LATIN RHYTHMS UNLEASHED
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
