La Bayadere

The Mariinsky Ballet: “La Bayadere”
Cal Performances Wednesday, Oct. 30, 2019
Zellerbach Hall UC Berkeley

Amazing!

Imagine returning 142 years into the past, to Imperial Russia, to the time of great elaborate productions of romantic yet classic ballet. The Mariinsky Ballet production of “La Bayadere” made it possible. The event was amazing, historical, very grandiose, very Russian. We are grateful to witness this event and appreciate the complexity of bringing the number of dancers, musicians, staff, sets and costumes to Cal Performances.

The choreography is by the great Marius Petipa who gave us “The Sleeping Beauty”, “Swan Lake” and “Raymoda.” These are set to the music of Tschaikovsky and Glazunov and remain in most audiences minds as the essence of ballet. 20th century dance has changed that image.

The grandiose aspects of “La Bayadere” are overwhelming, Each act demands a new set, a wide range of costumes, props and “extras.” The plot echoes the romantic operas of the 19th century, unrequited love, vengeance, exotic atmosphere and finally, fulfillment in the afterlife. The first two acts are set in a ‘make-believe’ India, compete with warriors, a Rajah, a High Brahman in love with a slave girl (La Bayadere), a heroic Warrior, temple dancers of all sorts and even, a walk on elephant! The third act enlists a snake charmer!

Act II is set as an elaborate wedding celebration, featuring numbers of dance episodes by small groups of ballerinas and several solos for men, among them an Indian dance, a drum dance and warrior dances. If we had Petipa’s early notes, we might learn the exotic and folk sources of these pieces. Ludwig Minkus’ score resounds with folk element and good traditional waltzes and mazurkas.

For the opening event, Ekaterina Kandaurova danced La Bayadere. She is small and slight, yet is able to project an infinite range of nuanced movement in all the dimensions demanded or her; the opening ‘slave’ dance, the seemingly rejected lover, the soloist in the Kingdom of Shades. The ballet lasts three hours and this soloist must emerge in the third act as a complete different character in command of the thirty-two “shades”! Andrei Yermakov danced the warrior/lover Solar, who betrays, then ultimately claims La Bayadere. He was an heroic actor/dancers displaying all the technical abilities demanded. Yakaterina Chebykina portrayed the Rajah’s daughter who attempts to steal Solar. Although she is technically brilliant, I found her performance wooden and undramatic in comparison to that of Kandaurova.

The opening episode of Act III, in the Kingdom of Shades, is the ultimate ballet episode. Thirty-two ballerinas enter, one by one, repeating a phrase that is difficult, beautiful and is repeated through many musical measures. For this reviewer, that part of “La Bayadere” is the ultimate in ballet performance. It was remarkable well done, opening the closing act of this historical evening. Bravo ! to all and to the Mariinsky Ballet for their stamina and superb performance.

Joanna G. Harris

Alonzo King YBCA 10.6.19

Alonzo King Lines Ballet
Sunday, October 6, 2019
6 PM YBCA, San Francisco

Choreography in Question

Alonzo King’s work has been celebrated in the SF Bay Area for three decades. He produces concerts every year, is known on tour, has trained hundreds of dancers and maintains a famous school in San Francisco. Yet, for this reviewer, his choreographic ‘works’ are constructions of elements and skills evoked from his dancers. These ‘phrases’ of technique that demonstrate the company’s abilities are then set to music, in this latest event, the music of James Moran, soulful jazz and saxophone melodies.

King’s dancers have a range of movement that is exiting and vast. Yet without structure, rhythmic organization, spacial design and some sense of repetition and organization, these movement skills are not clearly registered, transmitted and seen.

Both events on the October 6 concert suffered from this lack of structure. The new work,”Azoth”, supposedly evoked the element mercury , “the essential agent of transformation in alchemy.” For 45 minutes groups formed, scattered, and reformed often providing an environment for a soloist whose actions, seen once, were never seen again. There was ‘image technology,” that consisted of Jim Campbell’s light panels, seen rising and lowering at the start of the piece onto prone dancers. These panels reappeared as various dancers held them to produce more lighting effects.

What any of these technical devises had to do with the mercurial theme (as stated on the program) is hard to say. At least we could appreciate the pas de deux by Adji Cissoko and Michael Montgomery. That was a short episode of lyrical dance.

The program’s opener was “The Personal Element,” a short, sweet ‘ballet blanc’ which again showed the dancers skills (especially those in toe shoes) to fine advantage. The audience was delighted and moved by this work, handsome to look at and again, without any particular structure or thematic material to recommend it.

King and his company deserve praise for their stalwart efforts to bring many professionals and laymen to dance activities. For this reviewer, after many opportunities watching the company, I heartily wish for more coherent choreography.

