Tag Archives: Columbus Symphony Orchestra

Benz a Consummate Juliet in BalletMet’s Superb ‘Romeo and Juliet’


IMG_1583

BalletMet’s David Ward and Adrienne Benz in Edwaard Liang’s “Romeo and Juliet.” Photo by Jennifer Zmuda.

BalletMet with Columbus Symphony Orchestra – Romeo and Juliet
Ohio Theatre
Columbus, Ohio

April 28-30, 2017 

Reviewed by Steve Sucato

Since taking over BalletMet’s artistic leadership in 2010, Edwaard Liang has molded the company into more of a contemporary ballet powerhouse with ballets by himself, Christopher Wheeldon, Gustavo Ramirez Sansano, Ma Cong and others. With the Columbus premiere of his Romeo and Juliet, April 28-30 at the Ohio Theatre however, Liang asserted BalletMet’s might in classical story ballets as well with a next-level production usually reserved for ballet companies twice its size.

Originally created on Tulsa Ballet in 2012, the 3-act production had opera house-style sets and costumes by David Walker to go with the rich playing of Sergei Prokofiev’s iconic score for the ballet by the Columbus Symphony Orchestra conducted by Peter Stafford Wilson and some of the best classical dancing I’ve seen from the company. In the ballet’s final performance on April 30 however, one light shone above the rest, that of retiring company star Adrienne Benz whose moving performance as Juliet stands with any given anywhere in recent years.

True to Shakespeare’s play and the storyline structure found in most high-level ballet productions of Romeo and Juliet, Liang’s adaptation moved briskly in choreography that was engaging and descriptive. The ballet’s scenes not only told the star-crossed lovers’ familiar story, but captured nicely the atmosphere of Shakespeare’s fictional Verona, Italy setting and its colorful renaissance-era inhabitants.

IMG_1728

(L-R) BalletMet’s Andres Estevez, David Ward and Kohhei Kuwana in Edwaard Liang’s “Romeo and Juliet.” Photo by Jennifer Zmuda.

In typical fashion, Act I introduced us to the feuding Capulet and Montague families including male protagonist Romeo (David Ward), his friend Mercutio (Andres Estevez) and his cousin Benvolio (Kohhei Kuwana) as well as to Juliet’s cousin and antagonist Tybalt, portrayed with icy malice by first-year company member Austin Moholt-Siebert.

IMG_1310

(L-R) BalletMets’ Sarah Wolf, Karen Wing and Kristie Latham in Edwaard Liang’s “Romeo and Juliet.” Photo by Jennifer Zmuda.

Frivolity, swordplay and the flirtations of young men and women made for a vibrant opening scene. Most interesting were Liang’s use of three gruff but sexy harlots danced by Kristie Latham, Karen Wing and Sarah Wolf who, when they weren’t pushing around the villagers, fawned over Romeo and his compatriots and even engaged in some of the sword fighting.

Later in the Act, the ballet shifted scenes to Juliet’s bedroom were we get our first glimpse of Benz as Juliet being playful with her nurse and confident (Leigh Lijoi) while making preparations for that evening’s masked ball. Benz appeared to have leapt from the pages of Shakespeare’s play. Her youthful exuberance and joy made you fall in love with her character instantly and her acting skills and technical prowess were stunning.

As in most Romeo and Juliet ballets, the ball was a lavish affair with the aforementioned costumes and sets to match. The trio of Romeo, Mercutio, and Benvolio looking to crash the ball were a bit like the three musketeers in their cocky, cavalier attitudes toward those arriving for the ball. Ward as Romeo appeared straight out of central casting. His princely looks and adroit dancing seemed to charm the audience almost as much as it did Juliet in the scene which played out as most do with the two meeting and falling for each other instantly and Romeo and cohorts clashing with Tybalt and Juliet’s would-be suitor Paris, danced with nobility by BalletMet dancer Attila Bongar who was also making his final appearance with the company.

IMG_1686

BalletMet’s David Ward and Adrienne Benz in Edwaard Liang’s “Romeo and Juliet.” Photo by Jennifer Zmuda.

