Tag Archives: Morton Gould

Cincinnati Ballet’s ‘Director’s Cut’ Amused, Charmed and Enthralled


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Maizyalet Velázquez, Sirui Liu and Christina LaForgia Morse in Ma Cong’s “Near Light.” Photo by Peter Mueller.

Cincinnati Ballet
Director’s Cut
Procter & Gamble Hall at Aronoff Center
Cincinnati, Ohio
September 16, 2016

Reviewed by Steve Sucato

To kick off her 20th anniversary season as artistic director of Cincinnati Ballet, Victoria Morgan culled together seven diverse ballets for the program Director’s Cut, performed by Cincinnati Ballet, September 16-17, 2016 at the Aronoff Center’s Procter & Gamble Hall in downtown Cincinnati.

Performed in part to live music by the Cincinnati Ballet Orchestra conducted by Carmon Deleone, Director’s Cut amused, charmed and enthralled opening night, September 16 beginning with New York City Ballet resident choreographer Justin Peck’s “Capricious Maneuvers” (2013).

Presently, one of ballet’s “it” choreographers, Peck’s neoclassical ballet was a satisfying blend of classic NYCB style infused with contemporary ballet sensibilities. Danced to Lukas Foss’ “Capriccio for Cello and Piano” performed live by cellist Nathaniel Chaitkin and pianist Michael Chertock, the ballet for five had a relaxed feel to it.  Dancers paired off in partnered movement phrases, while others nonchalantly stood by watching. Peck’s breezy choreography was playful and sophisticated a la a Mark Morris work. And like a Morris work, its ease look belied its technical difficulty. Up to the challenge, newly promoted senior soloist Sirui Liu shined in the ballet with a combination of textbook form and silky-smooth port de bras.

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Cincinnati Ballet dancers in Justin Peck’s “Capricious Maneuvers.” Photo by Peter Mueller.

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James Cunningham and Sirui Liu in Justin Peck’s “Capricious Maneuvers.” Photo by Peter Mueller.

Next, petite powerhouse Chisako Oga teamed up with José Losada for “Black Swan Pas de Deux,” from Swan Lake choreographed by Morgan after Marius Petipa. In it, Oga was slow to immerse herself in the devilishly seductive Odile character. When she finally did her performance moved from decent to delicious. As “Black Swan” pairings go, Oga and Losada were overall technically solid but lacked chemistry which diminished the famous pas de deux’s emotional impact.

One of the program’s pleasant surprises was company soloist James Cunningham’s whimsical “Prohibition Condition.” Set to music by Dmitri Shostakovich, the solo for CB principal dancer Rodrigo Almarales proved an audience favorite. From the moment Almarales stumbled on to the stage in a comically drunken stupor, he endeared himself to the audience. His mugging and making fun of orchestra conductor Deleone’s movements in the pit elicited audience chuckles. For his part, Cunningham’s well-crafted choreography balanced clever, inebriation-inspired movement with bravura ballet fireworks in which Almarales tossed off series of jumps, pirouettes and attitude turns with relative ease.

Created for San Francisco Ballet in 2008, Yuri Possokhov’s “Fusion” (Excerpts), with music by Graham Fitkin, had a dreamlike atmosphere about it. It opened with dancer Sarah Van Patten performing a contemporary ballet solo on one end of the stage while behind her on the opposite side, a quartet of male dancers, backs to the audience in long skirts, stood with arms around each other’s waists in shadow. Van Patten was soon joined by Luke Ingham and the choreography took on a melancholy mood with bendy movements and those suggesting falling. Moving out from the shadows, the quartet of men then began to softly twirl like ghostly whirling dervishes. Perhaps seeing the ballet in its entirety would give one a better sense of it, nonetheless, the imagery and performances by the dancers in these excerpts related a sense of beauty that stirred internal emotions.

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Sarah Hairston and Zack Grubbs (center) with CBII and Otto M. Budig Academy Students in Marius Petipa’s “Raymonda Grand Pas Hongrois.” Photo by Peter Mueller.

Rounding out the program’s first half, the “Grand Pas Hongrois” from the ballet Raymonda was bittersweet for Cincinnati Ballet fans. On the one hand it was a spectacle of classical ballet pomp and circumstance. On the other however, it was one of principal dancer Sarah Hairston and senior soloist Zach Grubbs last performances. The two audience favorites retired from the company with this production. They will remain with the organization however, taking on leaderships roles at Cincinnati Ballet’s Otto M. Budig Academy.

