An audience member might be surprised when this bizarre character creation in recent productions of THE NUTCRACKER lifts “her” skirt in the Kingdom of Sweets onstage during the American Ballet Theatre (ABT) production playing now in Orange County’s Segerstrom Hall thru December 19. The moment counts as one of many in Alexei Ratmansky’s version of this revered classical ballet surely guaranteed to astonish families making the annual pilgrimage in order to dip their toes in the magic and wonderment that this ballet engenders during the Christmas season (especially this particular season).

Of course, if you treasure THE NUTCRACKER from year to year on a variety of stages, you already know that the story, characters and stagings often differ from one production to another. Who is “Drosselmeyer”, for example…an uncle, a toymaker, a magician, or a godfather? Or for that matter, is “Clara” a child with an active imagination, a princess or a “Sugar Plum Fairy”?  What is a constant, though, is Tchaikovsky’s ravishing score featuring gems such as “Waltz of the Snowflakes”, ”Waltz of the Flowers” and “Dance of the Sugar Plum Fairy” (a part of the brilliant Grande Pas de Deux for the Cavalier and the Princess). One is sure to recognize the strains of these evocative melodies whether played on a piano or by an orchestra the likes of the Pacific Symphony as is the case with this production.

This Choreographer, a journeyman from the famed Bolshoi Theatre in Moscow (now ABT’s Artist-In-Residence), decided to fashion the ballet with the focus of a young girl who sees herself evolving into an adult princess ballerina.  That provides inspiration for choices in his staging, but also presents opportunities for the principal dancers to embrace the youthful energy and “joie de vivre” in their own performances. And that they do! Both Hee Seo and Cory Stearns more than meet the moment.  In fact, “sympatico” captures the essence of their pairing. The ballerina embodies delicacy in her every gesture and floats through the air – a wisp of suredness and beauty as in the journey of a hummingbird. By her side, the Cavalier (or Prince if you will) evokes the stalwart nature of a gallant partner – devoted, powerful and resolute while willing to hoist her to the heights where she belongs (and does so – actually – with several thrilling lifts in his repertoire ever at the ready).

Yes, Mr. Ratmansky plugs in quite a few alterations to the traditional retelling of the original E.T.A. Hoffmann’s fantastical story “The Nutcracker and the Mouse King”, but his artistic concept dictated these changes. Notably, his addition of the kitchen scene as the ballet opens sets the tone for the playful adventures to come and humanizes the Stahlbaum household as well. Not only that, the larger role for the mice excited the youngsters in the audience as evidenced by their shrieks of hilarity. And the youngest mouse deserves singular acclaim; he’s (or she’s) a funmeister for sure!

Another significant change involved the tone of the Land of the Snow experience for Clara and the young Prince. The snowfall in this version gradually becomes more threatening to the youngsters and the Corps de Ballet become one with the ever worsening chaotic conditions threatening the duo on their journey. Ultimately, Drosselmeyer arrives on the scene with a sleigh to guide the terrified duo to a new land before intermission just as the Snowflakes… (Sorry, no spoiler here.)

That is not to say that all of the alterations proved successful.  For example, this critic found the revised role for the Sugar Plum Fairy to be totally unsatisfying.  Likewise, the opening choreography for Act II seemed confusing and a bit stultifying for my taste.

Bravo for the international dances in the Kingdom of Sweets (or Land of the Sugar Plum Fairy) which were a tribute to the daring exploits of Clara. All of them boasted unique treats which resulted in sugary excess. Count this guy a fan of the Arabian dance with its eventual descent into bedlam as the harem of four ladies turns the table on their bald-pated companion. In addition, the Chinese duo’s verve positively frolicked….almost with a Vaudeville flair (thinking George M. Cohan with a mandarin bent). Less folksy were the Cossacks of Russia and that may not be a disappointment given their antics. Certainly the Spanish couples met expectations, too. Only the sisters involved in the marzipan segment appeared to be underwhelming. 

“The “Waltz of the Flowers” blossomed with this choreographer’s vision. Oh, and the addition of the four spirited, tuxedoed bees enlivened this dance in an extraordinary way. The audience certainly celebrated the tossing of each and every “flower” by these guys who, by the way, were sporting some amusing, dangling stingers. These danseurs created quite the buzz!

Deserving of accolades are the children in this production as well.  Clara, Fritz and the Nutcracker toy-turned-young Prince lead the way with disciplined performances. The “Galop”, as executed by the children’s ensemble, registered charming as well.

As for the technical credits, Jennifer Tipton, as always, delivers crisp lighting accents, shadowy effects and affability in high doses. In the same vein, Richard Hudson absolutely nails the costume design elements, yet falls short on a few scenic chores including the evolution of Christmas decor in the Stahlbaum home and some disappointing framing aspects of the Kingdom of Sweets, too. 

The Pacific Symphony, under the baton of ABT Music Director Ormsby Wilkins on Opening Night, explored the intricacies of Tchaikovsky’s musical score in support of the dancers. Precision and purity of sound ruled the evening’s musical through-line. Consequently, the audience offered rapturous applause for the musicians’ enormous contributions when the Conductor joined the dancers at “Bows”.

The child in all of us deserves to annually bear witness to the beauty of THE NUTCRACKER. In this professional iteration, a rotating roster of ABT stars will lead future performances of this ballet classic, reviving Christmas cheer while demonstrating the expertise of one of the world’s greatest ballet companies. Costa Mesa can certainly be proud to host the American Ballet Theatre once again. Be advised, friends, “Mother Ginger“ promises a bevy of surprises along the way!

pc: Gene Schiavone & Doug Gifford

Theatre Curtain Calling… Reviewing the Situation

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They say that beauty is in the eyes of the beholder. Whether it’s a rush of overwhelming sadness as one gazes at the eyes of Vincent van Gogh’s subject in “Portrait of a Peasant” or the patriotic fervor rumbling heroically within one’s soul during Tchaikovsky’s “1812 Overture” played by the Los Angeles Philharmonic under the baton of Gustavo Dudamel, beauty is individual, impactful, yet ephemeral. Seeking the promise of joie de vivre, at least for a couple of hours, this guy engulfs himself in beauty tonight as he luxuriates among the artists of AMERICAN BALLET THEATRE (ABT) as they interpret LA BAYADERE on the stage of the DOROTHY CHANDLER PAVILION in Los Angeles (LA).