IMG_1874

BalletMet’s David Ward and Adrienne Benz in Edwaard Liang’s “Romeo and Juliet.” Photo by Jennifer Zmuda.

IMG_1670

BalletMet’s David Ward and Adrienne Benz in Edwaard Liang’s “Romeo and Juliet.” Photo by Jennifer Zmuda.

Bathed in golden light and dreamlike, the famous “balcony scene” that followed to end Act I dripped with romance which Benz and Ward let wash over them as the two lovers who then got drunk on each other’s company.  Within this beautiful setting Liang choreographed a beauty of a pas de deux that contained a wellspring of fabulous lifts and carries to go with the character’s unbridled joy which Benz and Ward captured to perfection in their exquisite dancing of it.

Act II opened with us back in the village’s marketplace with the requisite frolicking and celebrations. Wing, as the village’s most brazen harlot, once again made her presence felt strutting about with the kind of aggressiveness she displayed in the lead role of Carmen in Sansano’s Carmen.maquia in 2016. The act continued with Romeo, Mercutio and Benvolio playfully teasing Juliet’s nurse who came to marketplace to deliver a note to Romeo from Juliet about meeting in secret with Friar Lawrence (David Spialter) to wed.  It was another charming scene in a ballet full of them that provided a wonderful counterpoint to the ballet’s drama and tragedy.

IMG_1708

(Center) BalletMet’s Karen Wing in Edwaard Liang’s “Romeo and Juliet.” Photo by Jennifer Zmuda.

As with any great tragedy, happiness comes at a cost and in one of the ballet’s most climactic moments Estevez as Mercutio, who was also making his final appearance with BalletMet, delivered a wonderfully acted and danced performance where he was both hero and jester battling and ultimately perishing at the hands of Tybalt in a swordfight. For his part, Moholt-Siebert as Tybalt nearly stole the scene with a “Joffrey Baratheon” from Game of Thrones kind of contemptibility.

IMG_1846

(Center) BalletMet’s Austin Moholt-Siebert and David Ward in Edwaard Liang’s “Romeo and Juliet.” Photo by Jennifer Zmuda.

IMG_1859

(Center) BalletMet’s Carly Wheaton and Austin Moholt-Siebert in Edwaard Liang’s “Romeo and Juliet.” Photo by Jennifer Zmuda.

The act then ended with Romeo taking revenge on Tybalt over Mercutio’s death in an unconscious fit of rage, and then guilt, as Lady Capulet (Carly Wheaton) crazed and bereft, stormed the stage and whipped her headdress into the wings in a somewhat over-the-top reaction to Tybalt’s death; suggesting perhaps there relationship was much more than just aunt and nephew.

The ballet’s third act continued the familiar tale with Romeo and Juliet waking in Juliet’s bedroom after assumingly consummating their secret marriage with Romeo still haunted by Mercutio and Tybalt’s deaths and Juliet not wanting Romeo to go. The pair engaged in another marvelously-crafted and passionate pas de deux.  Later in the scene, after Romeo’s departure, Juliet’s parents forced the issue of her marriage to Paris and Benz showed more of her brilliance conveying in her every step, gesture and heartbreaking tear, the very essence of Shakespeare’s words on the young heroine’s torn state of emotion.

After seeking solace from Friar Lawrence who gave her a potion to fake her own death, Juliet returned to her bedroom where she was visited by the ghosts of Mercutio, as sort of an angel one shoulder telling her not to take the potion, and Tybalt, the devil on her other shoulder urging to take it, which she does.

IMG_2052

BalletMet’s David Ward and Adrienne Benz in Edwaard Liang’s “Romeo and Juliet.” Photo by Jennifer Zmuda.

The ballet’s final scene at the Capulet family tomb brought the tragic tale to its inevitable conclusion as Romeo and Paris faced off in a knife fight at the alter Juliet’s seemingly lifeless body lay with Romeo the lone survivor. Liang then wrapped up the story and the lover’s fates with a rarely used ending in U.S. productions where Romeo sees Juliet wake up from her fake-death coma seconds before he succumbs to the very real poison he just drank to be with her in the afterlife. What must he be thinking in that brief moment? Ward gave us both elation and resignation in seconds it took for that reunion to play out. Benz then true to her character’s grief and determination to forever be with Romeo grabbed Paris’ knife and ended her own life.

