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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

Joffrey Ballet’s “Human Landscapes” Program Connects

October 18, 2012 by 4dancers

by Catherine L. Tully

The Joffrey Ballet’s 2012-2013 season opened Wednesday evening with a mixed repertory program aptly titled “Human Landscapes”. Forgotten Land, Pretty BALLET and The Green Table were offered to the audience at Chicago’s Auditorium Theatre, along with a live orchestra to accompany the three works.

Christine Rocas & Rory Hohenstein in Forgotten Land, photo by Herbert Migdoll

With its simple set and dancers clothed primarily in earth tones and varying shades of red, Jirí Kylián’s Forgotten Land opened the program for the evening. Set to music by Benjamin Britten, the contribution that the musicians and conductor Scott Speck made to the atmosphere was immediately apparent. As dancers whirled across the stage in what seemed an endless series of lifts, the music punctuated both the timing–as well as the tone of the piece. Performed confidently by the 12 dancers with the exception of a few minor timing issues, it was a surprise to learn that the piece hasn’t been done by the company since 1985.

joffrey ballet
Pretty BALLET, photo by Herbert Migdoll

Next was Pretty BALLET by James Kudelka, which opened with Victoria Jaiani held in a striking, if unusual pose–high above the head of partner Miguel Angel Blanco. With white fog blanketing the stage, the simple, dream-like scene was interrupted visually by a pair of bright red pointe shoes.

The contrast of effortless beauty and diligent work is explored throughout this piece–both concepts dear to the very heart of ballet as an art form. Denis Lavoie’s fragile-looking white skirts lend a magical quality to the stage, while the plain gray tights and shirts worn by the men seem to depict the repetition, labor and practice involved in perfecting ballet movements.

Highlights from the four movements in Pretty BALLET included a magnificent pas de deux, which featured Jaiani and Blanco, and a complex and extremely well-executed sequence for five men, performed by Derrick Agnoletti, Raul Casasola, John Mark Giragosian, Graham Maverick and Ricardo Santos. The music by Bohuslav Martinu˚ was brought to life by The Chicago Philharmonic, adding significantly to the overall impact of the piece.

The Joffrey Ballet performing The Green Table, photo by Herbert Migdoll

Always last on the program (by the specific request of choreographer Kurt Jooss) is The Green Table, a ballet that is interwoven with the very history of the Joffrey itself. Originally choreographed in 1932, the Joffrey was the first American company to perform this German Expressionist work–years later in 1967. A commentary on the fruitlessness of war, it is a powerful piece illuminated by costuming, gesture, music and nuance.

The ballet opens and ends with a group of diplomats who are gathered around a large green table. Clad in wonderfully crafted masks created by Hermann Markard, this is a political gathering that could be taking place anywhere–at any time. At the outset of the ballet, negotiation gives way to argument and the scene helps to set the stage for what is to come; battles, war, and eventually, death.

Fabrice Calmels & Anastacia Holden in The Green Table, photo by Herbert Migdoll

Death is a strong character in this ballet, and it seems as if dancer Fabrice Calmels was born to play this role. With his large frame costumed in frightening skeletal imagery the mere sight of him is imposing, whether he is marking time before he collects the next body or is claiming someone from the battle ground of war. Other standout performances include April Daly as The Old Mother and Temur Suluashvili who seemed to have boundless energy as The Profiteer.

The costuming by Hein Heckroth certainly adds to the haunting atmosphere of this ballet–especially since the scenery is, for the most part, absent. Frederick A. Cohen’s music gives the choreography another dimension, especially because of the dual piano work of Paul James Lewis and Mungunchimeg Buriad, which was incredibly powerful.

The entire company danced well here, and there were many strong characterizations and striking moments. As a ballet, The Green Table is only as good as the care taken to preserve its symbolism and structure, and that was done with a wonderful attention to detail by the Joffrey Ballet at all levels.

It connects.

“Human Landscapes” is at the Auditorium Theatre through October 28th.

 

 

Filed Under: 4dancers, Reviews Tagged With: april daly, auditorium theatre, Ballet, chicago philharmonic, denis lavoie, fabrice calmels, forgotten land, human landscapes, james kudelka, Jiří Kylián, kurt jooss, miguel angel blanco, pretty ballet, scott speck, the green table, the joffrey, victoria jaiani

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