Return to AARO
What an opportunity! Ballet Arizona presented Mikhail Baryshnikov in the flesh with his White Oak Dance Project, picking from the finest modern dance choreographers. As I carefully tip-toed past the toes to my seat, the anticipation mounted. But what is this? Someone had my seat, and she didn't speak English. "My grandmother's Russian and so am I," quipped the little boy in the next seat. We eventually straighten it out, sat down and awaited perfection.
That is, I was waiting. Mother Russia to my left was busy chatting. The lady to my right, roughly the size of Russia, was enjoying a deli pickle. The lights dimmed along with my enthusiasm as the chatter and crunching continued.
Mosaic and United kicked off the program, choreographed by WODP co- founder Mark Morris with music by Henry Cowell. The White Oak chamber orchestra played what sounded like "Away in a Manger" in d minor. The ensemble, minus Mikhail, were clothed in silky pajamas that glimmered under the soft leaf patterns of light. There were a few lifts, but nothing physically or technically challenging. The dancers executed precise, emotionless, geometric poses along with a reoccuring pendulum move. Pickles to my right took this opportunity to take a nap.
During the next phase of the piece, presumably the United portion, the choreography was much lighter, smoother and more enjoyable. While an abstract piece, I interpreted it as a statement of our modern times: Time turns us into emotionless automatons, constricting the life out of us. That, or it's a throw away piece so patrons don't miss Baryshnikov while trying to find a place to park.
After the first intermission, we were graced with Misha's solo accompanied by a single cellist. In Jerome Robbins A Suite of Dances , the 47 year old veteran proved old dancers never die, they just kick out. With great ease, Baryshnikov completed countless pirouettes, graceful leaps, quick foot work and even somersaults.
While WODP is a modern dance company, Suite incorporated ballet,jazz and a touch of humor. In the last Suite , he danced up and then downstage, restricted to the center line. He started down the line one last time, then gave a "forget this" hand wave and spun off, filling the stage.
Mikhail was flawless exhibiting total control over every square inch of his body. He also has a wonderful personality that transcends the mere movements as he claims them as his own. He is a choreographer's dream. A friend later told me it was like watching "a piece of pure God on stage."
Greta in the Ditch followed after a brief pause, just time enough for everyone to catch their breath. Unfortunately, that meant my neighbors were up to their previous distractions. This piece by Tere O'Connor was enticing from the beginning. The curtain rises to a striking picture; Greta, we presume, on the floor in a pool of light and the other nine dancers surround her, their 20 foot tall shadows against the backdrop creating an awesome opening tableau. The bright costumes and fantastic lighting throughout enhanced the story, creating a unified, compete piece incorporating all possible elements. In the end, Greta was alive and dancing in her ditch. Pickles was sound asleep.
After moving during the intermission, I was finally able to enjoy the last piece sans the lashing of tongues or snores. Many people I spoke to enjoyed The Good Army the most. Some because of the music from Stranger Than Paradise by John Lurie, but most because of the unique choreography by Kevin O'Day.
Broken down into five sections, Army began with fog, streaks of lights and the entire company on stage. Mikhail was strutting with the kids and had no problems keeping up. In fact, it was probably harder for him to be a part of an ensemble with such gigantic presence.
The second section provided Mikhail with a solo. Once again, perfection. He even did a headstand. Before finishing, he mimed a golf swing and sent an imaginary ball into the audience for us all to take home.
The next sequence brought out a trio performing exciting acrobatic moves and catches. This was followed by a foursome who continued to display wild flips and prove themselves worthy of working with the most notorious dancer in the world. The company reunited for the grand finale and the audience could barely contain themselves. Before the end of the piece, we were jumping into ovation. Shouts of "Bravo" and, yes, even tears, were given to Baryshnikov, his White Oak Dance Project and their orchestra. Long may they reign.
Return to AARO
Return to AARO 95-96 Archive