu
The Grand Prix was awarded to Jumi Lee
In the program's gala performance, from the youngest competitors -- among them Caroline Grossman -- to the more mature competitors, Jong Kyung Im, Hyuna Kim, Gyeong Jin Lee, and Jumi Lee of the Republic of Korea, and Alex Anderson of the Juilliard School, and Andile Ndlovu, Tamas Krizsa and Maki Onuki (all of the Washington Ballet) -- they represented their artistic abilities as dancers -- and many of them also expressed themselves as choreographers.
Ms. Kozlova also announced plans for the Valentina Kozlova International Ballet Competition which is to take place in June 2015. The VKIBC will sponsor separate competitions for classical ballet and modern dance, and the semi-finals for this Competition will take place in September 2014.
Dance Theatre of Harlem's Second Mixed-Bill Program
Jazz At Lincoln Center's Rose Theater
April 24, 2014
By Mark Kappel
The Dance Theatre of Harlem's second mixed-bill program, during its Jazz At Lincoln Center season, was presented on April 24, 2014. This program included works that represented the next step in the company's artistic develop-ment.
Robert Garland's New Bach was created for the Dance Theatre of Harlem in 2001. Danced to Johann Sebastian Bach's Violin Concerto in A minor, New Bach is a neo-classical ballet with a twist -- classical ballet with jazz movement -- and a hybrid of Balanchine's Concerto Barocco and Rubies. Garland set up challenges for the dancers in every aspect of New Bach. The centerpiece of the work is a striking duet danced by Lindsey Croop and Frederick Davis.
An acqusition presented by the Dance Theatre of Harlem on this program was Ulysses Dove's Dancing on the Front Porch of Heaven which had been given its world premiere by the Royal Swedish Ballet in 1993. The Dance Theatre of Harlem acquired Dove's piece in 2012.
Dove's piece is dominated by a sense of loss and spiritualism, and is danced to Arvo Part's mournful Cantus in Memory of Benjamin Britten.
There is no question that Dancing on the Front Porch of Heaven was created for a ballet company as there was a significant amount of classical ballet choreography in this Glen Tetley-inspired piece. The level of choreography is sophisticated and evokes the spirits. It was an excellent showcase for the Dance Theatre of Harlem's cast of Ingrid Silva, Ashley Murphy, Jenelle Figgins, Da'Von Doane, Samuel Wilson, and Dustin James.
Concluding the program was Donald Byrd's first work for the Dance Theatre of Harlem, Contested Space which had its Dance Theatre of Harlem premiere in 2012. Choreographed to the music of Amon Tobin, in this ensemble piece Byrd explores dance vocabulary -- both ballet and modern dance -- from the 20th century and is filtered through a 21st century prism.
This William Forsythe-like piece explores territory, heightened by lighting that defines the dancing space on the stage and creates atmosphere. Quick step combinations were interspersed with modern movement. At the same time the choreography explores mreal-life relationships.
The piece was highlighted by several strong duets and ensembles danced with confidence by Stephanie Rae Williams, Ashley Murphy, Alexandra Jacob, Jenelle Figgins, Ingrid Silva, Francis Lawrence, Da'Von Doane, Samuel Wilson, Fredrick Davis, and Anthony Savoy.
Based on what the Dance Theatre of Harlem presented on this second-mixed-bill program during its New York season, one is curious about what the company's next steps will be.
Dance Theatre of Harlem Celebrating 45 Years
Jazz At Lincoln Center's Rose Theater
April 23, 2014
By Mark Kappel
Celebrating the company's 45th anniversary, the Dance Theatre of Harlem is performing at Jazz At Lincoln Center's Rose Theater, dancing two different mixed-bill programs.
When the company performed in New York last year for the first time in nearly a decade, the company seemed to be finding its feet. The Dance Theatre of Harlem is now on more secure footing.
The first of the two mixed-bill programs, performed on April 23, 2014, included a tribute to Frederic Franklin who had worked with the dancers of the Dance Theatre of Harlem on many significant projects including its landmark production of Giselle. Performed was Franklin's staging of the Pas de Six from Raymonda, based on Franklin's 1984 staging for the Dance Theatre of Harlem.
The Pas de Dix represents the classical divertissement in the third act of Raymonda, Marius Petipa's last major ballet and rarely performed today. Petipa's choreography for Raymonda was a hybrid of classical ballet, and character dancing. In this version the context has been stripped away and what one sees is a neo-classical ballet without its narrative roots. Such a production challenges Dance Theatre of Harlem's dancers and is essential towards building the company's experience dancing classical ballet.
Leading the cast -- and dancing with authority -- were Chyrstyn Fentroy and Francis Lawrence.
Also on the program was an ensemble work, past-carry-forward, choreographed by Dance Theatre of Harlem alumni, Thaddeus Davis and Tanya Wideman Davis. Inspired by Isabel Wilkerson's book, The Warmth of Other Suns, past-carry-forward focuses on the legacy of the Great Migration of African Americans in the early part of the twentieth century -- from the South to the North -- to seek their fortunes.
During the years of the Great Migration African-Americans broke the barriers of segregation in the military, as Pullman railroad porters, and as entertainers who performed for white audiences in nightclubs and in the theater. These breakthroughs were represented in past-carry-forward.
The roots of the choreography for past-carry-forward are in the theatrical and social dancing of the time period when the Great Migration took place -- and then falling into familiar patterns of modern dance. It is when past-carry foward meanders into modern dance that the narrative falters. But past-carry-forward proves to be an important history lesson. The music of Willie "The Lion" Smith and SLIPPAGE provided the musical soundtrack for this historical narrative.
Closing the program was Robert Garland's evocative Gloria, led by Ashley Murphy and Da'Von Doane. Garland has choreographed a piece filled with spirituality and intensity equal to the music of Poulenc's Gloria. With the inclusion of both student and professional dancers one sees how the legacy of dance can be passed from one generation to the next.
Bolshoi Ballet Dances Lacotte's Marco Spada
April 12, 2014
By Mark Kappel
Pathe Live marked the end of the 2013-14 season Bolshoi Ballet screenings on April 12, 2014, presenting the Bolshoi Ballet's production of Pierre Lacotte's Marco Spada -- recently receiving its company premiere in November 2013. The screening was preceded by an informative talk given by dance critics, David Vaughan and Joan Acocella, who provided background on the ballet's original choreographer, and background on Lacotte's version of Marco Spada.
Marco Spada was a 3-act ballet created for the Paris Opera Ballet in 1857 -- with choreo-graphy by Joseph Mazilier and danced to music adapted from Daniel Auber's comic opera of the same name.
Pierre Lacotte reconstructed the ballet, Marco Spada, in 1981 at the Rome Opera Ballet as a vehicle for Rudolf Nureyev. For the Bolshoi Ballet's production Lacotte also designed the costumes and scenery. All of the ingredients that combined in the resulting opulence that the Bolshoi Ballet delivers so well.
The plot of Marco Spada is similar to the plots of opera buffas of the early 19th century. Mistaken identities, farce, and physical comedy. Marco Spada is a bandit who has become the bain of existence for the Governor of Rome. The Governor's daughter, Marchesa Sampietri, has become the object of affection of Count Pepinelli, Captain of the Dragoons, but the Marchesa is already betrothed to Prince Frederici.
To further complicate the complicated relationships among the multitudes of characters, Marco Spada's daughter, Angela, becomes the love interest of Prince Frederici. Angela is not aware of her father's criminal activities, and when Marco Spada is revealed as a robber and thief, Angela informs Prince Frederici that she cannot be his bride.
Prince Frederici makes his betrothal to the Marchesa public, but the Marchesa has her preferences for Pepinelli. After they are kidnapped by bandits, Marco Spada intervenes and forces a friar to marry the Marchesa and Pepinelli.
Frederici and the Governor are also snapped up by bandits but it is Marco Spada's daughter, Angela, who intervenes. In the ensuing struggle Marco Spada is mortally wounded. Before he dies he lies to all that Angela is not his daughter which opens the way for Angela to marry Prince Frederici.
The plot is a hybrid of opera buffa, a bit of the antics in the ballets, Don Quixote and Le Corsaire, and even a long distance connection to Judy Garland and Gene Kelly in the movie, The Pirate.
The story is presented in a series of solo variations, pas de deux, and ensemble divertissements that are entertaining when danced but don't always establish the characters that the dancers are portraying -- nor do they move the plot forward. There is some mime that reveals the important plot twists, but Marco Spada is all dancing all of the time. However if one abandons convention and wishes to sit back and be enter-tained, Marco Spada's complicated plot is untangled and tied up at the ballet's end.
Lacotte has structured the ballet to include needlepoint choreography that has its roots in the choreography of Auguste Bournonville and other choreographers of the Romantic era. The choreography in Marco Spada is technically challenging and requires precision and speed. It is up to the dancers to make this ballet come alive with their acting abilities and comedic timing. In that regard the Bolshoi Ballet dancers definitely succeeded.
David Hallberg revealed a comic side in his performance in the title role, and Evgenia Obraztsova as Marco Spada's daughter, Angela, displayed the earthiness of her character.
