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Joffrey Shows Range With “Unique Voices” Program

February 13, 2015 by 4dancers

The Joffrey Ballet in "Tulle". Photo by Cheryl Mann.
The Joffrey Ballet in “Tulle”. Photo by Cheryl Mann.

by Catherine L. Tully

The Joffrey Ballet displayed determination, range and energy as they tackled three disparate pieces on Wednesday night at Chicago’s Auditorium Theatre. “Unique Voices” offers the work of two choreographers who explore the various aspects of relationships, and one who delves into the very nature of ballet itself.

Maninyas by Stanton Welch
“Maninyas” – April Daly and Miguel Angel Blanco. Photo by Cheryl Mann.

Stanton Welch’s “Maninyas” examines the layers of vulnerability and openness in love relationships, and a range of related feelings are explored throughout. As a backdrop, panels of fabric hang from the ceiling and the dancers are dressed in vibrant hues, moving to Ross Edwards’ “Maninyas Concerto for Violin and Orchestra.”

Five couples whirl and leap through a series of movements so complex that it’s exhausting just to watch. The choreography is extremely challenging and the dancers attack it with strength and energy–although they fall a little short of perfection. That said, “Maninyas” is not an easy piece to dance flawlessly, and the company holds nothing back–women fling skirts around with abandon and men bravely tackle the most harrowing of lifts.

Specific movements are often repeated, reflecting various stages of self-protection—or abandon. At times dancers cover their eyes, while in other moments they wildly hurl their arms open to the heavens as if giving up—or giving in. Women arch backward and “trust fall” onto the backs of their partners, and in the final moments of the piece the women’s legs open widely in submission as men carry them off into the darkness.

The Man In Black ballet
“The Man in Black” – Edson Barbosa, Joanna Wozniak, Fernando Duarte amd Derrick Agnoletti. Photo by Cheryl Mann.

James Kudelka’s “The Man In Black” offers a totally different take on relationships. A decidedly non-showy piece, it meanders quietly through six different Johnny Cash covers—and what feels like many years of relationships between four people. Set for three men (Derrick Agnoletti, Edson Barbosa and Fernando Duarte) and one lady (Joanna Wozniak), it is a very emotional piece that examines the impact each person has on the group as a whole.

Although it takes some time to settle in and get invested after the wild intensity of “Maninyas,” the simplicity of this piece is as beautiful as it is pure. The dancers drift in and out of relationship with one another; sometimes fighting, sometimes desperate to help one who is troubled, and sometimes just going along on the “journey.” Cowboy boots are used both as costume and as a rhythm tool, and Cash’s voice couldn’t be more moving.

“The Man In Black” nearly comes across as an easy piece—until you begin to realize that many of the movements are like a Jenga puzzle, with one person completely reliant upon another for stability. Unlike the complexity of “Maninyas,” here almost everything is stripped down to the core—but paired with Cash’s tremendously powerful voice, it has everything needed to make a striking impact. And that it does.

The Joffrey Ballet in "Tulle". Photo by Cheryl Mann.
The Joffrey Ballet in “Tulle”. Photo by Cheryl Mann.

And then there’s “Tulle.”

Hailed as a “ballet about ballet,” this program-ending piece by Alexander Ekman is more theater than dance at the outset. Large LED panels serve as the backdrop, flashing images of eyes, clowns, and close-ups of what appears to be actual tulle fabric in a blue hue. The marvelous soundtrack by Mikael Karlsson is varied, and includes counting, heavy breathing, stomping and more fun/funny sounds punctuating a variety of “scenes” throughout the piece. The five positions are called off, a dancer talks about why she loves ballet and the history of the art form is examined in narrative.

At one point a bevy of “swans” wanders over to the edge of the stage and stops—looking out at the audience in silence for an uncomfortable amount of time. In an unexpected move, they all nervously begin to whistle the music to “Swan Lake”. It’s silly bits like this that add breadth to “Tulle,” and Ekman manages to deliver just the right amount—without mocking the art form in too terrible a fashion.

Ultimately, this behind-the-scenes, humorous take on ballet dissolves into a tight display of technique and a powerful ensemble piece with music to match. And while Ekman may make light of this dance form in some ways, it is clear that there is also a reverence and respect for the beauty it unveils when all the elements come together on stage. That was on display for all to see on opening night.