Often considered one of the five greatest classical ballets, along with SLEEPING BEAUTY, THE NUTCRACKER, SWAN LAKE and DON QUIXOTE, tonight’s ballet in 3 Acts features music by Ludwig Minkus as articulated magnificently by a 68 piece orchestra conducted by Ormsby Wilkins. It has been in the repertoire of this world class company for several decades using the choreography of the great ballerina Natalia Makarova after Marius Petipa.

LA BAYADERE (“Temple Dancer” in English) follows the story of a torrid love affair in India between the warrior Solor (Jeffrey Cirio) and Nikiya, a temple dancer (Isabella Boylston). A major complication arises in which the Rajah (Alexei Agoudine) demands that Solor marry his daughter Gamzatti (Misty Copeland). The High Brahmin (Roman Zhurbin), himself a suitor of Nikiya, likewise impacts the possibilities available to the pledged lovers. Now the forces of personal destruction intervene with intrigue, divided loyalty, suicide and murder all playing a significant role. Next, witness Solor’s opium-fueled reverie about his departed lover as well as preparations for his upcoming nuptials. Eventually, after the verdict of the gods is rendered, the tale continues on the “other side”. There is time, though, for a highly distinctive solo from a bronze idol (Joseph Gorak) before that occurs!

Count me a fan of the pre-show educational schooling about the ballet. Interested audience members learn the details surrounding the evolution of this ballet from its origins in St. Petersburg, Russia leading even to the current production and its specific dancers. After all, how else might I discover that Joseph Stalin was an avid balletomane? Curious, certainly.

As one might expect, the dance celebrity Misty Copeland finds herself a particular favorite of the sold out, opening night audience of 3200 ballet enthusiasts. Isabella Boylston also impresses with her sensitive portrayal of the temple dancer, replete with the technique and delicacy required to create the grandeur – the genre demands magnification –  of burgeoning love, its betrayal and its rejuvenation. Finally, it is the virtuosity of Jeffrey Cirio as Solor who manages to garner the most generous approbation from the adoring crowd. Truly astonishing athleticism!

The “The Kingdom of the Shades” reveals as an event unto itself, frankly. Its precision absolutely stuns. So grateful that fans on the west coast can sample its allure.

While this critic considers himself less a devoted fan of the ballet and – instead – more of a curious onlooker and voluntary prisoner of the Arts, he celebrates the opportunity to inhabit this incredible world if only just for a few hours occasionally.

Pc: Gene Schiavone

Kickass Dancing…Commentary on Pirouettes, Hippin’ ’n Hoppin’, Splits,Tutus and Any Rhythmic Gyrations Guaranteed to Get the Toes Tappin’ or the Heart  a – Thumpin’

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At the time of year when Cupid readies his sling of arrows, it seems fitting that San Diego Ballet offers a program entitled “DANCES OF LOVE & LAUGHTER” at the Lyceum Theatre. Executive Director Matt Carney announces that Associate Director Robin Morgan enthusiastically has curated the selection of dances for the company’s 30th Anniversary Season under the leadership of Artistic Director Javier Velasco. Suffice it to say, that the resulting scope and variety of performances sends the audience home uplifted with warm, fuzzy feelings for this troupe of professionals bringing pride to the San Diego dance scene.

From the gitgo, the evening blossoms playfully with composer Randy Newman’s charming, yet raspy vocals for “Buggin’ Me” as choreographed by Mr. Carney.  Well done, sir! Dancers Stephanie Maiorano and Joshua Webb engage in the give and take of unvarnished attraction, the melding of unique personalities and the vagaries of youthful love with a high fructose, hilarious version of the quest in a juvenile context. Buoyant chemistry and impressive execution lead to an almost volcanic appreciation on the applause scale. And…we’re off!

Waltzing into the rewards of the excerpt that follows from Riccardo Drigo’s “Le Talisman” (after the choreography of Marius Petipa) next finds us cheerily dipping into the pastel frosting of an ensemble of eight exquisite ladies, adorned with the airy costumes of Marcia Averett and Carol Crocker, and the solo dancing of the delicate marvel Kanna Kitsunai together with the bravado of visiting ballerino Ryosuke Ogura. Perfection. The damsels in the ensemble include the following: Marika Ashley, Sierra Crocker, Phoebe Perry, Isabelle Glavin, Sarah Feiertag, Camille McPherson, Georgie Parfitt and Lepa Juju Stojanovic. This piece lifts a gentle breeze to waft with glorious abandon across the stage.

Not to be outdone, the gentlemen follow the ladies with their own retort (an excerpt from “A Taste of Honey”) with the breezy “This Guy’s In Love With You” compliments of trumpeter and vocalist Herb Alpert with music by Burt Bacharach and lyrics by the always surprising Hal David. Add a dose of ingenious choreography from the inventive Mr. Velasco and the confident execution by the guys (Bo Brinton, Matthew Frezzell, Roman Frey, Joseph La Chance, Joe Molenaar and David Waisman) and they undoubtedly score on the romance card. Again, the audience provides the uproarious response – a crowd-pleaser to be sure!

Taking center stage now, we witness the attraction and realization of true love in the pairing of Izzy Overstreet and Adam Bloodgood on the chart-topping “The First Time Ever I Saw Your Face” (excerpt from Ewan MacColl’s “Backseats”) as sung by the amazing Roberta Flack in her luscious, renowned arrangement with choreography supplied – again – by Mr. Velasco.  These generous dancers allow the audience to share the joy and passion of their own, prescient journey of love (Side Note: Izzy and Adam will be marrying in August.).

Moving on, the program delves into the classical ballet arena, first with a  Victor Grovsky choreographic version of Daniel Auber’s “Grand Pas Classique Pas De Deux” (excerpt) with the attractive pairing of Jessica Conniff and Joshua Webb in their stately, mostly satisfying rendition. Ms. Morgan then presents us with the grandeur of Sergei Rachmaninoff’s “Rhapsody on a Theme” with a nod to Niccolo Paginini. Javier Velasco guides the delightful, delicate stylings of Erin Mesaros, ably supported by visiting danseur Roman Frey.  A grand blessing if you ask this observer!