Olga Smirnova was the regal Marchesa Sampietri -- and Semyon Chudin played the two-timing Prince Frederici -- and Igor Tsvirko played the role of Count Pepinelli.
Also notable were gifted Bolshoi Ballet character dancers, Alexei Loparevich as the comic Friar Borromeo, Andrei Stinikov as Prince Osorio, the Governor of Rome, and Anastasia Stashkevich and Vyacheslav Lopatin as the Bride and Groom in one of the many divertissements in Marco Spada.
Boston Ballet's Company Premiere of Ashton's Cinderella
March 23, 2014
Boston Opera House
By Mark Kappel
Cinderella has become a ballet that is expected to be in the repertoires of ballet companies all over the world. Many companies have acquired several productions of Cinderella, and the Boston Ballet added Frederick Ashton's production of Cinderella to its repertoire in March of this year -- one of many benchmarks that have been set by Boston Ballet's artistic director Mikko Nissinen.
Presented at the Boston Opera House on March 23, 2014, the Boston Ballet danced the most influential production of Cinderella ever choreographed -- an entertaining version of the ballet which includes traditions from the British musical hall and British pantomimes. All of the more an amazing accomplishment considering that Prokofiev's score for Cinderella was only a handful of years old at the time of the premiere of Ashton's Cinderella in 1948.
Prokofiev's score can be described as complicated and also grim. It was composed during the difficult times of World War II. Ashton found a solution to bringing humor and fairy tale magic to counterbalance Prokofiev's lugubrious score. Prokofiev's score, on the other hand, is filled with glorious waltzes which lift the spirits.
Ashton re-structured the ballet in accordance with the structure of 19th century ballets making sure that the exposition was well-presented and literal, and also leaving plenty of opportunity for dancing -- and a little spectacle. The choreography is quick and often in counterpoint to Prokofiev's unique musical rhythms. The story-telling is an organic part of the choreography. Somehow it all fits.
Ashton also cleverly stage manages the principal characters' entrances and exits -- it's hard not to notice Cinderella's entrance in the Act II Ballroom Scene as she walks down a flight of steps on pointe. Then there is the casting of male character dancers to play the two Ugly Stepsisters -- Ashton himself danced one of these roles during his time -- all in the tradition of British pantomime.
All is showcased in the trappings of David Walker's fairy tale costumes and scenery.
The Boston Ballet's dancers held their own in both rising to the occasion and meeting the challenges that are presented in Ashton's Cinderella.
Dancing the title role, Misa Kuranaga is the perfect soubrette ballerina and in her dancing and in her acting, one can see how her Cinderella evolves before trusting the love of her Prince, danced with elegance by Jeffrey Cirio.
Petra Conti's Fairy Godmother was commanding and caring, and Avetik Karapetyan jumped the hurdles in Ashton's comedic -- and technically challenging choreography -- as the Jester.
However it is hard to push the Ugly Stepsisters out of the spotlight as they cavort, compete and appeal for the audience's attention, played and danced with the appropriate over the top exaggeration by Yury Yanowsky and Boyko Dossov.
Dancing Ashton's Cinderella, the Boston Ballet asserts its place as a company that deserves national and international recognition.
Royal Ballet Dances The Sleeping Beauty
March 20, 2014
By Mark Kappel
Most ballet companies have signature works in their repertoires and The Sleeping Beauty has become the ballet that most audiences associate with the Royal Ballet.
On March 20, 2014, Fathom Events presented a screening of the Royal Ballet dancing its current production of The Sleeping Beauty which is a nostalgic throwback to one of the Royal Ballet's international success stories.
Upon the re-opening of Covent Garden in 1946, the Royal Ballet presented a new production of The Sleeping Beauty. Using the template created by Nicholas Sergeyev, who had staged many of the 19th century classics for the Royal Ballet, and employing the young designer Oliver Messel to design the costumes and scenery, this production of The Sleeping Beauty was significant in bolstering the morale of a war-weary Great Britain at a time when rationing was still in effect.
The Royal Ballet toured the United States with this new production of The Sleeping Beauty enhancing the company's international reputation, while at the same time Margot Fonteyn emerged as an international ballet star.
In 1976 American Ballet Theatre staged this production, with Messel's designs, and with former Royal Ballet balletmistress Mary Skeaping recreating the choreogrphy and staging. Unfortunately it was a production that didn't last long in American Ballet Theatre's repertoire.
In 2006, to celebrate the Royal Ballet's 75th anniversary, then artistic director of the Royal Ballet, Monica Mason, was assisted by Christopher Newton in creating this landmark production of The Sleeping Beauty for the Royal Ballet. Besides using Nicholas Sergeyev's staging as its foundation there is additional choreography by Ninette de Valois, Anthony Dowell, and Frederick Ashton, and Christopher Wheeldon choreographed a new version of the Act I Garland Dance.
This production is detailed and nuanced both in telling the story, and the clarity in its choreography.
On this occasion, Sarah Lamb danced the role of Aurora and Steven McRae danced the role of the Prince. Lamb was a secure, confident and elegant Aurora -- definitely a Princess -- and showed her evolution from a teenager to womanhood. Steven McRae was a Prince who projected the Prince's search for meaning in his life -- and presented a quiet dignity in his dancing and in his portrayal of the role.
Kristen McNally portrayed Carabosse's evilness and malevolence and was an equal protagonist in contrast with the gentle, but commanding Lilac Fairy of Laura McCulloch.
There were also notable performances in supporting roles including Yuhui Choe as the Princess Florine and Valentino Zuchetti as the Bluebird in in the Bluebird Pas de Deux, as well as James Hay, Beatriz Stix-Brunell, and Elizabeth Harrod as Florestan and His Sisters.
As the Royal Ballet has rarely performed The Sleeping Beauty during its recent American tours, Fathom Events presented a welcome opportunity to see this significant and historic production of The Sleeping Beauty.
Les Ballets de Monte Carlo's Lac (After Swan Lake) - A Second Look
March 16, 2014
By Mark Kappel
Jean-Christophe Maillot's Lac (After Swan Lake), which was performed by Les Ballets de Monte Carlo at the City Center this weekend, deserved an additional look when a second cast took over the principal roles on March 16, 2014. It was also an opportunity to peel back the layers of plot information that Maillot has included in his production. On second viewing Lac (After Swan Lake) has all the elements of a Shakespearean tragedy.
In the second cast, April Ball assailed the role of Her Majesty of the Night. Ball, a former principal dancer of the Boston Ballet before joining Les Ballets de Monte Carlo, danced a role suited to her strengths both as a dancer and an actress -- making Her Majesty of the Night an exotic and evil creature focused on revenge for the insults she had felt at the hands of the King and Queen.
Two other American dancers took over the pivotal roles of the Prince and the Black Swan. The Black Swan was danced by Noelani Pantastico, and the Prince was danced by Lucien Postelwaite, both former principal dancers of Pacific Northest Ballet. The White Swan was danced by Anjara Ballesteros.
Pantastico infused the role of the Black Swan with the necessary malevolence and brought to the surface the horror that ensued when she was rejected by the Prince. Postelwaite gave his Prince a boyish nature which was reflected in his relationship with his father, the King, and also in the White Swan duet with Anjara Ballesteros, as the choreography reflected childhood playfulness -- well portrayed by both dancers.
Another pivotal role in this production is the role described as The Confident of the Prince. He is the Prince's companion and also of a different social station than the Prince. Maillot's choreography for the Prince's Confident defines this character's peasant ancestry. Just as in the first cast, when danced by Jernen Verbruggen, Joseph Hernandez in the second cast, is a player in this tragedy who is not sure what to make of the conflicting and revolving cast of personalities around him -- and is the most grounded character in Lac.
Even viewing Lac (After Swan Lake) a second time the ballet's surprise ending still had its impact.
Maillot's new version of Swan Lake justifies the experimentation and liberties that can be taken when reinterpreting a familiar 19th century classic.
Les Ballets de Monte Carlo Performs Lac (After Swan Lake)
March 14, 2014
By Mark Kappel
In its previous New York engagements Les Ballets de Monte Carlo has challenged its audiences by taking them on a journey focusing on new choreographic directions and new theatrical conventions to tell stories -- all breaking from traditional ballet. Having already danced deconstructed versions of Romeo and Juliet (at the City Center in 1999), and of Cinderella (at the Brooklyn Academy of Music in 2003), the company's artistic director and choreographer, Jean-Christophe Maillot has focused on Swan Lake, here titled Lac (After Swan Lake), which was given its New York premiere at the City Center on March 14, 2014.
Maillot has collaborated with writer, Jean Rouaud, to adapt a new libretto for Swan Lake with scenery designed by visual artist, Ernest Pignon-Ernest, and costumes designed by Philippe Guillotel. Lac had its world premiere in 2011.
Maillot's interpretation of Swan Lake focuses on the psychological impact of dysfunctional family life-- putting under a microscope, problems that the principal characters have had during their childhood and how they express themselves and react to life experiences when they are older.