And indeed—it was pretty fantastic.


Joffrey’s “Unique Voices” program runs through February 22nd at the Auditorium Theatre in Chicago.


Disclosure: Joffrey dancer Cara Marie Gary and conductor Scott Speck are contributing writers to the site.

Filed Under: Performance Reviews Tagged With: alexander ekman, auditorium theatre, derrick agnoletti, edson barbosa, fernando duarte, james kudelka, joanna wozniak, joffrey, maninyas, stanton welch, swan lake, the joffrey ballet, the man in black, tulle, un, unique voices

Joffrey Triumphs With ‘La Bayadere’

October 18, 2013 by 4dancers

april daly_erica lynette edwards_jeremy taulbee
April Daly, Erica Lynette Edwards and Jeremy Taulbee in Joffrey’s La Bayadere. Photo by Cheryl Mann.

by Catherine L. Tully

Even when choosing a large-scale ballet Joffrey is unique–and “La Bayadere” is certainly a bold choice. The ballet was first performed in 1877 at the Bolshoi Theatre in St. Petersburg, and it was choreographed by Marius Petipa. This version has been updated by Houston Ballet’s marvelous Stanton Welch, and it is easy to see why he is one of the most sought after choreographers of our generation. He has the ability to create such interesting movement that one wishes they had two sets of eyes to see it all–especially when the stage is filled with dancers.

Although the three-act plot seems convoluted, at the center of it all it’s really just a tragic love triangle between Nikiya (the temple dancer, Victoria Jaiani), Solor (the warrior prince, Dylan Gutierrez) and Gamzatti (the Rajah’s daughter, April Daly). The first act is set in India and it traces the forbidden love story of Nikiya and Solor–and the plot to bring about her death, crafted by Gamzatti and her servant Ajah.

Jaiani is achingly supple–offering her submission to Solor with tender, fluttering arms and yielding bends of the torso. Gutierrez, although an able partner, was at his best when soaring and bounding across the stage with passionate abandon.

Welch’s choreography is both brilliant and difficult with demanding lifts, whiplash turns and unexpected combinations. In the first act, the dance for the four men was especially impressive, but the group dancing was also a joy to watch. Instead of tutus, tights and tiaras there are dazzling bras and colorful, flowing fabrics everywhere. The bright, jeweled costumes and lush scenery by Peter Farmer add quite a bit to the visual appeal of this ballet and Scott Speck and the Chicago Philharmonic added depth and drama with their mastery of the musical score by Minkus.

Fabrice Calmels is the perfect choice for the High Brahmin–radiating authority and confidence and dominating the stage with his presence. Also compelling were the musical John Mark Giragosian as Agni the Fire God and Erica Lynette Edwards as the maniacal Ajah.

The second act is set at the palace gardens as the wedding preparations for Solor and the princess Gamzatti take place. Daly was spectacular as she whipped off a triumphant series of fouettés and Jaiani was limp and heartbroken as she danced before the couple prior to her death.

victoria jaiani_dylan gutierrez3
Victoria Jaiani and Dylan Gutierrez in Joffrey’s La Bayadere. Photo by Cheryl Mann.

The beginning of the third act is in stark contrast to the color and vibrant atmosphere of the other two–especially in the “Kingdom of the Shades” where women in all white tutus–ghostly images–dance in unison. One by one these figures come down a long ramp in arabesque, balancing, bending back, balancing again. A trance-like scene, this is where Joffrey was at its most impressive. With only a slight sway or quiver here and there, the company triumphed over one of the more difficult corps de ballet scenes in classical ballet. They moved as one.

The three “shade solos” were all danced with verve. Cara Marie Gary bounced fluently, Amber Neumann floated lightly and Amanda Assucena’s solid balance and incredible extension appeared effortless.

Once Solor returns to reality the end of this ballet becomes a whirlwind–exciting and dramatic, if somewhat frenzied after the otherworldly scene before it.

La Bayadere runs through October 27th at the Auditorium Theatre in Chicago.

