By Kathryn Olsen
This weekend heralds the opening of Ballet West’s 2019-20 season and Salt Lake City‘s premiere dance company engages audiences of all backgrounds at the Capitol Theatre with the neoclassical works of Ballets Russes. This program features three individual stories rather than a long-format ballet, all choreographed in the 1920s by the ground-breaking American choreographer George Balanchine. These three works, part of a collection of nine ballets, feature minimalist sets, simple costumes, and striking music by both Igor Stravinsky and Sergei Prokofiev. I had seen Balanchine’s work, both in a previous production of the Ballet Russes and his version of The Nutcracker.
The program begins with “The Song of the Nightingale,” a Hans Christian Andersen talein which a Chinese Emperor (Christopher Sellars) who has befriended a nightingale (Jenna Rae Herrera) loses sight of that friendship when presented with a mechanical imitation of his devoted friend (Tyler Gum). That night, Death (Allison DeBona) comes for the Emperor and it is only through the fateful intervention of the real nightingale that he survives.
Herrera (Sayaka Ohtaki) enchants as the titular character while bringing great energy to the role. Her fondness for the Emperor and his subjects is interlaced with their love for her, but her cunning assault on Death is equally powerful.
DeBona tackles the role of protagonist with subtlety and cunning. Her scene may be brief, but the malice is even more evident in her performance than in the blood-red costume she wears.
Gum’s brief role as the Mechanical Nightingale is charming and humorous. He is cast as a poor imitation of the heroine, but balances artistry with necessarily robotic choreography.
Rex Tilton (Alexander MacFarlan) appears in a supporting role as the Japanese Maestro who brings the gift of the Mechanical Nightingale to court. His interpretation is both obsequious and self-serving so that his intentions are intriguing.
Sellars commands respect in his almost passive majesty. His is the role that requires the most stage presence, as the story’s every beat reflects on how the events will affect him.
The corps de ballet is captivating as the choreography showcases “Chinoiserie” or how Europeans viewed Chinese cultures. Their movements hint at folk dances from that nationality while reflecting Balanchine’s modern dance innovation.
The second work, “Apollo,” depicts the birth, development, and apotheosis of the eponymous Greek god (Adrian Fry). He discovers his legendary talent for the lyre and establishes himself as leader of the Muses before ascending to Mount Parnassus.
Fry (Chase O’Connell) is what makes this ballet so striking. The character embodies a god who is leader and patron and this is flawlessly interpreted in Fry’s powerful gentleness.
Katie Critchlow (Emily Neale) is charming as Calliope, the muse of poetry. The ballet includes no diaogue, but she postures as a great orator while also conveying a sense of wit.
Beckanne Sisk (Chelsea Keefer, Jenna Rae Herrera) plays Polyhymnia, Muse of mime in a way that recalls some farcical characters. Hers is the role that allows the audience to chortle and appreciate the slyness of her role.
Sayaka Ohtaki (Beckanne Sisk) is tasked with playing Terpsichore, Muse of dance, and the one with whom Apollo has the most affinity. Her solo variation as well as pas de deux with Fry recall more classical forms of dance and create a kinship between the two characters.
The story of “Prodigal Son” is a familiar one to many people, as it is based on a parable of a repentant son from the Bible. The Son (Hadriel Diniz) is unappreciative of his father’s care and guidance and uses his inheritance to squander his life. It is after he has realized the gravity of his mistakes that he returns to his own country, offering to be a servant in his humiliation and remorse, and being welcomed home gladly by his family.
Diniz (Christopher Sellars) closes the program with a performance that is stunning in its range. He is a man possessed of great confidence and charisma, but is no less mesmerizing when he literally drags himself across the stage with the assistance of a walking stick.
His temptations come in various forms, but the Siren call comes in the form of the beguiling and seductive Katlyn Addison (Allison DeBona). She is the work’s equivalent of the Black Swan, someone who should not be trusted, but is unmistakably alluring.
The Father, as played by Dominic Ballard (Trevor Neumann), is a commanding presence at the beginning as a disciplinarian and at the end as the man who only wants the best for his family. He bookends the piece with great compassion.
Two pairs of characters provide a contrast for the Son. Lillian Casscells and Victoria Vassos are the dutiful daughters who graciously and unassumingly echo their father’s attitudes towards the Son. Alexander MacFarlan and Jordan Veit (Kyle Davis, David Huffmire) are the friends who entice the Son to abandon his home and are a wonderfully humorous addition to the story.
The ensemble, consisting of Drinking Companions, is a reckless and debauched crew. They are the hyperbolic representation of the good life that the Son is seeking and marvelously call to mind an ill-advised frat party.
The most stunning aspect of the entire evening is Ballet West’s tireless efforts to recreate the original. Presentation boards in the lobby and articles in the program detail the hard work of Millicent Hodson and Kenneth Archer involved in using everything from photographs to dancer interviews to bring the 1920s masterpieces to the 2019 audience. For example, the décor, sets, and costuming were originally done by Henri Matisse, but reconstructed by Esteban Frances and Karinska, while Colleen Neary was credited with the staging. The lighting design by Jim French and sets are as minimalist as the costumes, with one central structure being either the centerpiece of the stage or the versatile platform for multiple scenes, which allow the stories to come into clear focus. Jared Oaks, as always, conducts the orchestra as an indispensable support of and complement to the action onstage.
This classic of modern choreography is being performed until November 2, so do not miss this opportunity to see a masterful rendition of a ballet classic. Open to audiences 8 and older, it can be enjoyed by young and old alike.
Ballet West presents Ballet Russes; Choreography by George Balanchine, Music by Igor Stravinsky and Sergei Prokofiev.
Capitol Theatre, 50 W 200 S, Salt Lake City, UT 84101
Oct 25-Nov 2, 2019 7:30 PM, see site for dates and times.
Tickets: $20-104
Contact: 801-869-6920
www.balletwest.org
Ballet West Facebook Page
Ballets Russes Facebook Event
I hope someone has pointed out to you that Tyler Gum is a fantastic, extremely talented male dancer. Your reference to “her” performance was disappointing and hopefully did not take away from any reader’s admiration or respect for Mr. Gum’s contribution to the ballet.
I have corrected that mistake. Thank you for pointing it out.