A triumph by most any standard of measure, BalletMet’s Romeo and Juliet with its brisk pacing, easy-to-follow story progression and relatable characters would surely resonate with even the most neophyte dance goer. Add to that finely constructed, world-class choreography, perhaps the best ballet score ever written played with heart by the Columbus Symphony Orchestra, rich looking sets and costumes and great dancing led by the spellbinding performances of Benz and Ward, and even the most persnickety of balletomanes would have a hard time resisting the production’s allure.

Steve Sucato is a former dancer turned arts writer/critic. He is Chairman Emeritus of the Dance Critics Association and Associate Editor of ExploreDance.com.

Leave a comment

Filed under Dance Reviews 2017

Fourth Annual ‘The Benefit’ Offers Up World-Class Music and Dance to Aid Hemophilia Foundation


0258

Carolina Ballet’s Marcelo Martinez and Lara O’Brien in Robert Weiss’ “Meditation from Täis.” Photo by Ira Graham.

By Steve Sucato

As humans we pride ourselves in turning negatives into positives. Following the proverbial phrase “When life gives you lemons, make lemonade,” we make lakes of the stuff in an effort to ease suffering and find cures for the countless ills life throws at us. So when former BalletMet star Jimmy Orrante’s son Isaac was born with hemophilia ─ a condition in which the ability of the blood to clot is severely reduced ─ Orrante began formulating how he could use his art to help others make lemonade out the lemons life dealt them.

In 2013, he and fellow former BalletMet dancer Attila Bongar organized The Benefit (formerly Dancing for the Cure), a charity event that featured music and dance performances from top flight dancers and musicians from the Columbus area and across the United States.

“The first year we did The Benefit it was to fight cancer and benefitted Nationwide Children’s Hospital of Columbus,” says Orrante. “Me being a part of the hemophilia family and knowing the people in that community, it made more sense for us to link up with The Central Ohio Chapter of the National Hemophilia Foundation.”

Now in its fourth year the all-volunteer event ─ which annually raises over $25,000 for the Hemophilia Foundation ─ will be even bigger and better. The event, Sunday, May 21, will be held for the first time at The Riffe Center’s newly renamed Davidson Theatre (formerly Capitol Theatre) offering attendees a more theatrical experience.

One of the premiere dance events in the region, this year’s production features dancers and choreographers from Miami City Ballet, Cincinnati Ballet, Milwaukee Ballet, Rochester City Ballet, BalletMet, Columbus Dance Theatre and others, along with live music by Camarata (a multi-piece orchestra made up of musicians from the Columbus Symphony Orchestra and led by CSO principal cellist Luis Biava), Columbus ambient alternative band The Wind and the Sea, and North Carolina bluesman th’ Bullfrog Willard McGhee. In addition, following the performance there will be a meet and greet with the performers that includes food and a silent auction.

0246

From 2016’s ‘The Benefit’: BalletMet’s Adrienne Benz and Carolina Ballet’s Marcelo Martinez in Jimmy Orrante’s “Imperfections.” Photo by Ira Graham.

The 90-minute program will open with Milwaukee Ballet leading artists Patrick Howell and Nicole Teague-Howell in the Act 2 pas de deux from the ballet Swan Lake with choreography by Milwaukee Ballet artistic director Michael Pink. After a musical selection from baritone singer Robert Kerr, Miami City Ballet soloist Lauren Fadeley and BalletMet’s Jarrett Reimers will perform the first of two works by Orrante on the program; a brand new pas de deux danced to an excerpt from Rachmaninov’s Piano Concerto No. 2 in C Minor. Says Orrante of the pas de deux, it will be a reaction to the music and to the relationship Fadeley and Reimers develop dancing together.