Danced to music by Alexander Glazunov, Hairston and Grubbs led a corps of eight male-female couples from CB’s academy in Raymonda’s celebratory wedding scene which alternated between sweeping group dances and showy solo variations for Hairston and Grubbs.

A 15-year company veteran, Hairston brought elegance, energy and sass to the role of Raymonda and her dancing, typifying her performing career. As Jean de Brienne, Grubbs was regal and a steady partner to Hairston.

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Melissa Gelfin and Cervilio Miguel Amador in Victoria Morgan’s “Patriotic Pas.” Photo by Peter Mueller.

After the world-premiere of Morgan’s “Patriotic Pas,” a jaunty duet danced by Melissa Gelfin and Cervilio Miguel Amador to familiar tunes contained in Morton Gould’s American Suite such as “When Johnny Comes Marching Home,” Director’s Cut concluded with the gem of the evening, the world-premiere of Ma Cong’s “Near Light.”

Amidst a blanket of stage fog and in spotlight, a red rose fell from a woman’s hand into those of a male kneeling before her. Was this a memory or a premonition? The rose was then then passed from one dancer to another who came onstage until finally it disappeared from our sight along with the stage fog.

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Patric Palkens in Ma Cong’s “Near Light.” Photo by Peter Mueller.

Set to a haunting collection of works by composer Ólafur Arnalds, Cong’s contemporary ballet spoke to the viewer on multiple levels. Visually, the combination of Trad A. Burns’ atmospheric lighting and Cong’s velvety movement for the dancers imprinted images of bodies in beautiful motion intertwining, cascading and melting into each other. Emotionally, Arnalds’ aching music and the dancers’ passionate response to it, left one breathtakingly silent. As in “Capricious Maneuvers,” Liu mesmerized. So too did Abigail Morwood whose stellar performance overflowed with intensity, drama and grace.

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.

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Filed under Dance Reviews 2016

‘Rite of Spring’ Highlights Joffrey Ballet’s Program at Blossom Festival


The Joffrey Ballet in Nijinsky’s "The Rite of Spring". Photo by Roger Mastroianni.

The Joffrey Ballet in Nijinsky’s “The Rite of Spring”. Photo by Roger Mastroianni.

Blossom Music Center
Cuyahoga Falls, Ohio

August 17, 2013

Reviewed by Steve Sucato

Chicago’s Joffrey Ballet continued its longstanding relationship with The Cleveland Orchestra that began in 1971 with two performances at the orchestra’s summer Blossom Music Festival. Since 2009 the company has made annual appearances with the orchestra in the Cleveland, Ohio area; primarily at Cuyahoga Falls’ Blossom Music Center.

This summer was no different as Joffrey Ballet joined conductor Tito Munoz and The Cleveland Orchestra at Blossom for a program consisting of four ballets including their celebrated 1987 reconstruction of Vaslav Nijinsky’s iconic 1913 ballet, The Rite of Spring (Le Sacre du Printemps).

The program opened however with a slightly more recent masterwork, Jerome RobbinsInterplay from 1945 with music by Morton Gould.

As its title suggested, Robbins’ 18-minute ballet in four movements (Free-Play, Horse-Play, By-Play,Team-Play) was an interplay between the dancers and the orchestra as well as between each dancer. Robbins’ Broadway-esque choreography for it was jazzy, lighthearted, and laced with a modicum of technical dancing.  

Four male dancers began the ballet by hopping over one another. Four female dancers then joined them in classical jazz dance moves creating a scene that appeared out of a Gene Kelly movie of that era.

The dancers played off Gould’s music in a variety combinations and formations including one section where they broke into two teams of four (two males, two females) for a friendly dance competition. One at a time each team’s dancers tried to outdo a member of the other in a succession of showy solos packed with multiple pirouettes, double tours en l’aire (turns in the air) and chaînés (small, rapid turning steps).

The ballet’s decidedly playful approach and the dancer’s enjoyment of it, was a hit with the large Amphitheater audience and the many in lawn seating.

Joanna Wozniak (center) as “The Chosen One” in Joffrey Ballet's "The Rite of Spring".  Photo by Roger Mastroianni.

Joanna Wozniak (center) as “The Chosen One” in Joffrey Ballet’s “The Rite of Spring”. Photo by Roger Mastroianni.

In contrast to Interplay’s bubbly demeanor, Houston Ballet artistic director/choreographer Stanton Welch’s Son of Chamber Symphony (2012) with music of the same name by John Adams, appeared somewhat stoic.

