By Kathryn Olsen
The 2022-2023 season for Utah Metropolitan Ballet closed with its annual tradition of the Tribute performance at Covey Center for the Arts in Provo, recommended here by Front Row Reviewers. The program consists of several performances in honor of people who have contributed to the community in some way and each piece reflects the appreciation that the ballet company has for one of the honorees. As I have recently grown to know and appreciate both one of those honored and a principal dancer of this ensemble, I enthusiastically looked forward to attending the last production of the season.
The program opened with Retrograde, an almost symbiotic expression of movement choreographed by Brittnee Squires and set to quite dynamically interesting music from Symphony No. 2 by Ezio Bosso. In many works, the corps de ballet takes a secondary role to the protagonists of the story, but this opening effort made effective use of the unity of the dancers while allowing moments of individual expression. It was sometimes difficult to tell where one artist began and another took over and the music’s ebb and flow made a wonderful counterpoint to the various elements.
The first honoree of the night, Ellen Christenson, was a community leader, arts enthusiast, and accomplished pianist. It was pointed out that she came to UMB through her daughter’s interest in ballet and it was a delight to see her daughter Amy Cook, now a principal artist, perform Infinity as a pas de deux with Matteo Garattoni. The choreography was notably a result of the efforts of Amy’s teacher in those early years, Jacqueline P. College. The on-stage accompaniment by Dr. Carman Hall was a sublime rendition of Frederic Chopin’s Etude Op. 25 No. 1 in A-flat Major. The duet by Cook and Garattoni was likewise full of yearning and resolution, tension and release and reflected the ever-changing nature of the music as a work that was always growing in some way.
Suite for Eight, choreographed by Alan Hineline to Oliver Davis’ Bute Cello Duets III and J.S. Bach’s The Cello Suites, was presented in honor of Oakley Peterson. This advocate and influencer is known for her advocacy of children with disabilities and, while her work with Nothing Down About It is well-known, it was her We All Belong program that came to mind during the performance dedicated to her. This second ensemble piece not only relied on the community strength formed by the dancers, but was literally uplifting in its storytelling and was reminiscent of Peterson’s group’s efforts to bring more inclusion to schools. There were several breakout passages that were striking and distinctive, but there was immense power in the unity of the ensemble work.
The third honoree of the evening, John Dye, was well-known for his autism advocacy, but also for his work in media as well as the Light the World campaigns. Heather Gray’s work is entitled Dusk and featured the second duet of the evening. Dancing to music by Abel Korzeniowski, Jennifer Christie and Sebastian Vinet worked marvelously together in a piece that felt as much about how they related to each other as what their journeys were like when they were apart. Vinet, a principal guest artist, was notable for intensity and focus that was compelling to watch. 2023 was the final season of Kristie after seven years, one with Utah Regional Ballet before she became a Principal for the newly-renamed Utah Metropolitan Ballet and her grace and striking artistry were a delight in this pas de deux.
The finale of the program was exuberant and international, much like its corresponding honoree, Gideon George. This was a basketball player for Brigham Young University who also commands The George Helping Hands Foundation to bring shoes to children in need in the United States as well as Nigeria. Christie and Vinet returned for the Venetian Carnival Pas de Deux with music by Cesare Pugini and choreography by Marius Petipa. The music, with its familiar Neapolitan melody, was used for everything from an ensemble dance to the music that admiring serenaders play for an enchanting solo by Christie and the work speaks to joy shared between many hearts and in many ways. It was a fitting concluding message for the evening and a wonderful display of the dancers’ talents.
The Production Staff for Tribute created a minimalist, yet wonderful ambience. Particular credit must be given to Lighting Designer Joseph R. Walls, as his work set the emotional and practical tone of each part of the program. The costumes by Suellen Baum, Heather Gray, Christine Rader, CR Designs, and Sarah Price were an enhancement to the selection of dances and their inclusion was managed by Wardrobe Director Bonnie Nelson and her assistants, Denna Demmers and Natalie Tervort. Stage Manager Jordan Liau and assistants Cameron Cox and Rosalynn Eardley enabled a seamless production. The orchestra was helmed in this performance by Associate Conductor Marcel Bowman and perfectly complemented the energy of the performance with skill and often witty interpretations of the needed music. It was all done under the direction of Production Manager Jennifer Reed and Technical Director Nat Reed.
While this was the final performance of this season, the upcoming season has much to look forward to. Their website is the best resource for audiences to explore what they can attend in 2023-2024 and there is something for everyone to enjoy.
A review by Front Row Reviewers. Utah Metropolitan Ballet Presents Tribute.
Covey Center for the Arts, 425 W Center St, Provo, UT 84601
April 6-7, 2023, 7:30 PM
Contact: (801) 852-7007
www.umballet.org
Utah Metropolitan Ballet Facebook Page
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