In “A Caretaker’s Vow” (Excerpt) a solo by dancer/choreographer Marcus Jarrell Willis, the former Alvin Ailey American Dance Theater dancer explores his uncertainty about his future after leaving Ailey and how his friends encouraged and lifted him up. Set to music by British soul singer-songwriter Laura Mvula, the solo, says Willis, “takes you into my innermost thoughts.”

Next, COSI Science Center chief scientist Paul Sutter narrates “Voyager,” a new work in three stylistically diverse movement sections by three different choreographers inspired by and titled after music selections contained in NASA’s  messages from earth Golden Record included on Voyager 1 and 2’s interstellar missions.

The work opens with Orrante’s second piece on the program, a contemporary ballet for 6-women set to Blind Willie Johnson’s song “Dark Was the Night, Cold Was the Ground” sung live by McGhee. “Voyager’s” second part is a new solo by kathak dancer/choreographer Mansee Singhi danced to “Jaat Kahan Ho,” a traditional Indian song sung by Surshri Kesar Bai Kerkar that Singhi says is “related to Lord Krishna’s tales.”

Concluding the work is a new ballet for 12-dancers by Columbus Dance Theatre’s Christian Broomhall set to Bach’s “Brandenburg Concerto No. 2 in F.”  Says Broomhall, my piece is “wholly inspired by the images and feelings that the music evoked within me. It’s very quirky and whimsical.”

0337

From 2016’s ‘The Benefit’: BalletMet’s Caitlin Valentine-Ellis atop dancers in Atilla Bongar’s “Forced March: Second Eclogue.” Photo by Ira Graham.

Following a performance of Edvard Grieg’s “Holberg Suite, Op. 40,” performed by Camarata, will be the first of two ballets by Bongar. Yet to be titled, the ballet, set to Alexander Scriabin’s “Fantasie in B minor, Op. 28,” is a trio for Fadeley, BalletMet’s Michael Sayre and BalletMet Dance Academy student Isabelle LaPierre. Says Bongar, the ballet takes inspiration from Jacqueline Kennedy and her emotional state after husband, President John F. Kennedy died. “I saw a touching image of her and her daughter standing in front of JFK’s coffin and wondered what was going on inside her beneath her composed manner,” says Bongar.

Cincinnati Ballet soloist James Cunningham returns to The Benefit with his new ballet “Mordent.” Set to an excerpt from Beethoven’s “Piano Trio in C minor, Op.1 No.3” played live, the neo-classical ballet for two men and one woman says Cunningham, “connects heavily to the musicality of the trio.”

After a piano solo by BalletMet music director Tyrone Boyle, the program’s second-to-last offering comes from choreographer Kristopher Estes-Brown. Danced to live music by The Wind and the Sea, the new contemporary ballet for 6-dancers entitled “Somewhere, Something,” says Estes-Brown, is about “distance, time and human connection.”

Rounding out the program will be Bongar’s pas de deux “Spartacus,” set to Aram Khachaturian’s music from the ballet of the same name and will be danced by BalletMet’s Jessica Brown and Romel Frometa.

One of the easiest and best choices in helping make a difference in the lives of those with hemophilia, their families, and to help find a cure, The Benefit, is a win-win for anyone who enjoys world-class arts entertainment and making lemonade out of life’s lemons.

The fourth annual The Benefit takes place 5 p.m., Sunday, May 21, The Riffe Center’s Jo Ann Davidson Theatre, 77 S. High Street, Columbus, OH. Tickets: Adult – $30, VIP Priority Seating – $55, Student/Child – $15. (614) 902-3965, (614) 469-0939 or https://www1.ticketmaster.com/event/0500527BD2F4CC36#efeat4212

Steve Sucato is a former dancer turned arts writer/critic. He is Chairman Emeritus of the Dance Critics Association and Associate Editor of ExploreDance.com.

Leave a comment

Filed under Airings

‘The Benefit’ Triumphs with Choreographic Gems and Delectable Dancing


0246

BalletMet’s Adrienne Benz and Carolina Ballet’s Marcelo Martinez in Jimmy Orrante’s “Imperfections.” Photo by Ira Graham.