Next, an ensemble of six dancers slide into a charming, sometimes silly, yet smile-inducing “L-O-V-E” (“When We Have the Stars” excerpt) abetted by the silky sounds of Nat King Cole in the song composed by Bert Kaempfert with lyrics by Milt Gabler. The ladies creating the magic include Bella Lara, Alexandra Lister, Zoe Marinello-Kohn and Natalie Panayl; the men are Bo Brinton and Joe Molenaar.  Soloists Emily DeVito and Matthew Frezzell are often featured throughout this playful exploration of the lyrical structure of the song, or perhaps “dissection” would be the more appropriate descriptor.

A dose of the full-throated strings inherent in many Johann Strauss symphonic compositions herald the final Act I offering, “Voices of Spring”, reigning supreme tonight in the free-floating pairing of the ballerina Kanna Kitsunai, in her second stunning performance, supported by a welcome visitor to the company – David Waisman. The two are certainly sympatico in their seamless coupling and give the audience a treat as this duo exits SL with a spectacular lift destined to elicit some buzz at intermission.  Credit superstar Frederick Ashton with this choreographic gem.

Act II ushers in the entire company (including SDB students) with Javier Velasco’s vision of Felix Mendelssohn’s score to A MIDSUMMER NIGHT’S DREAM (after the William Shakespeare comedy). A huge undertaking, this performance highlights both its most accomplished dancers along with the burgeoning talent of the future.

Yes, the faeries are a-flitting in the dreamscape of midsummer.  Their gossamer beauty is matched by the delicacy of their movement. “Moth” (Kanna Kitsunai), “Peaseblossom” (Erin Mesaros), “Mustardseed” (Izzy Overstreet) and “Cobweb” (Alexandra Lister) swoop and glide in and out of the proceedings at the behest of the dictates of their royal lieges ”King Oberon” (Adam Bloodgood) and “Queen Titania” (Zoe Marinello-Kohn) who tousle competitively between each other. It cannot be denied that this ballet offers Ms. Marinello-Kohn plenty of shining moments and she is a blazing force indeed, while Mr. Bloodgood acquits himself well, too.

Woodland sprite “Puck” (Tonatiuh Gomez) engages in a multitude of machinations and proves to be one of this ballet’s highlights just as is embedded in the poetry of the Bard of Avon’s source play. His cavorting across the stage and rosy, magical interludes as prankster command the comic possibilities in this dance.

Attention must be paid as well to the trials and tribulations of lovers at the core of the dance’s structural conceit. The featured dancers are cast well and follow the spellbinding instructions even as their romances go awry as a result of “Puck” ‘s meddling.  Fine expression and balletic interpretations from “Lysander” (Joshua Webb), “Hermia” (Jessica Conniff), “Demetrius” (Bo Brinton) and “Helena” (Stephanie Maiorano). Deserved respect goes to all of the dancers who continue to grow from season to season. Mr. Brinton comes to mind particularly in this vein.

Although the story offers fewer opportunities to dazzle; nevertheless, “King Theseus” of Athens (Joe La Chance) and “Queen Hippolyta” on behalf of the Amazons (Sierra Crocker), now betrothed to “Theseus“, both perform well when thrust into the limelight. Speaking of stage lighting, congratulations are in order for Justin Beats and Philippe Bergman who perform the thankless task of making sure all of these dancers can be seen and highlighted in service to the ballet as necessary.

Finally, as always, “Nick Bottom” (Matthew Frezzell) emerges as goofy or “asinine” (insert groan here) even to the limits of comic excess. Well done, Mr. Frezzell!  In this critic’s book you are a hoot (or a bray, if you will) in this role. Even though not particularly a fan of all of the choreography in these sections of the ballet, nor of this array of costumes actually; otherwise, it must be said that the “Rustics” (Bella Lara, Joe Molenaar, Jared Osoria, Natalie Panayl and Georgie Parfitt) labor quite successfully to earn their stripes as “rude mechanical” bumpkins. 

Whether evaluating the various attendant ensembles supporting these characters (i.e. “Titania”, “Oberon”, “Hippolyta”, “Hermia” and “Helena”), the “Heralds” or even the “Indian Boy” for that matter, the students at San Diego Ballet successfully achieve royal status in their designated roles. In toto, the audience revels at their presence.

Whew! This evening’s whirlwind of dance impresses on so many levels. Whatever else can be asserted, it registers as an unqualified, artistic success!

pc: Canela Photography

pc: Manuel Rotenberg

Theatre Curtain Calling… Reviewing the Situation

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Yes, indeed! It certainly isn’t classical ballet; no GISELLE or LE CORSAIRE here. Now if, instead, contemporary ballet is on the menu, a visit to the Escondido Center for the Arts would have been the place to be in late February to experience a heady sampling of the finest the genre has to offer. COMPLEXIONS, a company begun twenty-five years ago by the superstar Desmond Richardson and the creative genius Dwight Rhoden, offered a program entitled STAR DUST: FROM BACH TO BOWIE in the Concert Hall. The verdict? Dazzling and glamorous!

The early 18th Century, German Baroque composer Johann Sebastian Bach may seem like a daring departure from the norm for any successful balletic interpretation, yet it worked like gangbusters in the “BACH 25” portion of the program before intermission. The flurry of notes inherent in the music served as a pallet for dazzling, technical virtuosity and swift, uncanny changes in mood and theme.  The complex patterns and interplay of the dancers, coupled with the swift alterations in movement styles executed by the company, both proved exhilarating to the onlooker. These disciplined artists boasted an amazing muscularity and an extraordinary endurance capability. An occasional glimpse into the wings provided verification of the extreme physical demands of Mr. Rhoden’s acclaimed choreography.

Bring on the rockstar in the rock & roll section dedicated to the glamorous icon of the Seventies.  “STAR DUST” revealed not only Mr. Rhoden’s affection for the adventurous nature of David Bowie’s music, but also the passion of the company in its interpretation of the same. As the evening proceeded from the likes of “Lazarus” to “Changes” to ”Life On Mars” to “Space Oddity”, etc., individual company members were featured lip-syncing the tunes while the company itself strove to capture the rich possibilities of the music, reinventing – it seemed – ad infinitum. Decorated with glam costuming and make-up, and enhanced with rock & roll concert lighting, these dancers regaled the audience even to a state of joyful exuberance. Occasional feats of brilliance as in a proud walk across the stage by a tall male danseur en pointe crowned with an asterisk the evening’s stirring impact.

