Articles Jonathan Sharp xoxo


Ballet Magagine - May, 2005

California Ballet Company

‘Souvenir de Florence’, ‘Neither Do I’, ‘Solo from Lambarena’, ‘Dry Roses’, ‘In the Middle, Somewhat Elevated duet’, ‘Recuerdos de Carmen’

30th April 2005
La Jolla, California, Lawrence Family Jewish Community Center

BY Anjuli Bai




A full length classical ballet tests a company's ability to sustain dramatic action, mount a complex production, as well as demanding technical prowess. However, an evening of mixed repertory is a test of another kind: changing styles, shifting mood, the ability to quickly set a place, a time, a pace and aroma with minimal help from sets and preconceived expectations of what's going to take place. The audience doesn't know the story to come, or if there is a story at all. This evening of two and a half hours of dance with only two short intermissions was an ambitious undertaking with an enjoyable result.

Souvenir de Florence

The well rounded program opened with the traditional ballet blanc, choreographed by Wayne Davis to music by Tchaikovsky. The full stage of dancers, numbering some 20 plus, was in Serenade-like costumes by Michael Franco. A layer or two of ankle length sheer white tulle was attached very low on the hip to a simple upper tank bodice. While the music did not have the melodic sweep of Serenade, one couldn't help but have visions of Balanchine's creation.

Mr. Davis's choreographic composition does not suffer by the juxtaposition. It is very much in the genre, but also stands sturdily on its own with many complex floor patterns, always moving, always changing, no time to think, nowhere to hide. This is naked classical choreography that demands more than competent petit allegro taken at challenging tempo and completed lines without regard to how quickly it needs to be accomplished. I would happily see this danced by New York City Ballet; it would not at all be beneath their attention. I think they would enjoy it.

So, how did a local/regional company do with this challenge? Though the corps de ballet included several company apprentices and trainees, they gave a good account of themselves: a base to build upon, more to accomplish, but a very good beginning. If they didn't always deliver pencil sharp petit allegro, they didn't hesitate, they were courageous and that was winning. While the leading foot pointed the way, the second foot at times was not as sharp. It's an easy foot to forget, but ballet technique demands remembering that second foot.

Chests are up and open but not always fully connected to a strong center. Mastery of how to articulate the torso whilst at the same time staying connected to the power in the center is a work in progress for several of the dancers. A more positive connection of open chest to strong abdominal center will give more certitude to pirouettes absolutely finishing on time and in place. It will also give balances that are ordered by the mind informing the body "now!" rather than waiting for the body "to be ready." Balance and turns need to be mind directed rather than physically oriented. The mind controls the body through that power core from the "center." Once that strength has been turned on, then play with phrase will have a chance.

Some of the younger dancers looked down before remembering to look up - and out. This connects them too much to the floor and propels the energy downward before redirecting it outward. It also shuts out the audience for just that split second. One of the few times the dancers were standing still with arms en haut, care needs be taken that fingers don't wiggle, that an errant finger or two is not splayed and that distance between hands is the same for each dancer. There was basic uniformity, but these small details will lend even more. It's those tiny details that complete the picture.

I don't want to give the impression that I was unimpressed, that isn't true. I was impressed. This piece of choreography is unforgiving. For that reason it should be a permanent part of the company's repertoire serving not only as the enjoyable work that it is, but also as a benchmark for the progress of each dancer personally and for the company as a whole.

As in a previous performance my eye was caught by Mariko Kikuchi, and so it was again. She is so light, she wisps around the stage. Though her lines may be completed by conscious intention, the impression is a very naturalistic completion

I have spent some time here on technical details because in this particular work, the dancers are not allowed any comfort zones and therefore it is most worthy of their attention and I think they will be well rewarded for it. A very good beginning has been made.

Dancers: Jenny Baron, Kristie Cordle, Sarah Grunwaldt, Mariko Kikuchi, Cecilia Rodriguez, Pablo Infante, Laura Hicks, Travis Ruggirello, and corps de ballet.

Neither Do I

Patricia Barker and Karel Cruz, guest artists from Pacific Northwest Ballet, danced in front of a sometimes blue, sometimes red, lit back screen on an otherwise bare stage to choreography by Olivier Wevers and Kiyon Gaines with Safri Duo's music. Costumed (credit not given) in light gray tops with short black shorts for her and long black pants for him completed the minimalist setting. Without tights, the full display of Barker's long ballet musculature was evident finished off with expressive feet that speak a complete tale by themselves. "Sinuous" best describes Barker's presentation. Cruz more than once spun out a blistering series of multiple (8-10?) pirouettes that ran themselves down like a timepiece - it was beautiful to watch: once again illustrating that it isn't simply the multiplicity of rotations, but the control throughout and capped by an utterly controlled finish that crowns a pirouette.

