By Ashlei Havili Thomas
Tribute by the Utah Metropolitan Ballet pays homage to four great members of the Utah Valley community who have given their lives for the betterment of ours. With their opening night at the Covey Center for the Arts in Provo, and the following performances at the Ragan Theater at Utah Valley University, Tribute offers five movements, with four dedicated to each of the honorees. I’m no ballet expert; the whole of my ballet knowledge consists of a Ballet 101 class from Brigham Young University and Misty Copeland. But watching this premiere and the performances dedicated to each honoree, I learned some things about the beauty of dance and ballet that I never before understood. Tribute lives up to its name, giving a voice to the gratitude we cannot express for those who have given so much.
The first movement, “Swedish Suite” is choreographed by Jacqueline Colledge and dedicated to her mentor, Bill Evans. It would be what most people would call a “classic ballet piece”, with a female ensemble, three principal couples (Nora Clemente, Robert Tyler Burkett, Emeline Settlemyre, Colin Hathaway, Katelyn Conrad, Qing Sun), and a prima ballerina (Mallory Moon Wilson). It tells the story of a Swedish festival with one woman showing up late. The costumer (Sarah B Price) dressed the company in an affect of traditional Scandinavian attire that pulls everything together nicely. The pièce de résistance is a maypole created with only the dancers and two velvet ropes. The entire movement is smooth, fluid and cohesive. Each tableau creates a perfect picture, and allows for easy storytelling.
The second movement, “Simply Sibelius” is performed by the pre-professional company, the Utah Metropolitan Ballot II, with choreography by Brittnee Squires. This second movement is sassy, with fire and heart that made it entrancing to watch. The ensemble ebbs and flows through the piece while adding a flick of the hips or shoulder like a staccato to the movement. I couldn’t believe that these dancers are teenagers! Their synchrony is flawless, and their movement creates a mesmerizing performance that is electric.
“Intangible Lightness” (dedicated to Bridle Up Hope, an equestrian program dedicated to helping girls with self-confidence) is a perfect embodiment of what mental illness feels like. With more of a contemporary dance style, choreographer Monica Campbell and costumer Mary Brown portray multiple levels of both connection and disconnect, both of which tie in heavily with how those struggling with mental illness cope or alternatively do not. The experience is cathartic for those who have struggled or intimately know someone who struggles with the many forms of mental illness.
Entitled “Electric Noir”, the fourth movement is dedicated to Christopher Clark, a local director, actor, and professor at Utah Valley University who was recently diagnosed with ALS. Choreographer/costumer Heather Gray works with paired dancers to create a puppeteer/puppet team and different images using unexpected lighting angles and the all black leotards. The movement at times is broken and awkward, completely surprising in what always seems the most fluid of dance forms. Pairing with music more akin to mechanical noise than an orchestra, the performance seems to pulse to life and then fall back asleep like a machine. It is quirky and avant-garde, neither of which most people would associate with the word “ballet”. However, the dance style lends itself perfectly to the piece, creating something new and engaging.
The final piece is the brain child of choreographer Alan Hineline, and is dedicated to Lana Jardine. I have no other words to describe it other than a celebration of life and love. The principal dancers–Jennifer Christie, Luis Capetillo, Clemente, Filipe Aragao, Amy Cook and Hathaway*–portray the beauty and innocence of young love. The piece was transcendent, with several different pieces that create a beautiful picture of pure joy. It is a perfect finale to a showcase honoring those who infuse our community with a zest for life.
This show is perfect in length and content for any age. I saw many children sitting enraptured by the goings on before them. I also heard many seasoned ballet veterans commenting on the beautiful performances. I only wish I could have taken pictures to capture the images created through movement forever.
Utah Metropolitan Ballet presents Tribute at the Covey Center for the Arts and the Ragan Theater at Utah Valley University
Covey Center for the Arts, 425 W Center Street, Provo, Utah, 84601
Ragan Theater, Utah Valley University, 800 W University Parkway, Orem, Utah, 84097
October 23, 26-27
Tickets: $5-15
Utah Metropolitan Ballet Facebook page
Tribute Facebook Event
*Katelyn Conrad and Robert Tyler Burkett perform as principal dancers in “Rhapsody” on October 27.
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