The standing ovation during “Bows” demonstrated the audience’s intense affection for this sterling, large company of about twenty artists making their second appearance at this venue. Hopefully, they can again thrill dance enthusiasts with future visits to this grand temple to the Arts in North County, San Diego.

Theatre Curtain Calling… Reviewing the Situation

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A dose of classical ballet is just what the doctor ordered!  And what better company to serve up the revivifying elixir than San Diego Ballet. In the friendly confines of Center Theater on the sprawling complex of the Escondido Center for the Arts, these professional dancers spread their wings as they create the remedy with their production of ROMANCE: EN POINTE!

The program launches with an excerpt from Prokofiev’s ROMEO ET JULIET and the romance theme finds its first expression.  Stephanie Maiorano & Tonatiuh Gomez embody the young lovers as they tentatively at first, yet zealously explore the heartbeat of their attraction. Utilizing the choreography of Artistic Director Javier Velasco, the dancers justify their pairing as they dabble in the delicacy, the fragility and the passion inherent in this classic ballet to the strains of this rich, even at times heroic musical composition. Beauty leaps from every interaction and every gesture (whether or not they are leaping). There’s a breathless quality as well that emerges in each instance in which the two approach each other. Pure, purposeful and devoted love.

Next, the audience encounters one of the most familiar balletic mainstays as Erin Mesaros and Matthew Frezzell interpret an excerpt from DON QUIXOTE. Ms.Mesaros unleashes an exuberant demeanor as she whirls through the famous Marius Petipa steps that have served alternately as the bane or the triumph for many a dancer over the years.  Mr. Frazzell captures the demeanor and the precision of the proud groom, yet somehow the bravura aspects only occasionally land. The partnering itself reads somewhat awkward at times, especially in the second movement of this Pas De Deux. The Ludwig Minkus music for the wedding reception provides the canvas for the good times represented in this dance.

Moving on, the audience is asked to follow the path of HEARTACHES with excerpts from three Country-Western standards: “I Fell To Pieces”, “Strange” and “Crazy”.  Since I am far from being a devotee of this particular genre of music, this critic does not trust his judgment about the three duos who performed. Needless to say, not one of them drew me into their spell.  The Velasco choreography struck this critic as not worthy of his considerable talents , too. However – let me be clear – others may feel the raw emotion that seems to be sorely missing from this quarter.

Just before intermission, one of my favorite dances of this presentation, the Pas De Deux from DIANA AND ACTEON, arrives with an unexpected allure.  Who says that classical ballet has to be staid and stultifying! Again,the choreography of the master, Marius Petipa, dazzles while producing a feast of admirable dance fireworks compliments of Emily DeVito and Tonatiuh Gomez.  The conduit for the joy boasts the music of Cesare Pugni. Ms. DeVito’s strength and intense regal presence serve both as a foil and as a spirited accomplice to Mr. Gomez. The pull of this hunter’s attraction always remains front and center. Likewise, his athleticism soars whenever the opportunity presents itself. Dynamic…whether alone or as partner. 

The main event in the second part of the program showcases the crown jewel of this classical ballet repast. Not the traditional interpretation  of GISELLE (ACT II) here, but a fresh look from the perspective of hard-working Mexican peasants overseen by Spanish noblemen. The delicate “Giselle” still dies from a broken heart as the discord is underscored by the ponderous, almost supernatural music of Adolphe Adam, featuring several leitmotifs for key characters.  Not much joy in Act II for sure, but it’s always moving to witness the “Willis” (duly rechristened “Fantasmas” in this instance) exact revenge for the betrayal in love of the upper crust “Alberto” (Adam Bloodgood). The welcome choreography blossoms under the direction of Javier Velasco with attribution to Marius Petipa after Jean Coralli and Jules Perrot. There’s a reason that GISELLE reigns as one of the world’s greatest classical ballets and this performance demonstrates why audiences will thirst for the full version in store for next season.

“Hilario” (Bo Brinton) features prominently as Act II begins. As the peasant who truly loved “Giselle” (Stephanie Maiorano) before her passing, his heartbroken demeanor reflects his sorrow at what could have been when he lays flowers at her grave.  Shortly thereafter, Queen “Myrta” (Cindy Case) arrives from the forest with her twenty Fantasmas in tow awaiting their opportunity to deal with Alberto as Giselle herself is about to join their ranks. Ms. Case embodies a fierce, unyielding nature who acts coldly and definitively. Her attendants, “Moyna” (Erin Mesaros) and “Zulma” (Emily DeVito), both give expression to the otherworldly, mysterious existence that the Fantasmas endure for eternity and they do so with distinction.

Once Alberto arrives on the scene, seeking forgiveness for his behavior which led to Giselle’s demise, the young lady emerges in spirit, seemingly willing to ignore his transgressions. At the direction of the relentless Ms. Cases’s queen, however, Giselle’s everlasting sorrow has already been prescribed.  Alberto must face the verdict of a dance of death leading to his own untimely destruction. Ms.Maiorano captures Giselle’s fragility and goodness wonderfully. She glides, leaps and turns while effortlessly proceeding across the stage in demonstration of her zest for life even as that window has closed. 

As the Fantasmas weave their geometric, synchronized, yet ruthless patterns on stage, Alberto dances first with abandon, later yielding to the overwhelming grief that his previous actions dictated. In spurts of energy leading to exhaustion, Adam Bloodgood superbly interprets the nobleman’s inability to make amends in the eyes of the severe Fantasmas as he wends his way – it seems as if ordained – to an ignoble end. Mr. Vasquez shapes the stoic Corps in a variety of threatening ways that suffocate Alberto along the way.  But can Giselle rise from the darkness, survive the relentless revenge of her sisters of bitterness and free Alberto of his guilt (thereby allowing his survival)?