Said to be inspired by the inner workings of a clock, the mechanical-looking ballet in three movements began with dancer Anastacia Holden in a classical tutu surrounded by four male dancers performing dullish exercises in contemporary ballet technique; their choreography a series of solos looking like a classroom center barre exercise accompanied by Adams’ frantic, dissonant music.  

The ballet’s second movement, a pas de deux between April Daly and Dylan Gutierrez, provided more interest. Packed with turns and athletic lifts, including several that had Daly arcing through the air, the pas de deux showed artistic complexity and musicality.

The final movement of the ballet returned us back to the score’s frantic beginnings.  A corps of six female dancers in tutus and on pointe moved through somewhat difficult classical steps, some referencing other known ballets. Overall, Welch’s choreography had the geometric feel of a Laura Dean ballet, but without her movement inventiveness.

Welch has created some fabulous ballets in his career such as Madame Butterfly, Of Blessed Memory and Divergence. Unfortunately, Son of Chamber Symphony wasn’t one of his better ones.

The Joffrey Ballet in Nijinsky’s "The Rite of Spring". Photo by Roger Mastroianni.

The Joffrey Ballet in Nijinsky’s “The Rite of Spring”. Photo by Roger Mastroianni.

Next, former Bolshoi and San Francisco Ballet principal dancer Yuri Possokhov’s Adagio (2012) provided the perfect vehicle to showcase the stellar talents of Joffrey stars Victoria Jaiani and husband Temur Suluashvili. The 9-minute pas de duex set to music from the ballet Spartacus by Aram Khachaturian began with Suluashvili seated center stage and Jaiani moving in bourrée (quick, gliding steps on pointe) to meet him. The limber Jaiani’s body was then bent at near impossible angles as Suluashvili twisted, turned and lifted her into one beautiful position after another;   Possokhov’s choreography a vision of classical ballet elegance and grace. Both dancers performed the moving pas de deux with skill and passion. 

Skill and passion also described Munoz and The Cleveland Orchestra’s performances in the program’s first three ballets. Munoz and the orchestra then took things to another level in the program’s final ballet, The Rite of Spring.

The 36-minute ballet in two parts set to a groundbreaking score by Igor Stravinsky, tells of a primitive Slavic tribe and their pagan fertility ritual in which a young tribal maiden is sacrificed.

The ballet, originally created for Sergei Diaghilev’s Ballets Russes, is perhaps best known for the riotous reception it received at its premiere in Paris in 1913. Although it can be said its longevity as a dance work, having been the subject of countless reinterpretations, is directly due to Stravinsky’s brilliant score.  

Meticulously reconstructed and staged by Millicent Hodson for the Joffrey, the ballet featured a large cast, simple backdrops and an abundance of colorful costumes. 

Joanna Wozniak as “The Chosen One” in Joffrey Ballet's "The Rite of Spring".  Photo by Roger Mastroianni.

Joanna Wozniak as “The Chosen One” in Joffrey Ballet’s “The Rite of Spring”. Photo by Roger Mastroianni.

A wonderful example of Nijinsky’s forward-thinking genius, with its non-traditional ballet choreography, Joffrey’s dancers performed the ballet admirably moving confidently through its myriad of geometric formations and patterns. Stomping feet and sharp arm movements punctuated dramatic passages in the music and gave voice to a disturbing story line, creating a palpable sense of impending doom.

Of note were ballet master Gerard Charles as the “Old Sage”, tracing a circle of light on the stage with his staff in a scene that was both mesmerizing and haunting; Joffrey’s corps of “Young Maidens” whose determined facial expressions and powerful dancing in the ballet’s climactic sacrifice scene was stirring; and the performance of dancer Joanna Wozniak as “The Chosen One”. Wozniak’s  performance, while admirable, lacked the emotional terror the role calls for and that I have seen from others in the role.

While considered a masterpiece in its own right, it is easy to see how modern audiences might find the 100-year-old ballet’s simple-looking steps and lack of bravura dancing a bit lackluster. But like any milestone work, its appreciation today comes in large part from revisiting a page in history. The ballet remains uniquely compelling and its score a masterpiece.

Stylistically diverse as the four ballet on the program were, Joffrey Ballet has programmed better evenings in past years at Blossom. Save The Rite of Spring, the program lacked the excitement and emotional impact to make it a memorable one.

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Filed under Airings, Dance Reviews 2013