The Benefit
BalletMet Performance Space
Columbus, Ohio
May 22, 2016

Reviewed By Steve Sucato

There’s nothing like a noble cause to bring out the best in artists and artistry. That was certainly the case for the third annual The Benefit (formerly Dancing for the Cure) dance concert, May 22 at BalletMet’s Performance Space in Columbus, Ohio. Produced by former BalletMet star Jimmy Orrante and current company member Attila Bongar, The Benefit was a sold-out, jam-packed evening of music and dance whose proceeds went to supporting The Central Ohio Chapter of the National Hemophilia Foundation and Nationwide Children’s Hospital.

Donating their time and talents to the event were dancers from BalletMet, Carolina Ballet, Cincinnati Ballet, Rochester City Ballet and elsewhere performing classical and contemporary ballet works from George Balanchine, Marius Petipa, BalletX’s Matthew Neenan, Carolina Ballet artistic director Robert Weiss and more.  Joining the dancers onstage were Camarata, a 23-member orchestra made up of musicians from the Columbus Symphony Orchestra led by principal cellist Luis Biava.

Easily amongst the very best dance productions in Columbus this year, The Benefit kicked off with the “Diamonds” pas de deux from Balanchine’s ballet Jewels (1967), performed by husband and wife pair Lauren Fadeley, currently a soloist with Miami City Ballet, and Francis Veyette, a former principal dancer with Pennsylvania Ballet.

0335

Miami City Ballet’s Lauren Fadeley and Francis Veyette in the “Diamonds” pas de deux from George Balanchine’s Jewels. Photo by Ira Graham.

Wowing the audience from the get go, the couple demonstrated skillful technique and an inviting stage presence that wonderfully aligned with Balanchine’s quintessential neo-classical choreography. Danced to music by Tchaikovsky thoughtfully performed by Camarata, Veyette was a steady and sturdy partner to the elegant and graceful Fadeley. The inspiring pas de deux acted as a harbinger for the wonderfully performed musical interludes, other choreographic gems and great dancing to follow.

After an adroit performance of Rachmaninoff’s “Prelude Op. 32 No. 12 in G sharp minor” by pianist Tyrone Boyle, five dancers (three women, two men) performed Cincinnati Ballet soloist James Cunningham’s “Meandering Heartbeat.” A talented young choreographer who has crafted well-received ballets for Cincinnati Ballet, this perhaps was not one of his best efforts.  Set to original music played live by Columbus ambient alternative band The Wind and the Sea along with Camarata, the contemporary “sock” ballet had the dancers darting about the stage in a mish-mash of arabesques, turns, rolls on the floor, and choppy partnering riffs that included dancer Margo Aknin stepping on partner Jarrett Reimers’ stomach to travel over him. Cunningham had some decent ideas and there were scant moments when those ideas were realized, but overall the ballet floundered.

Following an excerpt from the ballet Giselle performed tenderly by BalletMet’s Jessica Brown and Carolina Ballet’s Richard Krusch, and the sharply performed solo “Beat and Taal,” by kathak dancer/choreographer Mansee Singhi, the first of two new works by Orrante, “Imperfections,” took the stage. Danced by BalletMet’s Adrienne Benz and Carolina Ballet’s Marcelo Martinez to music by Josh Kramer, this was Orrante at his choreographic best. The superbly-crafted and danced pas de deux presented itself in waves of undulating and swirling unison dancing that was spellbinding. Equally ravishing partnered lifts sent Benz spinning skyward, her body open to the momentum and expressing fleeting moments of fragile beauty that followed one after another.  The dancers twisted, turned and gave into gravity, falling backwards only to catch themselves and then melt into another trance-inducing entwinement such as Benz, in a deep lunge supported by Martinez, stepping backwards across the stage as the tinkling of piano keys in Kramer’s music carried the dancers and the audience along in its melodic current to drift and dream.

The program’s first half closed with Bongar’s “Forced March: Second Eclogue.” Inspired by the poetry of Hungarian Miklós Radnóti who died in the holocaust and set to composer Charles Ives’ “The Unanswered Question,” Bongar’s ballet was haunting, thanks in large part to Ives’ music played with heartfelt emotion by Camarata.