Mailllot's approach to Swan Lake is not reverential yet his choreography is detailed enough to able to present a new slant on this iconic story. One expects the unexpected in Maillot's thought-provoking and provocative interpretation of Swan Lake.
Maillot begins Lac with a black and white film depicting the royal family focusing on the little prince's childhood infatuation with a girl of his own age. Maillot introduces the character of a surprise guest, Her Majesty of the Night, who brings her daughter to play with the young prince. The young prince rejects Her Majesty of the Night's daughter, and Her Majesty of the Night snatches the little girl that the young prince is fond of. That little girl becomes the White Swan in this reworking of Swan Lake and has fallen under the spell of Her Majesty of the Night to be condemned to live the dual life of a woman and a swan.
As the King and Queen are still alive and ruling their kingdom in Lac, there is no immediate need for the Prince to marry. Yet a parade of intended brides is presented to the Prince but none of them are to his liking. However, Her Majesty of the Night's daughter is transformed into the Black Swan and is presented as a potential bride for the Prince. There is instant attraction between the Black Swan and the Prince. Further tensions arise between Her Majesty of the Night and the Queen -- and some suspicion is insinuated that the Black Swan is the product of a liaison between the King and Her Majesty of the Night.
The Prince does seek out the White Swan who is now the grown-up version of his childhood friend. They vow eternal love to each other and Her Majesty of the Night does bring the White Swan to a ball to attract and fool the Prince -- ultimately switching her daughter for the White Swan. The Prince pursues the White Swan culminating in a coup de theatre and a surprise ending.
The ending is a consequence of how the adults have manipulated the lives of their children. Dysfunctional families in the extreme which are reflected in Lac's complicated plot twists.
Maillot employs Tchaikovsky's score, but edits the score for his own dramatic purposes, and also incorporates specially composed music by Bertrand Maillot. It is unfortunate that the ballet is danced to recorded music.
Maillot's choreography represents modern movement that adds to the narrative and to the conflicts in his libretto but he does include balletic vocabulary in the course of Tchaikovsky's waltzes.
Both April Ball as the Black Swan and Maude Sabourin as Her Majesty of the Night give tour de force performances as dancers and actresses. Stephan Bourgand as the Prince and Anja Behrend as the White Swan danced these less flashy roles but brought them to life. The dancers' performances brought coherence to Maillot's singular interpretation of Swan Lake.
Bolshoi Ballet Dances Alexei Ratmansky's Lost Illusions
March 1, 2014
By Mark Kappel
Full-length narrative ballets -- whether inspired by plots of obscure books or movies, or classic poetry or novels -- are a rarity in the ballet world where abstraction has been encouraged and is expected.
On March 1, 2014, Pathe Live presented a screening of the Bolshoi Ballet dancing Alexei Ratmansky's Lost Illusions, a full-length narrative ballet inspired by Honore de Balzac's novel of the same name. A ballet based on this novel was commissioned by the Mariinsky Theater Ballet in 1936, based on a libretto written by Vladimir Dmitriev, with choreography by Rostislav Zahkarov, and disappeared from the Mariinsky's repertoire soon after its premiere.
Ratmansky has turned to the plots of story ballets that were premiered during the Soviet era on many occasions, and Lost Illusions is another example of his revisionist interpretations of these ballets.
Premiered on April 24, 2011, by the Bolshoi Ballet, Ratmansky's Lost Illusions focuses on an evolving romantic love triangle in which the young composer, Lucien, meets Paris Opera ballerina, Coralie, who becomes his muse and secret lover. Coralie is impressed by Lucien's music and persuades her benefactor, Camusot (portrayed by Yegor Simachev) to commission Lucien to compose music for a ballet created for her, La Sylphide. Although the production of La Sylphide is successful, Coralie's jealous benefactor sets up Lucien to lose at cards and another Paris Opera ballerina, Florine, seduces him. Ultimately Lucien compromises his art to compose a ballet score that he is not happy with and realizes what he has thrown away for the sake of his career and money.
Ratmansky presents this story in three acts with choreography reminiscent of Auguste Bournonville. There are many choreographic references to that style and period of choreography throughout Lost Illusions. The most specific Bournonville references are in the ballet within the ballet in the first act, which is a choreographic pastiche from Bournonville's La Sylphide.
Throughout the ballet, there are references made to other 19th century ballets -- as well as influences in story-telling from ballets by John Cranko, John Neumeier, and Kenneth MacMillan. When dance movement fails him Ratmansky relies on mime and movement of manipulation of the main characters. There are also moments of choreography in Lost Illusions that seem anachronistic when seen within the context of telling a 19th century tale.
The dramatic scenes in Lost Illusions are presented against the backdrop of ballet studios often depicted in Degas paintings. Yet at the same time Jerome Kaplan's designs were both detailed and stylized.
Although references are made to 19th century styles of ballet, Ratmansky's choreography is juxtaposed against the modern music composed by Leonid Desyatnikov. During an intermission interview Desyatnikov described his music as an homage to Romantic piano music of the 19th century and the score did have those moments. But the score's dissonance, in contrast to the Romantic style of music, was not as effective as it should have been in supporting Ratmansky's style of story-telling.
The man in the middle of this love triangle, Lucien, was danced by Vladislav Lantratov, with Diana Vishneva of the Mariinsky Ballet as a guest artist, dancing the role of Coralie, and Ekaterina Shipulina dancing the role of Florine. All of these dancers gave master classes in acting and how emotion can be communicated by merely standing still.
Although Ratmansky's Lost Illusions was not as satisfying as an example of dance story-telling as it could have been, Lost Illusion was seen -- at its best - in the intimate atmosphere of a movie house -- on the screen.
Royal New Zealand Ballet Makes Joyce Theater Debut
February 12, 2014
By Mark Kappel
Thirty-four dancers strong, the Royal New Zealand Ballet was formed in 1953. Besides the company's performances in New Zealand, international tours have taken the dancers to Europe and Asia, and also touring in the United States.
The Royal New Zealand Ballet makes its Joyce Theater debut from February 12-16, 2014, the company's first New York appearance since its performances at Brooklyn College in 1993.
When the company performed in New York in 1993, the company was under the directorship of Ashley Killar and the repertoire was a mix of established works and creations. Now under the directorship of Ethan Stiefel, the company presented a mixed-bill program which included two pieces created for the company, and one acquisition. The Royal New Zealand Ballet's New York engagement was a homecoming of sorts for Ethan Stiefel, who had been a principal dancer of American Ballet Theatre.
The Royal New Zealand Ballet is a company of well-trained and spirited dancers. Their energy was evident in their performances of the three pieces on the company's mixed-bill program.
The most familiar choreographer among the three on the program was Benjamin Millepied, former principal dancer of the New York City Ballet and soon to be artistic director of the Paris Opera, who was represented by 28 Variations on a Theme By Paganini, choreographed to the Brahms' music of the same name -- a piece he choreographed for the students of the School of American Ballet.
Millepied's choreography has been danced in New York by American Ballet Theatre and the New York City Ballet. His approach to music and its rhythms is usually in counterpoint to expectations. One can expect the unexprcted in his choreography.
The choreography radiated the innocence and commitment of young students but didn't fare as well being danced by mature dancers. As in the pattern of Brahms' music, the ballet's structure was a random series of solos, pas de deux, and ensembles -- danced at dizzying speed.
Notable in the cast was principal guest artist, Gillian Murphy of American Ballet Theatre, and Qi Huan, mature artists who brought depth in the execution of Millepied's complicated choreography.
Also on the program was Of Days, a recent creation choreographed by former Royal New Zealand Ballet dancer, Andrew Simmons. Divided into short pieces inspired by mininalist music by composers Ludovico Einaudi, Dustin O'Halloran, and Olafur Arnalds, this work is one of several ballets that Simmons has choreographed for the Royal New Zealand Ballet.
Of Days is a contemporary ballet which mirrored the minimalist music it is choreographed to. It is an ensemble piece that sometimes missed the mark although it was danced with commitment by the cast of Abigail Boyle, Antonia Hewitt, Mayu Tanigaito, Tonia Looker, Paul Matthews, Qi Huan, Brendan Bradshaw, and Kohei Iwamoto.
Venezeulan choreographer Javier De Frutos created Banderillero, with choreography reflecting a hybrid of modern dance movement and interspersed balletic poses.
Danced to the drumming of Chinese persussionist Yim Hok-Man, De Frutos' choreography is relentless in nature and ritualistic in its repetition -- and marked by anti-climaxes.
Stiefel has put his personal artistic stamp on the Royal New Zealand Ballet in a very short time period and it will be interesting as to how the company's artistic profile evolves.
Tanaquil Le Clercq -- A Life in Dance
February 3, 2014
Jewish Community Center
By Mark Kappel
Tanaquil Le Clercq achieved her fame as a principal dancer of the New York City Ballet creating roles in the ballets choreographed by her husband, George Balanchine, and Jerome Robbins. Among the most notable collaborations was between her and Jerome Robbins -- her acclaimed performances in Robbins' Afternoon of a Faun.
Le Clercq's performing career tragically came to an end at age 27, when she was affilicted with polio. She never was to dance again. Her life of art was marked by fate. She was the muse of two great choreographers -- forging a friendship with Robbins, and marrying Balanchine.
