EN POINTE ME THE WAY
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