0337

BalletMet’s Caitlin Valentine-Ellis atop dancers in Atilla Bongar’s “Forced March: Second Eclogue.” Photo by Ira Graham.

A cluster of five men in overcoats encircled and hid BalletMet’s Caitlin Valentine-Ellis from sight. Then spinning themselves outward they revealed her and became the objects she played off of, crashing into them, jumping on them, and cleaving to them. The men then spread out arms and legs opened wide, faces upward as if trees caught in a breeze that rocked them side-to-side as they basked in sunlight. Valentine-Ellis’ character appeared trapped in this melancholy world, surrounded by these men and somehow a part of them, her will no longer her own.

The program’s second half began with another musical interlude performed by Camarata that lead to Weiss’ soothing pas de deux “Meditation from Täis,” danced to music of the same name by Jules Massenet. Like Fadeley and Veyette in the program’s opening pas de deux, the dancing of Carolina Ballet principal dancers Lara O’Brien and Martinez was heavenly. Weiss’ neo-classical choreography had the pair delicately twirling like a wind sculpture with O’Brien enfolded in Martinez’s arms. The highly satisfying pas de deux earned hearty applause from the appreciative audience.

0258

Carolina Ballet’s Marcelo Martinez and Lara O’Brien in Robert Weiss’ “Meditation from Täis.” Photo by Ira Graham.

0281

(L-R) Jarrett Reimers, Michael Sayre, Ben Rabe and Jimmy Cunningham in Christian Broomhall’s “She is.” Photo by Ira Graham.

Switching gears, Columbus Dance Theatre’s Christian Broomhall’s ballet “She is,” interjected a bit of levity into the program. Another talented new choreographer, Broomhall’s contemporary dance work for four men and four women set to a suite of music sung by Billy Holiday was deliciously charming and clever. Dancing to Holiday’s rendition of the song “All of Me,” the work’s four male dancers engaged in quirky, gesture-laden choreography that had them marching about in unison choreography, dropping to the stage floor to move like inchworms, gyrating their hips and wildly waving their arms in the air, and walking on their knees, hearts aflutter toward imagined girlfriends. BalletMet’s Karen Wing and Michael Sayre then paired up in an endearing, touchy-feely duet to Holiday singing “Until The Real Thing Comes Along.” Next, it was the ladies’ turn as the work’s four women continued Broomhall’s regimented movement patterns dancing to “I’ll Be Seeing You.” The wistful dance was another example of Broomhall’s inventiveness and innate ability to make sophisticated movement choices in his choreography. The work left you wanting more.

Another Fadeley/Veyette pas de deux followed. In the vein of Broomhall’s playfully descriptive contemporary choreography, Neenan’s “11:11” (Excerpt), generously tapped into the couple’s affections for each other delightful choreography that had the pair rocking back and forth in a lullaby of warm feelings and artful dancing.

After another piano solo by Boyle playing Mendelssohn, former Alvin Ailey American Dance Theater dancer Marcus Jarrell Willis performed his powerful solo “Distance Between,” set to Debussy’s “Claire de Lune.” Willis began seated in a chair, staring across the stage at another empty chair. He then rose and began inching his way toward that chair and what it seemed to represent to him, gradually adding pace to his movements until skittering to halt in front of it. Sitting in the chair, Willis then lit into a succession of rapid arm, hands and upper torso movements a la Donald Byrd’s “White Man Sleep” (2002). Willis’ conflicted and poignant solo proved touching.

The Benefit concluded with Orrante’s “For Fun” a rollicking group ballet in the mold of Balanchine’s Western Symphony (1954) sans the costuming. Set to Don Gillis’ expansive Symphony No. 5 ½, the ballet, like the music, conjured the spirit of a hoedown scene from cowboy movie musical, only Orrante swapped the knee-slapping yeehaw’s and high stepping waltzes for refined and pretty ballet steps.

Steve Sucato is a former dancer turned arts writer/critic. He is Chairman Emeritus of the Dance Critics Association and Associate Editor of ExploreDance.com.

Leave a comment

Filed under Dance Reviews 2016