Director Nancy Buirski delved into the short performing life of Le Clercq and her life after dance in the documentary, Afternoon of a Faun Tanaquil Le Clercq, which was given a screening at the Jewish Community Center in New York on February 3, 2014.
Telling Le Clercq's story in the documentary were her colleagues, Jacques d'Amboise, Barbara Horgan, and Arthur Mitchell, as well as her life-long friend, Randy Bourscheidt.
Although there is archival footage of Le Clercq as a dancer, there was very little in terms of interviews during her lifetime.
Her relationship with Balanchine was an unbalanced artistic and personal collaboration -- Le Clercq was his current muse and he had to attain her. The emotional description of Le Clercq's diagnosis with polio and how this disease was treated in the 1950's and the 1960's was illuminating -- and perhaps polio -- with modern medical research -- has become extinct in our time. It seemed that Le Clercq came to terms with polio and triumphed over it. But not without strained relationships with her mother, her husband, and friends.
Although we may never know the real Tanaquil Le Clercq, Buirski's documentary provides a record of Le Clercq's artistic achivements and her influences othe art of dance. A sympathetic and compelling portrait that any dance lover would enjoy.
The Royal Ballet Dances Giselle
January 27, 2014
By Mark Kappel
Peter Wright has gained a reputation through his career to be a careful and respectful stager of the 19th Century classics. He staged his first production of Giselle for the Stuttgart Ballet, and it is a production that has been danced by the Royal Winnipeg Ballet, and the National Ballet of Canada in New York in the past.
The Royal Ballet has been dancing Wright's current production of Giselle since 1985, and a live screening of the Royal Ballet dancing Wright's Giselle was presented by Fathom Events on January 27, 2014.
Wright's productions of the classics are known for their adherence to the original while making the story and visuals more relevant to modern audiences. He goes to great lengths to revere the spirit of the original productions including narrative details that are often left out of many productions of the classics.
Other than Wright's decision to transform the first act Peasant Pas de Deux into a Pas de Six for three couples, Wright's reverence for Giselle's origins was in evidence in many dramatic details including Giselle's mother, Berthe (played convincingly by Deirdre Chapman) recounting the legend of the Wilis, which connects Act I and Act II of Giselle.
The story-telling details were very much in evidence in this performance -- danced by a cast with different training and artistic backgrounds combining for an interesting mixture in dance styles and story-telling.
The pairing of Natalia Osipova and Carlos Acosta was unique and stellar at the same time. Osipova tends to be a spontaneous and passionate presence in her interpretations of 19th Century ballet roles. That was very much in evidence in her interpretation of Giselle -- particularly in the Act I Mad Scene. She seemed to be shot out of a cannon giving a high energy performance that did not vary with modulation -- yet at the same time embodied the role of Giselle. Osipova's Giselle was youthful, innocent, reckless, passionate, and shocked by Albrecht's deception.
Acosta's Albrecht, in comparison, was low key, temperate, cunning, and manipulative.
The combination of these two very different interpretations did not always blend as well as they should have.
Also notable were Thomas Whitehead as Hilarion giving this sometimes forgotten -- but pivotal -- character some depth, and Hikaru Kobayashi as the Queen of the Wilis.
The Pas de Six was well danced by Yuhui Choe, Valentino Zuchetti, Francesca Hayward, Luca Acri, Yasmine Naghdi, and Marcellino Sambe. Clarity in their dancing and expressing the importance of their place in the Act I celebrations.
The Royal Ballet's corps de ballet emphasized the dramatic details in the staging and were in the moment at all times.
This was a production of Giselle that had larger than life performances by the principal cast which made for a provocative dance performance.
Bolshoi Ballet Dances Balanchine's Jewels
January 19, 2014
By Mark Kappel
On January 19th, 2014, Pathe Live presented a live screening of the Bolshoi Ballet in a ballet that would seem to be a stylistic challenge for the company's dancers, George Balanchine's classic full-length abstract ballet, Jewels.
Inspired by the jewelry displayed in the Van Cleef & Arpels' window, Balanchine created three abstract ballets which were linked through the jewel designs in the costumes and scenery. Each ballet is also an homage to different styles of ballet ranging from the 19th Century to the 20th Century. Premiered by the New York City Ballet in 1967, Jewels has been acquired by ballet companies all over the world.
Balanchine's Jewels is an iconic ballet, and this was an opportunity to see the ballet danced by a company with a very different dancing style from the New York City Ballet. Where the New York City Ballet's style is focused on subtlety, the Bolshoi Ballet is known for a grander style.
The Bolshoi Ballet acquired Jewels in 2012 in a production that was staged by Sandra Jennings, Merrill Ashley, and Paul Boos. In the course of the screening Ashley was seen supervising stage rehearsals and also participated in an intermission interview.
Emeralds, choreographed to music by Gabriel Faure, is an homage to the Romantic style of ballet danced during the early 19th Century. The Bolshoi Ballet's production of Emeralds incorporates the revision of an added ending choreographed by Balanchine in 1976 - a reverential and contemplative ending -- which is in great contrast to Balanchine's original choreography for Emeralds. Balanchine's choreography is similar to the filigree in a snowflake emphasized in the ever-changing stage patterns.
The cast of Anastasia Stashkevich, Ivan Alexeyev, Anna Tikhomirova, and Vladislav Lantratov, with Yanina Parienko, Igor Tsvirko, and Ana Turazashvili in the Pas de Trois, gave carefully and studied performances in their roles. There was a great deal of reverence and only a small dose of spontaneity.
Contrasing music and style, Rubies is set to Stravinsky's Capriccio for Piano and Orchestra. Balanchine's choreography emphasizes an overt American style that is both athletic and musical. The ballet is focused on the middle movement pas de deux which features angular movement and a sense of improvisation.
Danced by the cast of Ekaterina Krysanova and Vyacheslav Lopatin with Ekaterina Shipulina in the leading soloist role, there was a lack of playfulness and abandon in this ballet. It was taken too seriously with too much exactness.
Diamonds, choreographed to excerpts from Tchaikovsky's Third Symphony, is an homage to the 19th Century ballets created by Marius Petipa. Performed with two principal dancers and a large corps de ballet, the style of the ballet is grand and grander.
Of the three components of Jewels, Diamonds was perfect for the Bolshoi Ballet, and was danced with the required musicality -- performing on and through the music. Leading Diamonds with the appropriate grandeur and dignity were Olga Smirnova and Semyon Chudin.
The costume and scenery designs were not those of the originals by Karinska and Peter Harvey.
The costumes were designed in a derivative Karinska style with the style dictated by the time period each ballet was paying homage to.
The scenery credited to designer Alyona Pikalova delineated similar structure in Emeralds and Rubies. Yet in Diamonds the designs were abstract and very different from the other acts. Emeralds' and Rubies' designs were columns of colored blocks, while the scenery design for Diamonds was a sparkling night sky.
In spite of the few imperfections in the dancers' performances in this production, Jewels is an excellent vehicle for the Bolshoi Ballet's dancers, who, for the most part, met the challenges presented in Balanchine's choreography.
The Royal Ballet Dances The Nutcracker
December 17, 2013
By Mark Kappel
In 1984 The Royal Ballet premiered a new production of The Nutcracker, which was a collaboration of the expertise of choreographer and stager, Peter Wright, and musicologist, Professor Roland John Wiley. The purpose of their collaboration was to recreate the original 1892 production of The Nutcracker which had been choreographed by Lev Ivanov. The production was further enhanced by Julia Trevelyan Oman's costume and scenery designs which were inspired by the Beidermeier era in 19th century Europe.
The amalgamation of these contributions resulted in a production of The Nutcracker that had the visual impact of the opening up of a Victorian Christmas card.
What was the most succesful aspect of this production was its story-telling which told E.T.A. Hoffmann's tale in a traditonal manner -- with traditional classical ballet choreography and mime to convey the story.
On December 17, 2013 Fathom Events presented a screening of The Royal Ballet dancing Peter Wright's production of The Nutcracker which reflected what a production of The Nutcracker should be. Enthusiastic and eloquent dancing, and an emphasis on story-telling -- telling a story for the ages.
Although Wright's production of The Nutcracker was based on the original scenario and structure, Wright did make some modifications. Both of the roles of Clara and the Nutcracker Prince are danced by adult dancers. Drosselmeyer's nephew, Hans-Peter, has been placed under a curse and Clara's journey -- under the guidance of Drosselmeyer -- is intended to free Hans-Peter from that curse. Hans-Peter is also transformed into the Nutcracker Prince, and reunites with Drosselmeyer in the ballet's epilogue.
There is also the traditional battle between the Mouse King and the Nutcracker Prince, and the journey by Clara and the Nutcracker Prince to the Sugar Plum Fairy's Kingdom.
This adaptation of The Nutcracker is still Clara's coming of age story but unlike some other versions of The Nutcracker, Clara moves the story forward, and she and the Nutcracker Prince also dance in the second act divertissements. The Grand Pas de Deux is reserved for the Sugar Plum Fairy and her Cavalier.