The ballet itself has each of them alone, and then sometimes with one another. They come together and then come apart with no apparent reason other than it "just happens." Occasionally they relate to one another and at other times, they simply touch, dance, with no goal in mind.

Solo from Lambarena

Lindsey Torres-Dec, another guest artist from Pacific Northwest Ballet, danced to music brought together from two continents: Bach and traditional African melodies. The unaccredited costume was a skirt and top with African based designs. It's an intriguing combination of cultures: African movement combined with classic sub-structure, on pointe. In some ways, it's both and at the same time neither. The Afro-articulation, apparent disconnection, demanded in the torso is not quite there in a body that has trained for connection. I kept envisioning how someone like an Alvin Ailey dancer would "break it down."

Dry Roses

Some choreographic works also engage our sense of scent as well as sight and sound, and Betzi Roe's is such a one. She used music of Russian jazz from around 1923 and this was emphasized by the purposely scratchy sound track. In this case, it was particularly apt, immediately setting the time and taking the audience back.

I really would like to be able to credit the costumer, because I loved the dresses - any one of which I would gladly add to my own wardrobe. Approximately low calf length, each one was different: some with draped sleeves and/or neckline, a scalloped hem here and there, delicate prints, "swirl ability" and oh so feminine.

I think the dancers enjoyed this period piece, I know I did. They caught the mood and transmitted it outward to the audience - aroma and all.

Dancers: Jenny Baron, Miki Batchman, Eun Jin Boo, Tiffany Case, Sara Grunwaldt, Laura Hicks, Mariko Kikuchi, Elizabeth Moore, Cecilia Rodriquez (alternating).

Duet from In the Middle, Somewhat Elevated

The curtain opens to show us a fully exposed back stage area: light stands, ladders, the barebones basic essentials of a behind the lights nitty gritty of a theater. Patricia Barker and Karel Cruz danced William Forsythe's choreography to Thom Willems music with knowledge and attention. Simple costuming of tank tops, black see through tights for her and black trousers for him, matched the pared down to the bones setting. Both of these dancers are a pleasure in every way: having utter control of the technical demands they are able to let go of it and get within the music and choreography.

Recuerdos de Carmen

This is a distillation of the Carmen story and begins with Don Jose's slow motion dreamlike stabbing of his recalcitrant lover. Charles Bennett's choreography avoids the pitfall all too often found in distillations: it is not obscure and the story line, though foreshortened, easily understood.

The corps de ballet was clothed by Alan Madsen in black skirts with a more colorful underskirt occasionally peeping through. The men are in black, the back screen is black, and the floor is black. There is entirely too much black. Perhaps a slit in the black skirts would allow more of the colorful underskirts to be seen. Only Carmen is a flash of red.

Jonathan Sharp's characterization of Don Jose was thoughtfully drawn. He uses his hands more expressively than I have seen in many a dancer with a far wider reputation. He can portray pathos, questioning, despair, irritation and anger simply in how he uses the palms of his hands. That's a worthy gift. While I enjoyed his dancing very much, I was captured by his dramatic ability.

Jennifer Curry, the company's only named principal, danced Carmen with allure and spice. She has the gestures: hand hitching a skirt, a shoulder announcing an invitation, but she doesn't quite have the hyper Spanish spine. When she arches back, it's not fully committed. I think it's "there" - and will manifest itself with time and thought.

Kristie Cordle, as Micaela, gave a sympathetic portrayal of the "girl that his mother would approve of" - she was innocent of base motive, but when she kissed Don Jose, her intent was clear. Except for one unfortunate pirouette down falling back and swiveling on the heel rather than on the toe, she handled the technical demands successfully. She might consider tapping into her spine for the despair she wants to convey - quite the opposite of Carmen's need.

Between all the principals and ably aided by the corps, the tension that must occur for Carmen to be successful was evident. The audience was involved in Carmen's fate as well as the other characters. Particularly poignant was Carmen's death which was not rash and violent so much as slow and deliberate. That was a very telling moment and an excellent way to complete the story. It wasn't simply unrequited passion that caused Don Jose to kill Carmen, but a decisive decision.

Dancers: Sarah Grunwaldt, Cecilia Rodriquez, Pablo Infante, Evgeniy Lushkin and corps de ballet.

The program was intelligently planned. The company's roster is at the mercy of "who walks in the door" rather than having the luxury of attracting dancers from far and near to join its ranks. This means that while every foot may be pointed, the construction of that foot may not have the ability to fully show that pointe. It means that here and there, a body is not completely up to the full turned out demands of the technique. But let me give credit because credit is due, that the material available is shaped to acceptable norms and a good evening of dance is the result.

The theater seats several hundred with a stage adequate to the purpose. It's a good home for repertory lending intimacy to the event. The message is: "Here's something new, please explore it with us."

While aural madness with the taped music was avoided, it was on the edge. My ear plugs were in use, I didn't miss a beat, however, my chair vibrated with the sound.