 

 

Filed Under: Performance Reviews, Uncategorized Tagged With: april daly, auditorium theatre, chicago philharmonic, dylan gutierrez, joffrey ballet, la bayadere, scott speck, stanton welch, victoria jaiani

Photographing The Joffrey Ballet

August 31, 2012 by 4dancers

by Christopher Duggan

Derrick Agnoletti of The Joffrey Ballet in Son of Chamber Symphony; photo Christopher Duggan, courtesy Jacob’s Pillow Dance.

Last week marked the end of Jacob’s Pillow Dance Festival’s 80th Anniversary, and I found myself scrambling from one dress rehearsal to the other trying to squeeze in documentation of both main stage performances. I was so excited/nostalgic about the fact that this is the last week of the summer, and I wanted to capture it all.

Victoria Jaiani and Miguel Angel Blanco of The Joffrey Ballet in Son of Chamber Symphony; photo Christopher Duggan, courtesy Jacob’s Pillow Dance.”

I loved The Joffrey Ballet‘s program. They danced Bells by former Bolshoi Ballet dancer and San Francisco Ballet choreographer Yuri Possokhov, Age of Innocence by Edwaard Liang, and Son of Chamber Symphony, a world premiere by Stanton Welch. It’s always exciting to photograph a world premiere. My photos will be the first ones showcasing the new dance, and it makes me nervous and psyched.

Victoria Jaiani and Miguel Angel Blanco of The Joffrey Ballet in Son of Chamber Symphony; photo Christopher Duggan, courtesy Jacob’s Pillow Dance.

This idea is amplified at Jacob’s Pillow where world-renowned companies perform on a world stage. It’s a big deal to premiere work at the Pillow. All eyes are here. I knew the company wanted approval of the images before they were given to the press, so I wanted to be sure I delivered both quality and quantity. I made a larger number of photographs than I typically do at dress rehearsal, and prepared and edited the photos for use within hours. It’s a lot of pressure to photograph for press use, but it’s something I’ve grown used to in the fast-paced world of performance documentation.

I had a great time with The Joffrey. The dancers were so talented, and the tutus in Stanton Welch’s new work were exquisite and especially fun to photograph.

Yumelia Garcia and Matthew Adamczyk of The Joffrey Ballet in Son of Chamber Symphony; photo 2012 Christopher Duggan, courtesy Jacob’s Pillow Dance.

Please visit my blog if you’d like to see more from this year’s festival. I post photos from Jacob’s Pillow each Friday, and I’m doing a few special projects in the coming weeks that I’d love to share.

Christopher Duggan, Photo by Julia Newman

Contributor Christopher Duggan is the founder and principal photographer of Christopher Duggan Photography, a New York City-based wedding and dance photography studio. Duggan has been the Festival Photographer for Jacob’s Pillow Dance since 2006. In this capacity, and as a respected New York-based dance photographer, he has worked with renowned choreographers and performers of international acclaim as well as upstarts in the city’s diverse performance scene.

He has created studio shots of Gallim Dance, Skybetter +  Associates and Zvidance, among others, and in 2011 alone, he has photographed WestFest at Cunningham Studios, Dance From the Heart for Dancers Responding to Aids, The Gotham Dance Festival at The Joyce Theater, and assisted Nel Shelby Productions in filming Vail International Dance Festival.

Duggan often teams up with his talented wife and Pillow videographer Nel Shelby (http://nelshelby.com). A New York City-based husband and wife dance documentation team, they are equipped to document performances, create and edit marketing videos and choreography reels, and much more.

Christopher Duggan Photography also covers Manhattan’s finest wedding venues, the Metropolitan and Tri-State areas, and frequently travels to destination weddings.  The company’s mission is straightforward and heartfelt – create timeless, memorable images of brides, grooms, their families and friends, and capture special moments of shared love, laughter and joy.

His photographs appear in The New York Times, Destination I Do, Photo District News, Boston Globe, Financial Times, Dance Magazine, Munaluchi Bridal, and Bride & Bloom, among other esteemed publications and popular wedding blogs. One of his images of Bruce Springsteen was added to the Rock & Roll Hall of Fame’s celebrated photography collection in 2010. His company has been selected for inclusion in “The Listings” in New York Weddings magazine.

Filed Under: 4dancers, Editorial, Finis Tagged With: bolshoi ballet, christopher duggan, dance photography, Edwaard Liang, jacob's pillow, san francisco ballet, stanton welch, the joffrey, the joffrey ballet, tutus, yuri possokhov

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