In truth the Center Theater in Escondido serves as a fitting proving ground for this major World Premiere.  The evening’s other snippets of classical dance surely whet the appetite as well for the upcoming 2019-2020 season’s offerings still to be announced.

pc: Manuel Rotenberg

Theatre Curtain Calling… Reviewing the Situation

The post SAN DIEGO BALLET ROMANCE: EN POINTE! DANCE REVIEW appeared first on Table To Stage.

The jewel of City Ballet’s Spring program in 2019 at Spreckels Theatre downtown is MOZART’S REQUIEM; that accomplishment by itself would comprise a satisfying evening of dance for San Diego aficionados of the art form.  In this instance, though, that audience is treated to two distinct pieces that speak to different, yet allied elements of ballet: four PAIR and BATTU. Both of these presentations whet the appetite for the main event in singular ways.

The opening taste of a Claude Debussy piano suite (four PAIR) illustrates in its interpretation in four movements the unique colorings of his distinctive palette, a revolt against the strictures of conservative musical composition as the 1800’s come to an end at the turn of the century. Choreographer Geoff Gonzalez chooses four couples to explore relationships within the bond of their own unique connections. Pianist Mark Polesky ably abets the four duets with his sensitive musicianship.

Sumire Ito and Iago Breschi dance the “Prelude” movement of the “Suite bergamasque”, demonstrating why they are among City Ballet’s finest dancers. Strong connection. Fluidity in execution. In tune to each other’s style. Next, Lucas Ataide and Rony Lenis effectively interpret the “Passepied”, a sort of fast-paced, staccato minuet that captures a fashion of those times leading up to the debut of this piano suite in 1905 (although initially it was an earlier, less refined effort). Actually this is normally the fourth movement, although here it is danced as the second.

Thirdly, Bethany Green and Megan Jacobs dance the “Menuet” movement, staying true to its playful touches, yet engaging in its mystery as well. Finally, Tiffany Arroyo and Brian Heil give full expression to the most famous of the suite’s sections, the “Claire de Lune” movement. Inspirational to be sure.  All of the couples succeed in creating their particular relationships with aplomb if audience response provides a reliable measure. While the Paul Verlaine poem which influenced Debussy’s entire suite may not be a reference point that could influence audience appreciation, the music itself provides a comfy pillow upon which to rest.

BATTU, a World Premiere again choreographed by Geoff Gonzalez, sets in motion  the beat for the second part of the program preceding the intermission. How many times will viewers be likely to experience dance as instigated by a drum repertoire of unique sounds (here marvelously articulated by drummer Adam Larocca)? So, the landscape here inspires a great deal of angular, muscular interpretation fully in the mold of the contemporary ballet idiom, aided by the stunning costumes of Karin Yamada. Composer Nicholas Martynclow dazzles and surprises with this creation.  This reviewer celebrates the precision and full-throated, joyous execution by the capable ensemble: Rony Lenis, Danielle Archuleta, Madison Browning, Timmorie Freeman, Athena Nikolakopulos and Jessie Leigh Olson. These dancers are on fire!

It is fitting to acknowledge the expertise of the 26-pc City Ballet Orchestra under the baton of Conductor John Nettles along with Associate Conductor Diego Guerra,  in anticipation of the evening’s centerpiece: MOZART’S REQUIEM. The delectable sounds of this accomplished orchestra underscore the rich banquet of dancing in evidence on the Spreckels stage.  Not only that, the luscious shadings of the nearly 100 strong Pacific Coast Chorale, under the directorship of Jim Tompkins-MacLaine, add an impressive component to the main event as well. Thanks also to the artistic leadership of Steven Wistrich, steering the contributions of scores of City Ballet supporters, LIVE music is able to elevate the dance experience for all of us to enjoy.

What a fantastic vehicle to display the accomplishment of the City Ballet of San Diego principal dancers (Ariana Gonzalez, Geoff Gonzalez, Sumire Ito and Iago Breschi) along with its amazing Corps de Ballet! This masterpiece, mainly under the hand of Mozart himself was commissioned by a Count Franz von Walsegg supposedly in tribute to his deceased wife.  Later, since Mozart himself was dying, it increasingly became evident that it would serve its purpose on behalf of the Master. It lay unfinished at his death in 1792 and was completed by a disciple (Franz Xaver Sussmayr) at the behest of Mozart’s widow. The Artistic Director, Steven Wistrich, offers these historical details in a pre-show grounding for audience appreciation.  Very welcome indeed.

Choreographer Elizabeth Wistrich shapes the funeral Mass, laying bare the bones of its grand design with both quiet moments and glorious explosions of a potpourri of combinations which – at times – leave the onlookers breathless.  One is struck by the majesty of the piece as interpreted by the accomplished Corps, pressed to the limits of its endurance. This reviewer is struck as well by the expertise of Choreographer Wistrich’s ability to navigate the demands of the rhythms of the music by manipulating scores of Corps de Ballet members to and fro according to the varied demands of pacing and the hills and valleys therein. Chesea Brown and Tamlin Henahan’s costumes enable a kaleidoscope of coloration to engage with each movement. Stephen Judson’s lighting keeps up with the onerous dance requirements, too.

The physical demands of this artistic enterprise are clear and unrelenting for all. This critic can just imagine the energy and intellectual acumen required for these balletic goings-on.  Yes, there certainly are moments of exhaustion in evidence as the requiem wends its way to the “Agnus Dei”, yet always the dancers seem up to the challenge.

So, what is the asterisk on the evening’s program? This reviewer seems overwhelmed with the pinnacle of achievement in MOZART’S REQUIEM in D minor, but also celebrates the fresh perspectives of BATTU in particular.  It certainly means an animated discussion on the way home.

Kickass Dancing…Commentary on Pirouettes, Hippin’ ’n Hoppin’, Splits, Tutus and Any Rhythmic Gyrations Guaranteed to Get the Toes Tappin’ or the Heart a – Thumpin’

The post CITY BALLET OF SAN DIEGO MOZART’S REQUIEM DANCE REVIEW appeared first on Table To Stage.

As we walk into the Spreckels Theatre, the anticipation begins to build. BALANCHINE MASTERPIECES 2019 is on the agenda for tonight’s presentation by CITY BALLET OF SAN DIEGO together with the CITY BALLET ORCHESTRA under the musical direction of John Nettles. First, though, Steven Wistrich, City Ballet’s esteemed Artistic Director for 26 years, presents an overview of the ballets on the program for this evening. Soon after this orientation, the curtain rises and the grand Spreckels comes to life again as it has many times previously in its 107 year history, originally built to celebrate the opening of the Panama Canal.