It's in these 19th century works that The Royal Ballet particularly shines -- and the characters come alive not only through how they are danced, but also with how The Royal Ballet's dancers employ their acting skills to make these flesh and blood characters come alive on stage.
Gary Avis' Drosselmeyer is the combination of a magician, master of ceremonies, and godfather, as he guides Clara through her journey with flair and showmanship. It is no wonder that Clara is amazed by him.
Francesca Hayward as Clara portrayed her role with the clarity of her dancing while expressing the innocence that the character requires.
Alexander Campbell in the dual role of Hans-Peter/The Nutcracker Prince was elegant in his dancing and portrayed both innocence and surprise as he encountered his many adventures under Drosselmeyer's watchful eye.
Wright included a wonderful moment in the epilogue when Clara wakes up from her dream and sails out of her house to have a chance meeting with Hans-Peter as he is trying to find his way to Drosselmeyer's house. Clara remembers him from her dream -- and you wonder if these two will meet again in the future.
As in any production of The Nutcracker the highlight is the Grand Pas de Deux danced by the Sugar Plum Fairy and her Cavalier in the second act. Danced with grandeur and polish by Laura Morera as the Sugar Plum Fairy and Federico Bonelli as her Cavalier, their performance was what The Nutcracker is all about -- the combination of fantasy and emotions danced to Tchaikovsky's majestic and heartfelt music. Morera had a crystalline and commanding quality and Bonelli was the elegant and attentive partner.
The Royal Ballet's corps de ballet shone in t he Snow Scene and in the Waltz of the Flowers -- and also as the guests at the Stahlbaum Family's Christmas Party in the first act. Also the children in the first act gave spontaneous and realistic performances adding to Peter Wright's story-telling approach to this classic ballet.
As it is a rare for touring ballet companies to perform The Nutcracker in New York City, Fathom Events provided a welcome opportunity for New York balletomanes to see The Royal Ballet's exquisite production of The Nutcracker.
Valentina Kozlova's Dance Conservatory Performance Project's The Nutcracker
December 7, 2013
By Mark Kappel
Valentina Kozlova's Dance Conservatory Performance Project presented its annual production of The Nutcracker at Symphony Space on December 7, 2013. The production itself, a choreographic collaboration of Margo Sappington's new choreography in the first act and Valentina Kozlova's re-staging of Vasily Vainonen's choreography in the second act, combines for an evening of story-telling and dance that is audience involving.
This year's performance was the most polished since the Dance Conservatory Performance Project began performing The Nutcracker. An example of fine-tuning, cogently telling E.T.A. Hoffman's tale, and these student dancers' sharpening their acting skills. All combined for an enjoyable and absorbing dance experience that is appropriate for the holiday season.
The performance is always highlighted by the enthusiasm and commitment of Kozlova's students and this year was no exception.
This year's production featured Margo Sappington as the Baroness Drosselmeyer guiding the story-telling and providing a great deal of magic and intrigue in this production.
Nikita Boris was a sophisticated Clara and was well partnered by Jack Furlong as the Nutcracker Prince. Their pas de deux was danced to Tchaikovsky's most compelling music in this ballet score and that feeling was communicated to the audience.
Another highlight was the Arabian Dance danced by Demitra Bereveskos and Solieh Samudio (a guest artist from the Ballet National de Panama) which displayed the exoticism in Tchaikovsky's music.
The culmination of any performance of The Nutcracker is the Grand Pas de Deux danced by the Sugar Plum Fairy and her Cavalier. Hannah Park's Sugar Plum Fairy was commanding and she asserted herself as the ruler of her kingdom. Gauthier Dedieu, a guest artist from the Staatsballett Berlin, was elegant in his dancing, and an attentive Cavalier.
Beckett's All That Fall
November 12, 2013
By Mark Kappel
A highly anticipated theatrical event of this season is Samuel Beckett's All That Fall, which is being presented at the 59E59 Theaters for a limited run of only 39 performances. Anticipation aside, All That Fall is a must see theatrical experience!
Commissioned by the BBC as a radio play and first performed in 1975, All That Fall combines all of the elements that Beckett is known for in his genre of theater -- a mix of existentialism, modernism, and absurdism.
This particular production of All That Fall was presented in London earlier this year for a limited engagement. It is fortunate that it has been transferred to New York and will be seen by a wider audience.
All That Fall's central character is Maddy Rooney, an outspoken and assertive Irish septuagenarian, who is superbly played by Eileen Atkins. It is her journey, and her interaction with the many colorful characters that Beckett has created, that makes us laugh, makes us think, and pushes our buttons emotionally.
Set in rural Ireland, All That Fall follows Maddy as she is making her way towards the railway station to meet her blind husband, Dan - brilliantly played by Michael Gambon -- as a surprise for his birthday. Maddy has three encounters along the way -- three people who offer her assistance during her journey to the train station -- transportation in the modes of horse and cart, bicycle, and limo. These modes of transportation have their fits and starts, and in some instances fail her, but offer marvelous conversations with the cart driver, the bicyclist, and the limo driver that are filled with local gossip. Added to the cast of characters is a snooty spinster who assists Maddy up the station stairs.
There is an abundance of physical comedy in these encounters and details are wrapped in Beckett's sharp wit.
When Maddy makes it to the station platform, she is confronted by the apprehension of her husband's train being unusually late -- and thus begins the unraveling of a mystery.
The train does arrive eventually. Dan, being blind and not being in the best of health himself, is assisted at the station by a young bouy, Jerry, who meets him at the station on a regular basis.
Difficult as it may be, undaunted, Maddy and Dan begin their journey on their own without Jerry's assistance - making their way back home -- making observations along their route, getting out of the way of children who are making a nuisance of themselves, observing the animals in the fields, and contending with rain and wind during their uphill climb -- comparing the journey to climing the Matterhorn. Through the course of the banter between Maddy and Dan we learn that their relationship has been hampered by Dan's ill-health and other challenges.
The conversation during the trek home becomes focused on the need to know why the train was late. Dan is upset, and is reluctant to inform Maddy what happened. All is revealed with the sudden re-appearance of Jerry who has chased after the couple to return an item Dan left behind -- and Jerry reveals that a child fell out of the railway carriage and then under the wheels of the train. Among the unanswered questions is whether Dan had some responsibility for the girl's death.
Although Dan shows anguish when the death of a child is mentioned, it is never revealed whether Dan had a part to play in this tragedy. As the journy home ends, the weather worsens and the couple is caught in heavy wind and rain.
Death is a theme in this play -- a subject matter that Beckett describes with humor and wit. There are many references to death in the interactions the characters have -- also heard are excerpts from Schubert's Death and the Maiden. The cumulative effect is doom, and the end result is a disturbing and thought-provoking play spinning a yarn in a bit over an hour.
Sound effects play an important role in this conception of All That Fall. Beckett conceived All That Fall as a radio play and it was performed as such during his lifetime. As it was for radio listeners and in this staged production, sounds indicate locations, actions, and atmosphere. The sound design by Paul Groothuis sets the tone of this production. The sounds are unobtrusive and test the imagination.
To meet Beckett's requirements that All That Fall be performed as a radio play, the actors carry scripts, props are minimal, there are microphones hanging from the ceiling to stimulate a 1950's studio, and also on stage is a mock-up of a car. All of these theatrical elements give the impression to the audience members that they are watching a studio recording of the play.
Working with the restrictions he has been given -- and a troupe of excellent actors -- Trevor Nunn has masterfully directed All That Fall.
The magnificent performnces by Eileen Atkins and Michael Gambon, and the supporting players, Billy Carter, Ruairi Conaghan, Trevor Cooper, Catherine Cusack, Frank Grimes, Liam Thrift, and James Hayes challenge the audience's imagination, and serve the playwright by making Beckett's words come alive.
American Dance Machine for the 21st Century Presents A Benefit Evening
November 11, 2013
City Center/Studio Five
By Mark Kappel
Whether or not your first exposure to a live performance was of ballet, modern dance, theatre, symphony or opera, the Broadway musical is a unique art form and uniquely American. Not only seen on the Broadway stage but on stages throughout the United States -- and all over the world -- and seen by new audiences on television series such as Smash and Glee - it is an art form that has been universally embraced.
When the American Dance Machine was re-established by executive director, Nikki Feirt Atkins, and artistic director, Margo Sappington, there is now a showcase for Broadway choreography to have a new life and be exposed to new audiences.
With that goal in mind, the American Dance Machine for the 21st Century presented a sampling of its expanding repertoire that included the Broadway choreography of Michael Bennett, Jerome Robbins, Randy Skinner, and Susan Stroman on November 11, 2013 in the City Center's Studio Five.
Margo Sappington and Nikki Feirt Atkins of ADM21 have dedicated themselves to creating a living archive of the best of classic musical theater choreography. This presentation was a continuation of their work.
Brand new to the company's repertoire is the iconic Turkey Lurkey Time created by Michael Bennett for the original Broadway production of Promises Promises, a turning point in the career of this choreographer who is best known for the classic American musical, A Chorus Line.