Rime of the Ancient Mariner

“The Rime of the Ancient Mariner”
Poem in Seven Parts
By Samuel Taylor Coleridge
Directed by Delia MacDougall & Jim Cave
Z Space & Word for Word

Thursday, September 26, 2019. 7 PM

Rhythm: Rime: Response

The poem is a classic, cited by hundreds as the most valuable epic poem of its time (1798). Z Space and Word for Word intend the production of “Rime” to evoke response from audiences to “nature’s power, beauty and fragility,” well depicted in Coleridge’s romantic poem. The production is wonderfully set, the staging is well-conceived and executed, the actors speak and respond well. But, Coleridge’s poetic rhythms, although well recited, become ponderous and alas, a bit boring for a 21st century audience used to quick TV shows and movies.

Charles Shaw Robinson has the heavy responsibility for the poem’s recitation and although some of the lines are shared with other cast members (Robert Ernst, Leontyne Mbele-Mbong, Partricia Silver and Randell Wong), the tempo and execution of deliver seems not sufficiently varied. Perhaps it is the vast depth of the Z Space house or the nature of story itself, but, as my friend suggested, ‘it needs updating.”

The set is a wonderful boat deck surrounded by curved areas for the ascent and descent of the magical characters suggested in the text; (e.g. The Sun, The Moon, The Polar Spirit, Life in Death, Death). Yet these characters continue their lines with similar delivery as the Mariner. Oliver DiCicco & Colm MCNally get credit for the set. Nol Simonse, choreographer, gives the cast good movement moments. This reviewer wished for more; perhaps a sailor’s dance to stir the recitation rhythm.

Rime” is well-intended and beautifully staged and well dramatized.

As it continues its run, perhaps the telling will find a more dynamically varied delivery.

Joanna G. Harris

Sketch 9

New Review

“Sketch 9: Perspective”
July 17-20, 2019
ODC Theater, SF

New Work by Amy Seiwert, Ben Needham-Wood and Stephanie Martinez

The Euphoria of Lifts

Amy Seiwert has bravely entered into her leadership in the “Sketch 9 Series” which “invites choreographers and dancers to question conventional parameters of ballet … participants discover new tools or truths about their work.” For this latest effort, Sketch presents her new work “Verses”, “Otra,Vez, Otra Vez, Otra Vez” by Stephanie Martinez, and “All I Ever Knew” by Ben Needham-Wood. The works are performed by the same ten brilliant dancers, a feat in itself. Each is intriguing in its own way. All are notable, for this viewer, by the number and variety of lifts, supports and uses of the floor, other dancers and some aspects of projections.

Seiwert’ piece was the most satisfying. With music from “The Chopin Project” by Olafur Arnolds and Alice Sara, the ten dancers in bright yellow costumes filled the ODC space with “modules” of movement. Although Seiwert’s notes suggest a narrative, I was pleased to respond to the modules as constructs with their own motifs, admiring each duet and how those fused into larger group patterns. Dancer Austin Meiteen and his partner Shania Rasmussen emerged as prominently skilled in dynamics and projection, although all the dancers are outstanding. Since the dance concentrates on partner lifts, these became the prominent choreographic vocabulary. These devices continued through the program.

Martinez’ work,”Otra,Vez, Otra Vez, Otra Vez”, was danced to a series of songs, presumedly love songs, and (as she suggests) loosely based on “The Old Guitarist” by Picasso. She refers in her notes to the idea of the ‘random passerby’. The dancers, in white, do exchange contact and partners and the lifts, this time more romanticized, continue to be the constant choreographic devise. Into this came a solo section for Austin Meiteen who’s work with a black hat, provides a comic and delightful interlude.

All I Ever Knew” the work of Needham-Wood offers a story-line. Isaac Bates-Vinueza and Shania Rasmussen appear as ‘younger’ dancers. They play with the white boxes that form an upstage set. As ‘older, other’ dancers enter, they destroy the boxes’ order and are generally disinterested in others. A projection of ‘eyes watching’ is seen above. Ultimately the young dancers are reconciled to the set, the others and themselves. Again there is excellent dancing, an exciting range of movement…and those lifts!

Video artists, Olivia Ting, Ben Estabrook and Chris Correa added some dimension to the performance with projections and video images. The ODC stage is wide and deep and sometimes the lighting and the space conspire to weaken the effectiveness of video projection. I found that to be true for this event. Video projection is effective when it accompanies the dance and the space and does not distract from it.

Joanna G. Harris


 

 

Amy Seiwerts Imagery
Artists Austin Meiteen and Constanza Murphy in
Otra vez, Otra vez, Otra vez by Stephanie Martinez
Photo by Chris Hardy

San Framcisco Ethnic Dance Festival – Week 2

San Francisco Ethnic Dance Festival
July 13, 2019 Zellerbach Hall UC Berkeley

Ethnic Dance as “Show Biz

Hundreds of enthusiastic audience members applauded, cheered, whistled and shouted out to the performers of this year’s 30th Ethnic Dance Festival. The performances on stage are well deserved, but for this viewer, most lack what I long to see in ethnic dance, that is, “tradition.”