A second pause here (actually the session lasts far longer), my fascination with the tentacles of The George Balanchine Trust piques my interest in the upcoming ballets. This organization sends a “repetiteur” (here Nilas Martins assisted by Monique Meunier; Eve Lawson) to stage the ballets if permission is granted by the Trust for a particular performance. These representatives provide welcome explanations mostly about the history of these ballets. As a comparison to the control exerted by the Balanchine Trust, in the musical theatre, more and more choreographers of renown are demanding that their own choreography be reproduced if any new stagings occur (e.g. following the model of Jerome Robbins’ work for WEST SIDE STORY), although it is only required of the show’s Choreographer that she follow written instructions for these stagings.  Conversely, in this arrangement for the Balanchine ballet choreography, there seems to be more of an iron fist approach to guarantee adherence to Balanchine’s vision. Admittedly, this serves as a significant benefit to both dancers and audience.

The evening’s program begins with Act II of the JEWELS ballet known as “RUBIES” which was devised by the Master during the Forties. The impact registers flashy and so “American” in its energy and jazzy elements. Clothed in ruby red garb emulating the original costume design, the dancers soar to the music of Paul Hindemith played with zip and pizzazz by the accomplished musicians. The audience applauds even as the curtain is hoisted, with the resulting din resounding even more when the Principals, Soloist and Corps de Ballet take their bows at its conclusion. Ariana Gonzalez and Iago Breschi dazzle in their execution and demonstrate a pairing that is sensitive, exuberant and polished. Soloist Megan Jacobs exudes charm and vivacity in her shining moments as well. The men and women in the Corps articulate the rhythms joyously and playfully with commendable technique. What a breath of fresh air to showcase the company!

After an intermission, the dancers take a step back to the real “Jazz Age” with the Igor Stravinsky ballet APOLLO, first choreographed in the Twenties. The Greek classic antiquity that informs the heart of this piece hardly defines the era with which it is normally associated. As with most of his ballets for the company that he mentored himself (i.e. his own NEW YORK CITY BALLET), he fashions abstract choreography totally distinct from the traditional story ballets.

A chamber orchestra plays the Stravinsky music in APOLLO. The rough outline of the Stravinsky libretto that accompanies his composition is notably threadbare. In short, Apollo is born,  interacts with the Muses Calliope (Poetry), Polyhymnia (Mime) and Terpsichore (Music) on his journey to climb Mt. Parnassus eventually. That’s it, folks!, Its challenges for the dancers are front and center, although this viewer struggles to engage during this ballet. To my ear, the orchestral rendition seems indistinct in the early section of the ballet as well. In reviewing the history it seems that APOLLO didn’t debut at NYCB until the early Fifties. Perhaps, Balanchine regarded it as a youthful exercise until honoring its historic importance later. At any rate, Mr. Breschi heroically excels in his portrayal while the Muses  (Tiffany Arroyo, Sumire Ito and Ariana Gonzalez) provide the inspiration to perfection. Intrigued I am that the de rigeur white tunic and tutus concept for this ballet are the creation of Coco Chanel. How’s that for trivia?

Another intermission (meant to be shorter, except that the audience wasn’t having it) follows before the other bookend of the evening’s program sets its marker. That next ballet moves us to the Sixties for THE FOUR TEMPERAMENTS. Mr. Nettles’ musicians, again as a chamber orchestra, tackle a new Stravinsky score with laudatory results. The basic black & white costumes of the entire company define the traditional Balanchine costume, if there is such a thing.

In medieval terms, these four temperaments express our nature in the following ways:  Melancholic (Sad, gloomy), Sanguinic (Positive, Optimistic), Phlegmatic (Cool, Calm) and Choleric (Angry, Unhinged). As Balanchine himself explained, the “temperaments” (or “humors”) are just stepping off points for his abstract choreography.

In this section of the evening’s offerings, I am struck by the disciplined footwork of the entire company, together with the shifting groupings, recognizable adherence to appropriate spacing and the unbelievable energy of these dancers.They wear their joy on their faces; it is easily electric. All are rewarded with extraordinary applause at Bows.

It would be unfortunate of me not to highlight some exemplary contributions from these dancers with this piece including the following: the Karissa Myers and Adam Bloodgood pairing; Lucas Ataide plus Demi-Soloists Hannah Potter and Kendell Wood and a dedicated Corps as well; Geoff Gonzalez and Sumire Ito coupling; and finally, Bethany Green. In truth, though, all of the Principals and Soloists featured in this later Balanchine creation serve the material with distinction.

As the evening ends, this observer recognizes that he has gained a broader understanding of the legendary George Balanchine. Yes, his musical theatre impact is indeed notable, too as evidenced by his contributions to shows such as THE BOYS FROM SYRACUSE, BABES IN ARMS and ON YOUR TOES in the Thirties and Forties, but his canvas overall is huge and I look forward to other discoveries on my own journey as a dance aficionado. The next City Ballet performances feature Mozart’s REQUIEM at the Spreckels Theatre on May 10-12.

pc: Chelsea Penyak

Kickass Dancing…Commentary on Pirouettes, Hippin’ ’n Hoppin’, Splits, Tutus and Any Rhythmic Gyrations Guaranteed to Get the Toes Tappin’ or the Heart a – Thumpin’

The post CITY BALLET OF SAN DIEGO BALANCHINE MASTERPIECES 2019 DANCE REVIEW appeared first on Table To Stage.

The Arts stir emotion, they reverberate in contemplation or personal expression and they resonate in words as well as  snapshots in the mind’s eye; in short, they live on, affecting the very beings of those who partake. This is evident when a museum visitor enters the Museum of Modern Art (MoMA) and casts his eyes on a Jackson Pollock masterpiece or when a theatregoer sits in her seat at a performance of DREAMGIRLS on Broadway and hears Jennifer Holliday dig to the depth of her soul as she belts out “And I’m Telling You I’m not Going”. It’s likewise evident in the ballet when a danseur leaps – it seems – almost to the stars effortlessly or a ballerina pirouettes with sublime delicacy.

