By Julie Halversen Tate
Ballet West II and Ballet West Academy’s Beauty and the Beast at the Capitol Theatre in Salt Lake City is a lovely re-telling of a well-loved story. Ballet West II is a 15-member touring ensemble troupe who have come from all over the world to train professionally under the Ballet West Team. This show was a delightful experience! Ballet West Artistic Director, Adam Sklute, has created the Ballet West Family Classics to provide both an opportunity for his Academy dancers and Ballet West II company dancers to perform in a world-class venue, while providing a family-oriented unique experience combining art, music, movement, and storytelling. While still providing the professional quality production we have come to expect from Ballet West, the shorter (just over an hour) performances and presence of younger dancers and children in the cast are a perfect opportunity for younger audiences who might have more squirmy tendencies. The ticket prices also provide an opportunity for families who might not otherwise spend the money to purchase tickets for a full-length ballet for wiggly children, or who simply might not have the budget for the full-length performances.
This production of Beauty and the Beast first premiered March 31, 2016 at the Janet Quiney Lawson Capitol Theatre, led by Adam Sklute and the Ballet West Artistic Team. It is based on the original story by Jeanne Marie LePrince de Beaumont. The score arrangement consists of various pieces by composers Alexander Glazunov and Nikolai Tcherepin. The magical sets and costumes were influenced greatly by the 1946 film La Belle et La Bette.
From the moment the lights go down, the audience is transported to another time and another place, one of fantasy and enchantment. A unique aspect of this production is a lovely narration (Scott Altman, Gilles Madin, Jeanne Potucek, Christopher Renstrom, Adam Sklute, Cati Snarr, Heather Thackeray, and Jane Victorine Wood) that carries the audience through the story, particularly younger viewers who are not accustomed to figuring out the storyline completely through dance. The narration is delightful and the voices capture their various characters perfectly. In the opening scene we meet the young prince (Cy Doherty) overcome by the Evil Fairy (Nicole Fanney) who casts a spell over him and his entire castle staff, turning him into the Beast. The switch to the Beast is made seamlessly when The Prince disappears and reappears as the Beast (Joseph Lynch). Both men dance with the highest caliber of skill and grace. In following scenes we meet Beauty (Savannah Lyle), her father The Merchant (Noel Jensen), her sisters, Babette (Ashleigh Richardson) and Colette (Jordan DePina) and learn the story of how The Merchant becomes lost and finds the enchanted castle of the Beast. Another character of note is Henri (Vinicius Lima), the pompous would-be suitor to Beauty, who comically plays his role.
The remainder of the show continues on in the tradition of the well-known fairy tale, complete with enchanted castle staff who are gray statues and a living rose garden. Each set of performers dance as delightfully as the others, as we have come to expect from any Ballet West production. Appearances by youth from the Ballet West Academy, who appear as forest creatures, add a humorous and delightful touch to the show. Any lack in unity on their behalf is more than compensated by their timely silly gestures that bring whimsy and fun to the show. A tiny dancer, probably around age 3, even appears and twirls, much to the audience’s audible delight and applause. Many roles are double-cast, and some are switched at different performances with dancers performing different roles. Knowing that many of the lead dancers learned two entirely different roles makes me that much more amazed at their ability. I love that the children’s roles are different at different performances, allowing many more youth the opportunity to participate in this professional-level production. What an amazing opportunity indeed.
Other notable dancers include Beauty Double (Brigitte Edwards), The Good Fairy (Fanney). True to the caliber of production we expect from Ballet West, the choreography (Pamela Robinson Harris and Peggy Dolkas) and dancing are impeccable. Each pirouette and leap is executed with grace and beauty. The dancers are graceful and unified, and include theatrical aspects that are so appropriate for a production of this nature. From the ferocity of the wolves to the gruffness of the Beast to the delicacy of Beauty herself and the snobbiness of her sisters, each character is developed not only through dance but also through facial expressions and interactions on stage with other dancers. Many times through the production the audience joins in laughter with the comic characters and feels the tender moments between father and daughter and also between the Beast and Beauty. The dances flow easily from scene to scene and the precision and strength of the dancers are awe-inspiring. My young companions mentioned several times through the show how much they loved the choreography.
The costumes (by designer David Heuvel) are dazzling. I’m not sure what I expected, and of course should have been prepared for no less than perfection, but even at my high expectations I was stunned by the richness and perfection of each coat, skirt, dress, mask, and so forth. The forest Imps are dressed in dark green with brown accents and had fuzzy hairpieces that sway in the air with each motion they make. The rose garden dancers’ tutus mimick rose petals and Belle’s dresses are rich and elegant. The Beast’s mask looks rough and dark while still allowing the dancer to easily navigate his movement. Looking at the intricacy of the costumes and detail to each coat and dress, there were times that I was amazed that the dancers could move so easily in them. The fabrics must be flexible, but appear to be heavy ball gowns and formal coats. One of my favorite costume sets was the enchanted mansion staff, who are adorned in gray formal attire complete with gray wigs atop their heads, yet somehow allowing for enough variety to maintain my interest. They appear to be alive, perfectly adorned statues in the castle.
The set (John Wayne Cook) and Lighting (James K Larsen and Joseph R. Walls) are equally as stunning. Whether in the village home of the Merchant, or the Forest, or the enchanted Castle, every design portrays its surroundings with perfection. I became lost in the surroundings as I gazed upon the dancers. A good set contributes just enough to the surroundings to not distract but to set the mood and the setting, and this set does that perfectly.
The symphonic music is delightful, energetic, soothing, lovely, and perfect for the ballet. I found myself at times swaying gently to the melodies and was surprised that even though I wasn’t familiar with any of the tunes, I still felt its effect when it dramatically rose or was light and playful or increase in intensity. The couples’ dance at the end of the ballet, when the spell has been broken by Beauty’s love, is romantic, and the melodies and instrumentation perfectly create the ambience of their connection. In a ballet, the music is complementary to the dancing and portrayal of the story, and this music was perfectly arranged.
I recommend this production to all audiences. If it is an indicator of the future, I would venture to say that all of the Family Favorites series produced by Ballet West II and the Ballet West Academy will be equally stellar and enjoyable. Younger audience members and those with less dance knowledge or experience will be enchanted by all of the aspects of the production, including narration, theatrics, costuming and set. And ballet lovers will love the dancing. At 1 hour 15 mins, the shorter running time and lower ticket prices make this an opportunity to take the whole family.
Ballet West II & Ballet West Academy present Beauty and the Beast, Adam Sklute—Artistic Director
October 26, 7:00 PM and October 27, 2:00 PM, 7:00 PM
Capitol Theatre, 50 West 200 South, SLC, UT 84103
Tickets $15-up 801-869-6920, www.ticketing@balletwest.org
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