There has been a mystique and fascination about Bennett's Turkey Lurkey Time, a rousing Act I finale number that matched Burt Bacharach's intricate music.
Margo Sappington had an intimate involvement with that production of Promises Promises as Bennett's assistant and with original cast members, Baayork Lee, and Donna McKechnie, Turkey Lurkey Time was recreated for this performance.
With a cast led by Rosie Lani Fiedelman, Jessica Lee Goldyn, and Mara Davi, this staging had the immediacy of the original and created a wave of nostalgia. To its credit ADM21 has brought this piece back to life and for new audiences to see and experience.
Also new to ADM21's repertoire is Randy Skinner's Go Into Your Dance from the Broadway revival of 42nd Street -- inspired by 42nd Street's original choreographer Gower Champion -- where Mara Davi gave an object lesson of what can be communicated to an audience in song and dance.
This program also included other Broadway gems presented by ADM21 in the past including Michael Bennett's The Music and the Mirror from A Chorus Line danced by Jessica Lee Goldyn; Jerome Robbins' Mr. Monotony from Jerome Robbins' Broadway featuring Amra-Faye Wright and New York City Ballet dancers, Georgina Pazcoguin, Amar Ramasar, and Daniel Ulbricht; and Simply Irresistible from Susan Stroman's Contact led by Naomi Kaku as The Girl in the Yellow Dress.
ADM21 continues its journey to present the best of Broadway to a wider audience.
San Francisco Ballet Dances Cinderella
October 27, 2013
David Koch Theater
By Mark Kappel
During the second week of the San Francisco Ballet's engagement at the David Koch Theater, the company presented the New York premiere of Christopher Wheeldon's Cinderella, a co-production with the Dutch National Ballet.
Although Christopher Wheeldon has choreographed several full-length ballets, this was the first time that any of these full-length ballets had been presented in New York. This was Wheeldon as a story-teller -- telling a familiar story.
It has been stated that if your play, novel, poem -- or ballet -- included the plot elements of the Cinderella story, you would have a universal tale to tell and you would have a success. Librettist Craig Lucas and Christopher Wheeldon have adapted the story lines of both the Brothers Grimm version and Rossini's opera libretto -- and a few original elements to shape the story of this version of Cinderella. In many respects the libretto for Wheeldon's Cinderella is similar to the tinkering of the book for the current Rodgers and Hammerstein stage muscial version of Cinderella that is being performed on Broadway. Reinventing Cinderella for the 21st century.
Wheeldon's version of Cinderella opens with a young Cinderella coming to terms with her mother's illness and her passing. Cinderella's focus is on a grave marker for her mother and her mother's tears encourage the growth of a tree that harbors her mother's spirit. As Cinderella is represented at a young age, so are the two other protagonists in this adaptation of Cinderella -- the Prince and his friend, Benjamin, are depicted as young aristocrats wreaking havoc in the palace.
The most notable change in this adaptation is the absence of the Fairy Godmother. Instead there are four male dancers who represent Cinderella's fate who guide her through her adventures. And in this version, for a lark, Prince Guillaume swaps roles with his friend Benjamin, and it is as Benjamin that the Prince has his first meeting with Cinderella. It is Cinderella's kindness to the disguised Prince that forms the basis for a relationship between them.
Cinderella has her adjustment problems in dealing with her father's remarriage, coping with her tipsy stepmother -- who is portrayed less than evil and more comic -- and her relationships with her stepsisters are also not as estranged as in other versions of Cinderella. However Cinderella is seen exhibiting petulant behavior -- and is not seen as the scullery maid who seems to have a broom in her hand at all times. She is seen serving dinner to her family and another scene doing some cleaning, but you don't have the impression that she is living in poverty and is downtrodden -- and hoping for a better life.
The seasonal fairies have now been transformed to represent Lightness, Generosity, Mystery and Fluidity -- two of the variations danced by male dancers and two of the variations danced by female dancers. It is the Fates who make it possible for Cinderella to attend the ball -- punctuated by Basil Twist's magical image of a carriage -- which whisks Cinderella to the Prince's palace.
Returning to tradition, Cinderella and the Prince meet at the ball, fall in love, and Cinderella departs the ballet leaving behind a golden shoe rather than a glass slipper. The Prince finds her -- and the shoe fits -- and a wedding follows. The only departure from tradition is that Benjamin is entranced by Cinderella's stepsister, Clementine, creating a subplot love story in the ballet.
Wheeldon has chosen to employ Sergei Prokofiev's music for Cinderella. But he has not chosen to follow Prokofiev's blueprint in structuring his version of Cinderella. Wheeldon often conveys each plot element in vignettes -- with blackouts separating each scene. The story is somewhat disjointed and as the story isn't always conveyed in Wheeldon's choreography, his new concepts for his version of Cinderella are often obscured.
In this production of Cinderella it is not the choreography that dominates the ballet but the design team which has collaborated on the overall look of the production as well as contributing much in terms of the plot of this production of Cinderella. Julian Crouch's costumes and scenery play a dominant role in illuminating the story as does Natasha Katz's lighting designs -- as well as Daniel Brodie's projections and puppeteer Basil Twists's creation of the tree and carriage designs. These lavish design elements -- including portraits of prospective brides that wink and frown, and levitating chairs -- overwhelm the production at times.
The San Francisco Ballet's October 27, 2013 performance included in its cast Maria Kochetkova in the title role, Joan Boada as the Prince, Taras Domitro as Benjmain, Marie Claire D'Lyse as the Stepmother, Sarah Van Patten as Edwin, and Frances Chung as Stepsister Clementine. They all brought their characters to life within the choreographic parameters that were drawn for them. However the relationship between Cinderella and her Prince was not consistently passionate and in their pas de deux, there was little eye contact.
The inclusion of a full-length ballet during the San Francisco Ballet's New York engagement was significant. Story ballets appeal to audiences more than mixed-bills. But discovering and creating choreography to convey stories is an art form unto itself. Not every attempt is successful. This particular production of Cinderella was missing Fairy Godmother magic.
The San Francisco Ballet visited New York for a two-week period and it was a huge opportunity for New York audiences to get to know the company and its dancers. I hope it won't be too long before the San Francisco Ballet returns to New York and we can get to know the company even better.
New Adventures Presents Matthew Bourne's The Sleeping Beauty
October 25, 2013
By Mark Kappel
From October 23-November 3, 2013, the City Center is presenting a limited engagement of New Adventures dancing Matthew Bourne's interpretation of Tchaikovsky's classic, The Sleeping Beauty.
Bourne, with The Sleeping Beauty, has completed his Tchaikovsky trilogy and as an inveterate story-teller, Bourne has deconstructed and transformed The Sleeping Beauty into a gothic tale filled with romance and vampires -- a total re-thinking of this familiar fairy tale. All is accomplished with Bourne's frequent collaborator, Lez Brotherston, who has designed the lavish costumes and scenery which serve Bourne's reinterpretation of The Sleeping Beauty.
In presenting the story Bourne includes familiar characters from The Sleeping Beauty while adding or transforming his own. King Benedict and Queen Eleanor are the royal rulers of this kingdom, and Aurora's love interest is not a prince, but the gamekeeper, Leo.
Bourne begins his tale with an homage to the time in which Marius Petipa's original production of The Sleeping Beauty had premiered. Act I is set in 1890 and as the story develops and progresses the time travels from the Victorian Age to the Edwardian Era of 1911 -- then on to the Land of the Sleepwalkers circa 2011 concluding the story's end as described as having taken place yesterday.
In telling his version of The Sleeping Beauty, Bourne sets up the dramatic plot twist that Carabosse had conjured up a spell to make it possible for the King and Queen to have a child. Baby Aurora has entered the world and is a typical pampered princess, but Carabosse is offended that the royal couple is not appreciative of the gesture. It isn't until after Carabosse's death that revenge is taken by Carabosse's son, Caradoc.
The starting point for Bourne's Beauty is Aurora (played by a puppet) in her nursery well-guarded by her parents, governess, and servants. The traditional fairies appear -- although some are male and others are female. It's as if this precocious Aurora has conjured up the fairies who dance for her.
It is at Aurora's coming of age party that Caradoc appears to tempt Aurora with a black rose and casts his vengeful spell. However Count Lilac intervenes and has a plan to counter Caradoc's spell. Rather than a prince, it is Aurora's love, Leo the Gamekeeper, whose kiss will wake Aurora after her long sleep. However to make it possible for Leo to live for another hundred years, Count Lilac bites Leo's neck transforming him into a vampire -- a nerdy one at that -- and when enough time passes, Count Lilac returns to help Leo find Aurora and bring her back to life.
But Caradoc is waiting and when Aurora is kissed, it is not Leo Aurora sees but Caradoc. Undaunted Leo and Count Lilac band together rescuing Aurora after Count Lilac puts a stake through Caradoc's heart. A happy ending with the addition of a royal child -- and all of this to Tchaikovsky's music from The Sleeping Beauty.