A visit to the Lyceum Theatre recently, serving as a temple of dance that particular evening, stirred the above observations as this fortunate aficionado of the Arts witnessed the company of San Diego Ballet perform RITMOS LATINOS. The evening stirred my emotions, eliciting smiles and generous expressions of approbation. Not only that, the experience prompted a torrent of breathless commentary with my wife Susie on the drive home, followed by a motion picture of images cascading by as I lay on my pillow awaiting sleep’s reward. It shouldn’t be a surprise, I guess. Art is supposed to inhabit our souls – especially when it is articulated by a retinue of dancers of this professional calibre while adhering to the vision of Artistic Director and Choreographer Javier Velasco.

The RITMOS LATINOS: QUE BONITO  AMOR program consists of three segments. The first, “QUE BONITO AMOR” (How Beautiful Is Love), receives its inspiration from Mariachi music. Its ethnic niceties are joyous, reflecting the embrace of community. Five couples and more reinforce the interplay of the friends and relatives in celebration.  Marcia Averett’s costumes in white create an ambiance of conviviality. Meanwhile, Mr. Velasco’s choreography allows all of the ensemble to breathe in showcased moments – for example: the flowing sympatico of Ryan Walker with Cindy Case, the eager freedom of Emily DeVito with Bo Brinton, the robust lifts of Matthew Frezzell with Erin Mesaros or the knowing engagement of Adam Bloodgood and Izzy Overstreet.

Next on the evening’s menu is a banquet of “TANGATA” (Tango) and so the staccato elements of the Master Astor Piazzolla intrude on the happenings.  All of us have come to expect the intensity and danger of couples dueling with each other. It is the complementary patterns of the ensemble of seven that intrigues me most, though, in this segment. Smitten I am by the intricacy of movement from a trio of dancers in particular. Adam Bloodgood shines as he maneuvers two sterling ballerinas, Zoe Marinello-Kohn and Camille McPherson, in a mind-boggling array of possibilities. Who is the dominant one? In addition, I can’t help but be impressed with the pairing of Stephanie Maiorano and Tonatiuh Gomez as well. His strength and zest matches brilliantly with her innate (it seems) exuberance. Rounding out the dynamic ensemble are the precision, flare and tension of Jessica Conniff and Bo Brinton. In truth, I’m a sucker for the danger of the tango just as I hunger for “Film Noir” in the world of Cinema.

The centerpiece of the evening’s gifts undoubtedly belongs to jazz extraordinaire Gilbert Castellanos with his original composition enhanced for the dance idiom as “POR LOS MUERTO” (For The Dead) in tribute to the Mexican holiday celebrating the ancestors, especially friends and family. No skulls or skeletons here, just a slice of jazz heaven.

The impressive, simple ensemble opening sets the tone of reverence for the work before the sounds of the band instruct the audience to pay attention to the major influences in Mr. Castellanos’ journey to stardom as a renowned jazz trumpeter. Among these contributing artists are the following luminaries: Alfredo Damasco, Gary LeFebvre, Daniel Jackson, Snooky Young, Mundell Lowe, Joe Marillo and Frank LaMarca.  Also, cheers to the family of musicians onstage articulating their leader’s vision while accompanying his trumpet on tenor sax, piano, upright bass, congas, timbales and bata drums with percussive accents.

Mr. Velasco chooses to interpret the components of the piece in a variety of groupings including a solo for Ms. McPherson. It is here in this musical cornucopia that he lets his company loose to release their full-throated, sharp angularity as they give voice to an unleashed energy, registering their balletic gifts with the joy of the dance in full bloom. Time and again, the audience notes the fervor of their expression within this section.

Since my lens on the ballet is colored by a significant theatre background, let me add a few takeaways on my experience. So impressed with the techniques the Choreographer used to execute a steady pacing. Nary any wasted moments. Also, his use of the length and breadth of the stage prove to be exemplary, aided – of course – by the contributions of Lighting Designer Philippe Bergman . And on a far different note, one last shout out to Mr. Bloodgood’s total immersion in the evening’s blessings. No matter whether or not he was in focus at any given time, he was always in the moment – i.e. a tilt of the body, a facial expression, a hesitant nod etc. Just sayin’… (those elements of any stage performance leap out at me).

Returning to that “breathless commentary” to which I earlier alluded, my wife and I both concluded that RITMOS LATINOS goes far beyond “Latin Rhythms”, leading us even to euphoric territory. Congratulations!

DANCE GALLERY bows at White Box Arts Live on March 30, ROMANCE: EN POINTE! dazzles at the California Center for the Arts Escondido on April 27 & 28 and SONG OF SONGS concludes San Diego Ballet’s season at the Lyceum Theatre on May 24 – 26.

pc: Manuel Rotenberg

Kickass Dancing…Commentary on Pirouettes, Hippin’ ’n Hoppin’, Splits,Tutus and Any Rhythmic Gyrations Guaranteed to Get the Toes Tappin’ or the Heart a – Thumpin’

The post SAN DIEGO BALLET RITMOS LATINOS DANCE REVIEW appeared first on Table To Stage.

Apropos, right? That happens to be the name of the studio theatre, located in Liberty Station, San Diego, in which SAN DIEGO BALLET performs their dance revue entitled WHITE IN WHITE this weekend. Framed by a backdrop of flowing white fabric adorned by flickering (and pesky) white candles, the space invites a sampling of mostly classical.pieces for the rapt, packed audience in attendance tonight. Initially, Artistic Director Javier Velasco provides some insights into the selection of the repertoire on the program.

Dancer Camille Mcpherson solos on the first selection, “Le Cygne”, resonating on pointe in the memory of Anna Pavlova, the original ballerina who captured both the beauty and the dread of a dying swan to the music of Camille Saint-Saens. Delicate and almost ethereal.

Next, to the sounds of Claude Debussy, Joe Hochschild and Zoe Marinello-Kohn interpret “Prelude to the Afternoon of a Faun” with a contemporary approach. Its starkness speaks artifice rather than the sensuality usually attached to this classic. Frankly, not a fan from this quarter.