Almost all dance performances, it seems, have been been influenced by today’s TV shows. The movement has become standardized, the choreographic patterns set in geometric lines, the costumes bright and (alas) uniform, the dancers lively and often just semi-skilled. It is more difficult to judge this if the audience is uninformed about the sources of the dance and what might is (or might have been) the “traditional” sources. Almost all works were TV transformed.

The most charming event occurred between numbers. After the Indian dance (which included odissi, kahtak and bharatanatyam styles), the male dancer Akhil Joondeph met Pierr Padilla from the next event, Cunamacué. Akil danced his style in response to the Afro-Peruvian tap dance style executed by Padilla. It was a charming and informative dance conversation. (If the names are not correct, please note that the program distributed did not have dancers’ names.) But details are available on SFEDFprogram.org. This site lists all works, notes and dancers.

Important to hear and understand were the dancers of Awn Ohun Omnira (Voices of Freedom). This African-American Group provided song-stories of the enslaved African people. We also saw Oakland’s premiere West African ensemble celebrate ethnic groups with dances from Niger, Mauritania and the Ivory Coast. Although the the Feng Ye Dance Studio brought dances from the Han Dynasty, China, the while clad dancers (inspired by terra cotta drawings), performance in long-white dresses, echoed the romantic ballet of 18th century Europe!

Outstanding and demanding through the show, before and after in the Zellerbach courtyard were thirty-four dancers and musicians performing Tahitian ote’a, an extremely lively and wiggly event with bright orange feather skirts celebrating “Vahine!-Woman”. Women certainly dominated this year’s event. It would be refreshing, as it was in Week 1 of the festival, to include some men’s dances, some dances of the Western world, and for the sake of the listening audience, less drumming and less amplification. Nevertheless, congratulations!

Joanna G. Harris

For photos, see: SFEDFprogram.org

Eifman Ballet

Eifman Ballet of Saint Petersburg
The Pygmalion Effect
Cal Performances
May 31, June 1 & 2, 2019
Zellerbach Hall UC Berkeley

Eifman’s Broadway Ballet

You don’t need to catch the latest musical on Broadway and you can cancel that trip to Las Vegas! The Eifeman Ballet, at Zellerbach Hall has it all. There is a slum crowd of ‘boys and girls’ worthy of “West Side Story”, ballroom dancing that beats “So you think you can dance”, any “Fred and Ginger” act and stunts and tumbling galore. This is Eifman’s treatment of the Pygmalion story beyond the myth and George Bernard Shaw.

There is even an ‘messenger from heaven” a “coach” to offer promise and consolation.

On the evening of the opening performance, May 31, Lyubov Andreyeva took the part of Gala, the Liza Doolitle of Shaw’s play. Instead of language learning, Gala is transformed into a ballroom dancer by Leon, a superstar of ballroom dancing. Andreyeva is superb in her ability to perform the dance-acrobatics Eiffman requires, but it is her ability to bring a range of character to that dancing that is remarkable. That is also so, to some extent, for Dmitry Fisher, who plays Gala’s father, Holmes, characterized as a drunkard and a favorite of the mob. The “messenger from heaven”, (that I believe is nowhere in the myth nor the play), encourages Holmes to reform.

Through a long series of group numbers displaying endless dance acrobatics, exaggerated leg extensions, countless lifts and falls, Gala is eventually transformed into a worthy dance partner for Leon, but not without the help of some ‘magic gadget”, headgear which makes Gala a mechanical dancing doll. The “coach” helps Gala to achieve recognition, but Leon (like Dr. Dolittle) cannot accept her. On a lonely bench to Piano Concerto No. 23 by Mozart, Gala is consoled by the message from heaven. All the rest of the (recorded) musical accompaniment has been by Strauss and son. The Mozart moment is the only lyrical interlude in the ballet.

There is also some extensive dance talent in the other principals, Oleg Gabyshev as Leon, Alina Petrovskaya as Tia (Leon’s dance partner) and the Coach, Igor Subbotin.

But unlike Andreyeva and Fisher their characters are monochromatic and flat. This work, as so many other of Eifman’s works, appeals to what is exaggerated and at he limits of show-biz exaggeration. As ballet dancers, the group are more acrobatic than expressive. The choreography is always “on the beat” and it is relentless.

There is a time and place for this kind of presentation since the audience whooped with delight.This reviewer would rather have that ticket to Broadway or honest Las Vegas.

Joanna G. Harris

Photo: Oleg Gabyshev and Lyubov Andreyeva
In “The Pygmalion Effect”
(photo curtesy of the Eifman Ballet)