There is something about churches and theaters that make people think they have to be serious. "Sinfonia Danzante," a playful new piece by Artistic Director, Michael Uthoff, tries to break that sound barrier.
As the first piece, "Danzante" tries to set a light tone for the evening. With music by Beethoven, his lesser known Symphony No. & in A, Opus 92, one would expect a more classical ballet piece. Not if Uthoff can help it. Remember, this is the creator of Alice in Wonderland accompanied by the Red Hot Chili Peppers.
"Danzante" begins and ends each section with a young man laying down with his legs Indian style bathed in a circle of light. Jeremy Raia, a new comer to BAZ, was wonderful as the piece's Puck-ish leader. In fact, this entire piece reminded me of Midsummer Night's Dream. While I could not find a true story line, the tone was light and movements sometimes silly. There were many comic bits that did find laughter,though the audience was still a bit uptight. I was sure I could hear Uthoff sending the message: "Go ahead and laugh!"
I really enjoyed this piece. The choreography was different, fun and extremely well executed by Raia as well as his partner, Yen-Li Chen-Zhang. Other standouts were the always charming Gia Firicano and Andrew Needhammer. Miguel Garcia and Gisheng Zhang, while not dancing in the spot light on opening night, still shine through gracefully. The entire troupe was outstanding. Uthoff has created a beautiful, strong team of dancers that Arizona can be proud of.
During the intermission, the buzz about "Ask Not" took over all conversation. When we arrived back to our seats, the pre-show music "Sergeant Peppers Lonely Hearts Club Band," Jimi Hendrick's screeching guitar on the "Star-Spangled Banner," only heightened our anticipation.
As the piece begins, we are greeted by Yen-Li and Mozart's Piano Concerto No.21. Judith Adee, Traci Gilchrest and others join in for a quiet, pretty beginning. Next come Andrew Needhammer and Gail Passey-Reed with Jeanene Russell dancing a bouncy "Blue Moon." Then the 60s are upon us. Robert Wesner gives a angst ridden, powerful performance to "Decade Null" under florescent lights. This piece set the tone for the best parts of Ask Not.
"Good Times, Bad Times" had three of the men in suits dancing to Led Zeppelin but for what reason, I do not know. Here is where the trouble began for me. Next in "Colour My World," a piece that did not go far enough, we see the beginnings of turmoil between the races, one of the hottest struggles in the 60's as well as today. "Paint It Black" with the entire cast showed the frustrated teens finally rebelling, but against what?
"This Old House" was the most memorable part of "Ask Not..." and where the entire piece should strive to go. Two families struggling with what it means to be an American: Women given new choices, men confused by the evolving feminist movement, children lost and forgotten until it is too late. The pain and complexity of "House" was so intense and moving. I only wish more of "Ask Not..." had dared to go to this depth.
"I Got You Babe" was a very likable episode. Three "free-love" youngsters portray three types of relationships. A very intimate Rie Ichikawa and Jekyns Pelaez, a very dysfunctional love/hate (and very funny to watch) Bonnie Mayer and Robert Wesner, and a very loving and playful Gia Firicano and Eric Roberts.
"Dazed and Confused" will probably be the most talked portion of the evening. Mariusz Ostrowski contorts and throws his wonderfully built and nearly naked body about on stage in what appears to be a bad LSD trip. Enter the sultry, long-legged Britt Juleen in a shiny bikini moving slow and sexy, and you've got erotic visuals for both sexes. Uthoff isn't afraid to shy away from eroticism and he does an excellent job of showing off his female dancers in their best light. While this was very beautiful to watch, I couldn't help feeling the only reason they were one stage was to titillate. The movements were not unique, the emotions were very detached and the dance seemed more about the moves than telling a story.
"For What It's Worth" and "Try (Just a Little Bit Harder)" were all men and all women pieces respectively. Again, I felt more could be done here. I did not feel I got what Uthoff was trying to portray. The Epilogue, back to Yen Li and Mozart, found the cast in all white, reminding me of a Rev. Moon ceremony, the women in lovely, flowing dresses and daisies in their hair. I again wondered in Uthoff was trying to say. I was not clear if he had jumped a few decades to the '70s or if this is his idea of the end of the '60s. While the entire piece was enjoyable, I did not feel it stood up to the hype.
It may be that to bring in younger audiences and to grow with the times, more and more companies need to find gimmicks to inflate their box office. You see this happening in every entertainment industry from film to Theatre to ballet. The success of the Joffrey's Prince concert comes to mind.While I enjoy eclectic dances with contemporary music, I cannot help feel that many times these attempts come more from the minds of the marketing department than a spark in the choreographers heart. While there is nothing wrong with creating with your audience in mind, I would hope that we are not tossing great work aside for something that is a sure sell.