Onto the more traditional approach with some selections from “Que Bonito Amor” (What A Beautiful Love) danced by Cindy Case and Ryan Walker. As far as this reviewer is concerned, mariachi music and ballet provide a winning combination. Celebratory and joyous!

Surprised to see the the “Pas de deux from Giselle” on the program tonight since City Ballet of San Diego recently offered the entire ballet at the Spreckels Theatre as part of their 2017-18 Season. No matter, Stephanie Melorano and Adam Bloodgood capture the Romanticism inherent in their otherworldly coupling.

As the finale of the evening, a dozen SAN DIEGO BALLET dancers fill every nook and cranny of this tiny stage in a flurry of beauty in  “Les Sylphides” (“Sylphs”…mythological air spirits) to the music of Frederic Chopin. There’s a freedom bursting from this piece after the original choreography of Michael Fokine. Mr. Hochschild, as the “Poet”, and the Sylphs nurture the mood of Romanticism with their glorious dance in the moonlight.

The evening’s wonderment breathes in exultation with these accomplished dancers. Experiencing their notable technique up close and personal seems refreshing to this observer. Now if the chairs could be way more comfortable and the worry about those candles setting the studio afire (with yours truly fried to a crisp) could be removed, this evening would have been nothing short of perfection. As it is this guy heads out to the night air thankful for the blessings of dance and grateful for the opportunity to stretch these limbs in his own celebration.

Kickass Dancing…Commentary on Pirouettes, Hippin’ ’n Hoppin’, Splits, Tutus and Any Rhythmic Gyrations Guaranteed to Get the Toes Tappin’ or the Heart – a – Thumpin’

The post SAN DIEGO BALLET WHITE IN WHITE DANCE REVIEW appeared first on Table To Stage.

Art can sometimes be a realization difficult to grasp. At the Spreckels Theatre recently…not so much. Susie Reese and I love wrapping ourselves in a cloak of exquisite beauty and here on this stage we find ourselves in glorious comfort. GISELLE, as interpreted by the lithesome, accomplished dancers in CITY BALLET OF SAN DIEGO’s production, delivers a gift to the audience and all of us find ourselves richer for it.

Who doesn’t savor one of these romantic, classical ballets like GISELLE which could shoulder the designation of “warhorse”? Yes, it’s a staple in the classical ballet repertoire, yet it has much to offer not only about balletic technique, but also the emotional engagement needed to pursue romantic ideals.

Elizabeth Wistrich designs the choreography after Jules Perrot, Jean Coralli and Marius Petipa. Of course the principals shine individually, but it is the work of the Corps de ballet which rises like cream to the top. Not only that, but the gorgeous music of Adolphe Adam is grandly interpreted by the doting attention of the City Ballet Orchestra as conducted by veteran John Nettles.

So grateful for the pre-show orientation by Artistic Director Steven Wistrich at the SPRECKELS THEATRE this evening. His insights into the “Wilis” drew us into a keener understanding of Giselle’s emergence from the Wilis and the connection she still feels for her former lover.

As many already understand, “Albrecht”, a nobleman, danced joyously by Iago Breschi, finds himself hopelessly in love with the peasant girl “Giselle”, danced expressively by the ballerina Ariana Gonzalez. Love happens with reckless abandon in romantic ballets and in this case, despite his being betrothed in an arranged marriage with “Bathilde” (Bethany Green), a member of his own “class”, decides to risk it all by pursuing his love with the delicate Giselle. Unfortunately, “Hilarion”, the medieval German gamekeeper danced by Geoff Gonzalez, also has designs on Giselle and that spells doom for the Albrecht/Giselle relationship.  Ultimately, the betrayal of her lover, together with her weak heart, leads to inconsolable tragedy for Giselle and her mother “Berthe” (Kimberly Roberts).  

In Act II, though, the Wilis emerge from the forest to punish the men who have caused such torment in their lives by abandoning their lady before the nuptials. Led by “ Queen Mertha” (Megan Jacobs), they exact their punishment en masse, forcing the offending men to dance until death. Jilting one’s lady has consequences.

Iago Breschi commands the stage as the nobleman bored with his meaningless life to be smitten by the youthful peasant girl who is the delicate bloom admired by all in her community. His attentions in disguise are passionate and sincere.  It is a performance of range displaying the necessary exuberance, but also the determination and ardor when challenged by the Wilis.

Ariana Gonzalez also envelops the stage in an aura of blushing joy as she yields to the attention of the generous new neighbor who is sweeping her away in love’s gentle embrace. She effortlessly reveals her willingness to yield to the exhortations of “Loys” (the disguised “Albrecht”). The ballerina impresses as she receives the news of the betrayal, sinking into the abyss of lost love and hopelessly displaying her fragility before her last breath. When she is about to be initiated into the Wilis,  her constancy of love and the generosity of her willingness to forgive both rise to the surface during her defense of suitor Albrecht. She is a lady who loves wholeheartedly in death just as in life. Ms. Gonzalez is able to navigate both the fragility of her character’s condition and the strength required to confront the demands of the Wilis.

Geoff Gonzalez effectively captures the jealous nature of Hilarion and is masterful in his dance to death when enveloped by the Wilis in Act II. A mention is in order as well for the Ryosuke Ogura/Sumire Ito peasant Pas de Deux as a part of the harvest celebration. Well-received by the audience and rightly so.

Admittedly, what will always be most memorable about this ballet is the ethereal nature of the Wilis. Their dark, yet heavenly presence manifests as a force and evolves into menacing and controlling behavior as they exact retribution for the failings of the men who caused such incalculable pain. This Corps de Ballet writhes, contorts and challenges in pursuit of their goals. Brava!

So, until next time visiting the German bucolic hinterlands, I say goodbye to GISELLE, even while nurturing the images of a beauteous creation on the stage of the SPRECKELS THEATRE in my mind’s eye. Since the production is double cast, other principals bask in the limelight for the weekend’s final performance on Sunday.

Kickass Dancing…Commentary on Pirouettes, Hippin’ ’n Hoppin’, Splits,Tutus and Any Rhythmic Gyrations Guaranteed to Get the Toes Tappin’ or the Heart – a – Thumpin’

The post CITY BALLET OF SAN DIEGO GISELLE DANCE REVIEW appeared first on Table To Stage.