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The show began, as BAZ shows usually do, by Artistic Director, Michael Uthoff, giving a witty pre-curtain speech. He entered as the lights dimmed to inform us that we were about to see three ground breaking pieces of choreography. Ms. Lugie expressed delight with a phlegm, swallowing snort.
The curtain rose to swells of Tschaikovsky's Serenade C Major for Strings with 20 ballerinas dressed identically in powder blue. The George Balanchine piece Serenade was his first American creation and features a very deliberate, almost stilted technique for much of the performance. It is quite comical in its quiet ridicule of movement for movement sake, appearing to have no creative element at all. It's almost as if you were watching a ballet class, rather than a performance piece. There are a few movements with flowing choreography and beautiful tableaux, but Serenade is a test in technique.
I did have a few distractions while watching this piece. The most notable was an apprentice that was almost always a beat behind every one else. Many of the movements required the dancers to be in straight lines and to be moving in unison. She stuck out horribly.
There was also the young boy, dressed to the nines in his miniature suit, who felt compelled to air-violin along with the score. But, that sort of distraction I can live with.
Balanchine himself said "A ballet may contain a story, but the visual spectacle, not the story is the essential element." After the first intermission, we had a chance to test that theory with Antony Tudor's Jardin Aux Lilas (Lilac Garden). His is a tragedy of manners where Caroline is about to enter upon a marriage of convenience. At her party preceding the ceremony, the young man she really loves and the woman who, unbeknownst to her, has been her fiance's mistress, are present.
The choreography in this piece differed from Serenade in that very small movements, a slight bend of the hand, a tilt of the head, a glance were all very important to convey the emotions beneath the control exterior of the characters. It was this self-contained detail that drove the piece.
The set of floral legs (drapes that mask the sides of the stages) and evening back drop set the mood beautifully. The richly colored costumes of the party goers were wonderful as well.
While I felt that Traci Gilchrest as Caroline, and Britt Juleen as the "woman from the past," did a wonderful job, I didn't find this piece as enjoyable as I had hoped. The choreography was more focused on telling a story than trying to express movement. The visual "spectacle" that Balanchine emphasized wasn't there.
Having seen Traci evolve from a shaky novice two years ago in Copellia to a self confident soloist in Lilac Garden has been a real pleasure. Her role as Caroline proves she has the ability and the emotional strength to carry a lead role. Britt, new to Ballet Arizona this season, also showed great range of emotion as well as wonderful technique. And Jekyns Pelaez showed great power in his few leaps and pirouettes, but unfortunately The Masters did not showcase the company's men.
Paul Taylor's Modern extravaganza completed the evening with Esplanade. While the first movement of the piece did not seem that impressive, each progressive movement became more and more interesting. Dancers eventually were running at lightning speed across the stage, the women were flying into the arms of the men, and finally the cast let loose with magnificent slides, falls, and rolls.
What started out as a typical, modern piece ended the evening with a bang. It was interesting to see these classically trained dancers tackle the posture needed for a modern pieces. Some, like Yen-Li Chen-Zhang, appeared natural. Others, like Jeremiah O'Connor, seemed a bit rigid in this foreign gait.
Phlegm woman aside, I enjoyed this evening of contrasts. From the three pieces we saw stilted technique, self contained detail, and uncontrolled flailing. The contrast was very apparent, the dancing was on the whole superb, and the audience gave Ballet Arizona a well deserved ovation.
Next up for the Ballet is the classic Romeo and Juliet April 5 - 14. Call the BAZ box office at 381-1096 for tickets and more information.
Viewed February 23, 1996.
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