Bourne's imagination runs wild throughout this production as baby Aurora is an active toddler played by a life-like puppet, the Rose Adagio takes place in a Rose Garden and is a love duet for Aurora and Leo, and the traditional Vision Scene is danced by a corps de ballet of female and male sleepwalkers. Throughout there are references from traditional productions of The Sleeping Beauty along with a bit of Giselle and a hint of The Rocky Horror Show.
At the October 25th performance, Ashley Shaw portrayed Aurora as a rebellious teenager -- rebelling against her parents and also ignoring social morays by falling in love with a gamekeeper. Dominic North's Leo was lovesick at times and nerdy at other times -- not the love interest one would expect in a fairy tale or in a gothic novel. Liam Mower as Count Lilac and Tom Jackson Greaves as Carabosse/Caradoc portrayed their characters with an air of the sinister and ambiguousness in regard to their intentions.
All of the cast members were committed to Bourne's re-working of The Sleeping Beauty making for an adventurous and theatrical dance experience.
Houston Ballet Returns to the Joyce Theater
October 22, 2013
By Mark Kappel
Many American ballet companies face economic and financial challenges that prevent these companies from performing in New York. Such engagements require self-presenting and in venues that would not allow the companies to present the repertoire that the companies can perform in their home cities. In such engagements New York audiences rarely get the full picture of each company's artistic vision and artistic accomplishments.
One of the companies that hasn't performed in New York often enough is the Houston Ballet which has returned to the Joyce Theater for performances from October 22-27, 2013 with a mixed-bill program that included works by a diversity of choreographers -- works that are known quantities.
Stanton Welch has been the Houston Ballet's artistic director for ten years and this mixed-bill program is a reflection of the artistic stamp he has now placed on the company.
Opening the program on October 22, 2013 was Mark Morris' Pacific, an ensemble piece for nine dancers that was premiered by the San Francisco Ballet in 1995. Morris' Pacific is danced to Lou Harrison's Trio for Violin, Cello and Piano which was played by live musicians.
Inspired by a West Coast sensibility and the influences of the West Coast being on the Pacific Rim, and its varying cultures, Morris created a modern dance piece that is placid. Calm is the word. Groups of dancers and individual dancers move across the stage as if not having a care in the world.
Pacific was danced by the standout ensemble of Ian Casady, Jessica Collado, Oliver Halkowich, Elise Judson, Melody Mennite, Allison Miller, Katherine Precourt, Connor Walsh, and Joseph Walsh.
Two smaller pieces were also danced on this program. One being, Hans van Manen's Solo, set to Bach's Suite for Violin in D minor, which was created for the Netherlands Dance Theater in 1997. This virtuoso piece for three male dancers is a series of solos and dances for three that are as quickly paced as Bach's music. The choreography is quirky, quick, and never boring.
The trio of male dancers was Jim Nowakowski, Connor Walsh, and Oliver Halkowich who beautifully executed van Manen's choreography and did so with showmanship.
The only piece on the program that was choreographed for the Houston Ballet was a vehicle for two of the company's principal dancers, Ben Stevenson's pas de deux, Twilight, set to Rachmaninoff's Elegie. Op. 3 No. 1. Twilight was created for the Houston Ballet principal dancers, Sara Webb and Ian Casady, when they competed in the Jackson International Ballet Competition. Over the years Stevenson created many such vehicles for the Houston Ballet dancers when they have competed in international dance competitions and danced in galas -- tailored to their skills and attributes as dancers.
Twilight is the genre of pas de deux that is both romantic and nostalgic -- a mood created by Stevenson's choreography -- and was beautifully danced by Webb and Casady.
Closing the program was Stanton Welch's Play, an ambitious and sprawling ensemble piece, danced to the music of Moby.
Play begins with the large cast on stage with a video of children playing -- projected on to the rear of the stage. When Play gets started it is now grown-ups at play -- although young grown-ups -- playing in an urban landscape exposing themselves to all kinds of stimuli. The frustration of coping with urban living and a bit of urban rage -- and how this all tests relationships -- is pervasive in Welch's concept and choreography. The choreography itself is organic and vernacular -- and improvisational.
The Houston Ballet dancers committed to Play on an intense level and also with a tongue in cheek attitude. The ensemble of Houston Ballet dancers that comprised the cast were Emily Bowen, Ian Casady, Soo Youn Cho, Jessica Collado, Christopher Comer, Rhodes Elliott, Karina Gonzalez, Christopher Gray, Oliver Halkowich, Nozomi Iijima, Katelyn May, Melody Mennite, Alyssa Springer, Brian Waldrep, Joseph Walsh, and Charles-Louis Yoshiyama.
The Houston Ballet's dancers are wonderful -- and impeccable artists. We should see more of the Houston Ballet -- and more often.
Bolshoi Ballet Dances Spartacus
October 20, 2013
By Mark Kappel
On October 20, 2013, Ballet in Cinema presented a live screening of one of the Bolshoi Ballet's signature works, Yuri Grigorovich's Spartacus. Although other versions had been danced before and after Grigorovich's first production of Spartacus premiered, his produciton is the most familiar and has also been danced during the Bolshoi Ballet's American tours.
Set to a score by Aram Khachaturian, Spartacus is an example of ballet choreography and story-telling during the Soviet era in Russia. There is heroic gesture and psychological solo monologues in which the main characters express their indecision and emotion. Also the story of the slave uprising led by Spartacus against the Roman regime became a metaphor for the Bolshevik Revolution. It is a spectacle in three acts and is enhanced by the enormous resources of the Bolshoi Ballet.
The sprawling story of Spartacus begins with the Roman consul, Crassus, returning to Rome after conquering Thrace. The Thracian King and Queen, Spartacus and his wife, Phrygia, are among the captives. Spartacus and Phrygia are separated with Phrygia joining Crassus' harem -- and Spartacus is forced to kill one of his close friends in a gladiator battle.
Spartacus leads a revolt and rescues all of the slave women. However it is one of Crassus' concubines, Aegina, who discovers Spartacus' camp. Aegina reveals the location to Crassus, and the Roman forces kill Spartacus.
There is no subtlety in Grigorovich's choreography. It is a larger than life style with grand gesture and movement that serves as a signature for each character. Grigorvich also highlights the most important twists in the plot with the visual images of tableaus which depict the principal characters at their lowest point, and also the ones with the most dramatic intensity. These theatrical elements are useful tools in telling this sprawling story.
The choreography for the male dancers in the cast represents the highlights of the ballet. Even in the male ensembles one sees virtuoso dancing and high jumps -- and in the pas de deux, complicated and acrobatic partnering. Add to this spectacle the grand scenery and large ensembles, it is clear there is no other way to communicate and visualize the story of Spartacus.
The title role in Spartacus has been a springboard for stardom when it comes to the Bolshoi Ballet's principal dancers. At this performance the role was danced by Mikhail Lobukhin. Besides his virtuoso execution of the choreogrpahy, there was the deep intensity that he brought to the title character.
Phrygia was danced by Anna Nikulina. Her great moments in the ballet did not come until the famous pas de deux in Act III, and in mourning Spartacus' death, Nikulina expressed warmth and grief in her dancing.
As often the case in stories that pit good against evil, the evil characters seem to have the meatier roles. Crassus, the Roman consul, who is Spartacus' nemesis, was danced by Vladislav Lantratov and his long-suffering mistress Aegina, was danced by Svetlana Zakharova. Their performances wreaked of evil, intensity, and in the instance of Zakharova as Aegina, also seduction.
Considering the fact that Grigorovich's Spartacus was given its world premiere in 1968, it is amazing that it has survived the political changes in Russia and its themes have remained relevant.
San Francisco Ballet Performs Lifar's Suite en Blanc
October 19, 2013
David Koch Theater
By Mark Kappel
On October 19, 2013, the San Francisco Ballet performed a variation on one of its previous mixed-bill programs. Seen for the first time during the San Francisco Ballet's New York engagement was Serge Lifar's Suite en Blanc which was given its company premiere by the San Francisco Ballet in 2013. Set to the music composed by Edouard Lalo for the ballet Namouna, Suite en Blanc was created for the Paris Opera Ballet, and was staged for the San Francisco Ballet by Maina Gielgud.
Both the Australian Ballet and the Paris Opera Ballet have performed Suite en Blanc in New York previously to the San Francisco Ballet's performance. All of these companies applied the appropriate style to their performances of Suite en Blanc yet at the same time each company gave Suite en Blanc distinctive performances.
Suite en Blanc is an example of the neo-classical ballet style of the 1940's and confirmed that Lifar was an innovator and a devotee of this style. The subtle partnering, the pure dance elements, and a rousing finale combine for an audience pleasing ballet, while also challenging the dancers to be confident in dancing Lifar's gloss on neo-classicism. There is no room here for being prim and proper.
The opening Pas de Trois, danced with style by Vanessa Zahorian, Taras Domitro, and Jaime Garcia Castilla, was followed by the dynamic performance of Serenade by Sasha de Sola.
Frances Chung followed leading the Pas de Cinq with power and security to be followed by Sarah Van Pattens' technically correct and ironic performance in the famous Cigarette variation.
Davit Karapetyan exhibited his technical prowess in the Mazurka to be followed by Yuan Yuan Tan and Tiit Helimets in a beautiful performance of the Pas de Deux.
Sofiane Sylve ended Suite en Blanc with her stylish rendition of the Flute solo -- and then the rousing finale. This pure dancing -- pure and stylish classical dancing -- showed off the San Francisco Ballet's dancers superbly.
Also on this program were repeat performances of Helgi Tomasson's Trio and Christopher Wheeldon's Ghosts danced by different casts from their New York premiere performances on October 16th.
This second performance of Wheeldon's Ghosts revealed details not seen on first viewing, and the new casts seen in both Ghosts and Trio enhanced particular aspects of the choreography.
Trio was led by the cast of Mathilde Froustey, Joan Boada, Dana Genschaft, Ruben Martin Cintas, Damian Smith, Frances Chung, and Taras Domitro. Although Froustey gave a cautious and safe performance, the rest of the cast was vibrant and winning.
Ghosts received a dramatically deepend performance by the cast of Maria Kochetkova, Vitor Luiz, Lorena Feijoo, Ruben Martin Cintas with Shane Wuerthner. Feijo gave what was a spiritual performance in a ballet about ghosts and spirits -- you felt she was from another world as a result of her expressive dancing.
San Francisco Ballet's Second Mixed-Bill Program of New York Premieres
October 18, 2013
David Koch Theater
By Mark Kappel
The San Francisco Ballet's second mixed-bill program, seen on October 18, 2013 included commissioned works by Alexei Ratmansky, Mark Morris, Yuri Possokhov, and Edwaard Liang, choreographers who have often worked with the San Francisco Ballet in the past.
If there was a theme running through this jam-packed program, it was that all of the choreography presented on the program owed their structure, style and inspiration from ground-breaking choreographers of the past and present. Both inspiration and pastiche were dominant in all of the works.
Alexei Ratmansky's From Foreign Lands was premiered in 2013 and is choreographed to music by Moritz Moszkowski. Reflecting the folk-like Moszkowski music, Ratmansky divided From Foreign Lands into six sections that reflected the national characteristics of the music. Represented were Russian, Italian, German, Spanish, and Polish dances plus a finale Hungarian dance.
However the choreography's theme was that of Bournonville and Bournonville's channeling of national dances in his choreography. As Ratmansky had danced with the Royal Danish Ballet this influence is often seen in his choreography and in From Foreign Lands this influence dominated the ballet. Ratmansky infused some of the choreography with the national characteristics he heard in the music, but they didn't always match, and the choreography seemed overly complicated for what could be simple national dances.
From Foreign Lands received an excellent performance by the San Francisco Ballet dancers.
The piece opened with a Russian Dance danced by Sasha de Sola, Davit Karapetyan, Maria Kochetkova and Vitor Luiz. Quickly following was the Italian Dance danced by Pascal Molat, Sarah Van Patten, Dana Genschaft, and Dores Andre, and the German Dance danced by Simone Messmer, Shane Wuerthner, Luke Ingham, and Luke Willis.
Maria Kochetkova, Pascal Molat, Sarah Van Patten, and Vitor Luiz returned to the stage to dance a Spanish Dance, and Simone Messmer, Sasha de Sola, Dores Andre, Dana Genschaft, Davit Karapetyan, Shane Wuerthner, Luke Ingham, and Luke Willis danced in a Polish Dance. The entire cast was brought back again for the finale Hungarian Dance.
Mark Morris' Beaux for a cast of eight male dancers is set to music by Martinu. From the curtain rising to a scenery backdrop matching the unitards that the dancers were costumed in, one saw the striking visual images that were similar to Merce Cunningham's in his Summerspace.
Morris' choice of angular movement for the dancers was also a reference to Cunningham's influence -- the dancers dancing in group dances and solos that are arranged at random. Although Morris has choreographed many pieces for ballet companies, he has not enlarged his vocabulary to include more balletic movement and still creates in the modern style.
Although Morris did not succeed in creating memorable images, Beaux did showcase the strong contingent of the San Francisco Ballet's male dancers through the ranks and included in its cast, Henry Sidford, Pascal Molat, Benjamin Stewart, Jeremy Rucker, Ruben Martin Cintas, James Sofranko, Sean Bennett, Luke Willis, and Dustin Shane Sperot.
Yuri Possokhov's Classical Symphony, choreographed to Prokofiev's music of the same name, was the only example of anything close to classical ballet on this program. The choreographic vocabulary was neo-classic but the pattern steps and partnering positions ended unexpectedly, and classical lines were blurred. The choreography for Classical Symphony had its influences from William Forsythe's The Vertiginous Thrill of Exactitude, which is also an experiment in developing the classical vocabulary and taking it into a new directions.
This fast-paced piece was danced in exemplary fashion by the cast of Vanessa Zahorian, Gennadi Nedvigin, Frances Chung, Carlos Quenedit, Clara Blanco, and Jaime Garcia Castilla.
Edwaard Liang's Symphonic Dances seeks inspiration from Rachmaninoff's music. Liang's choreography often has Kylian references but in Symphonic Dances there are also references to Balanchine's Serenade. Symphonic Dances is a mood and atmospheric piece in its roots.
At times the choreography was at odds with the flow of the music, and the choreographic pictures were not always clear. But the three pas de deux in the piece were emotionally compelling and inspired by Rachmaninoff's music.
The San Francisco Ballet dancers -- which included Yuan Yuan Tan, Luke Ingham, Sofiane Sylve, Tiit Helimets, Maria Kochetkova, and Victor Luiz in the principal roles -- kept the flow of the choreography continuing through the music's triumphant finale.
San Francisco Ballet Returns to New York
October 16, 2013
David Koch Theater
By Mark Kappel
The San Francisco Ballet has returned to the David Koch Theater for an historic two-week engagement. The last time the company perfomed at the David Koch Theater was in 2006 under the auspices of the Lincoln Center Festival -- and the last time the company performed in New York was in 2008 at the City Center.
During this engagement from October 16-27, 2013, the San Francisco Ballet will present a cross-section of repertoire that will include commissions created for the company and a full-length ballet that is a co-production with a European ballet company.
The San Francisco Ballet has been directed by former New York City Ballet principal dancer, Helgi Tomasson, since 1985, and he has put his personal artistic stamp on the company. He has made a commitment to commissioning new works and these recent commissions will be performed during this New York engagement.
To open this engagement, on October 16, 2013, the San Francisco Ballet presented its first mixed-bill program which included works choreographed by Helgi Tomasson, Christopher Wheeldon, and Wayne McGregor.
Opening the program was Helgi Tomasson's Trio, choreographed to the three movements of Tchaikovsky's Souvenir de Florence, which premiered in 2010. Danced in front of scenery that reflected the Italian Renaissance and choreography that is neo-classical in style, Trio is a pure dance work. There are allusions to Balanchine's Serenade, and a bit of Robbins in response to the music.
The highlight of the piece was the Pas de Trois in which Sarah Van Patten was partnered and tossed about by two competing lovers -- Tiit Helimets and Anthony Spaulding. All danced with passion-filled abandon. The excellent cast also included Vanessa Zahorian, Vitor Luiz, Maria Kochetkova, and Gennadi Nedvigin.
Christopher Wheeldon's Ghosts, set to music by C.F. Kip Winger, had dramatic underpinnings. Underneath there was a story to tell -- similar to stories told in Antony Tudor's ballets. The first image is the moon on a dark night -- dancers moving in groups and in couples -- not certain what and who they are. Becoming clearer as the piece develops is that these people are the ghosts named in the title of the piece. These spirits look back and also look forward into the future.
Episodic in its structure, each section ends abruptly choreographically and musically -- reinforced by blackouts. And an enigmatic conclusion with the ghosts as moving images as the curtain comes down.
As danced by Yuan Yuan Tan, Damian Smith, Sofiane Sylve, Tiit Helimets, and Shane Wuerthner, Wheeldon's Ghosts offered a different aspect of Wheeldon as a choreographer.
The program closed with Wayne McGregor's Borderlands with movement in synergy with a background electronic score by Joel Cadbury and Paul Stoney. Having premiered in 2013 this is a work of the moment.
McGregor's choreographic influences come from the likes of Merce Cunningham and there is often the motif of angular movement, complicated partnering, and movement at a quick pace. McGregor's dance pieces also display dancers as athletes as well as artists. Borderlands had all of these ingredients.
The piece opened with a square piece of scenery rising above the stage -- it was at that point that the lighting effects and the Cunningham influenced movement were melded together. The dancers are costumed in monochromatic unitards -- which also make reference to the score which beats like a metronome.
Ambiguous as McGregor's pieces can be they do bring out the best in the dancers and the cast of Maria Kochetkova, Jaime Garcia Castilla, Sarah Van Patten, Pascal Molat, Frances Chung, Carlos Quenedit, Sofiane Sylve, Anthony Spaulding, Koto Ishihara, Lonnie Weeks, Elizabeth Powell, and Francisco Mungamba danced their hearts out.
This first program reinforced what a powerhouse the San Francisco Ballet is as a ballet company.
Janis Brenner & Dancers Presents World Premiere
October 11, 2013