DanceMetro

Dancefusion&Sokolow Theater/Dance Ensemble at FringeArts

 

(photo courtesy of Dancefusion)

For three decades Gwendolyn Bye, artistic director-choreographer-founder of  Dancefusion has staged reconstruction and revivals of specialized from influential and underrecognized contemporary choreographers, specifically a 20th century modern master Anna Sokolow. Bye’s revivals assuring important choreographic works remain are part of a living repertoire for this generation of dancers.  For Dancefusion’s 9th presentation at the Philly Fringe at the Performance Garage,  Bye partnered with  Sokolow Theatre/Dance Ensemble for a substantive program of Sokolow repertory and Dancefusion premieres.

Opening with Sokolow’s still stunning “Moods” (1975)  scored to music by Gygori Ligeti in a flawless restaging by Nora Naslund, gorgeously performed  by dancers from both companies. “Moods”  entrances with Sokolow’s flowing ensemble lyricism, and more abstract duets and trios mise-en-scenes. The cast included both Dancefusion and Sokolow dancers, with stunning clarity and esprit de corps.

Then three works by Dancefusion choreographer dancers-

“The Space Where You Were” by Jennifer Yackel, suggest a woman looking back on her younger self, or, as a mother/daughter narrative. Danced by Janet Pilla Marini and Kate Lombardi with original music by Philadelphia based composer Cory Neal. The imagery suggests everyday activities moving around in rooms of a house (by way of square spotlights) and when the dancers partner, expressing emotional bonds or conflicts issues coming between them. Both Marini and Lombardi dance with dramatic intensity and unfussy technical artistry.

– “Diaries” by University of the Arts dancer-choreographer Omar-Frederick Pratt with a mix of music by Pratt (& Richter, Zimmer, Winston)and and choreographed for ten dancers in the opening tableau on the floor strewn with rose petals writing on the stage or in the air. Pratt unleashes them in high velocity ensemble movement.

Then Pratt thrilling adagio solo danced by Zaki Marshall that was packed with  technical artistry.  Then followed by an athletic duet with Lamar Rogers, laced with intricate lifts and expressive narrative .  Pratt himself enters the scene in  a mach speed pirouette sequence, turning it into a trio.  The full cast returns for a series of duets, within the group configurations.  Some of the full group passages look choreographically rote- lots of rushing on and off stage, for instance- this is a strong narrative work from Pratt.

“Three Parts Human” choreographed by Camille Halsey, also a  talented University of the Arts dancer-choreographer.  contemporary ballet piece with for five women (in  Athena tunics) and one male dancer.  Halsey also uses some conventional ensemble unison, and some of the duet had a middle draft feel. Still, Halsey’s overall stage composition and ensemble esprit carries the piece..

The second half of the program began with short works by Sokolow from 1984 titled “As I Remember” early work by Sokolow that she  reworked in 1984.  In this revival directed by Jim May, Sokolow’s company co-director and founder of Sokolow Theater ST/DE.

‘Lament for the Death of a Bullfighter’ (1941) Janet Pilla Marini dressed in a black satin gown with a red drop panel that she teased out like bullring cape, a lethal gaze and altogether smoldering precision in this dance of death.

Camille Halsey’s dances ‘Ballad in a Popular Style’ (1936) to music by Chick Corea (which Sokolow changed from the original by Alex North) is a jaunty, skippy free dance, with perhaps some shade to Graham, and anticipating Paul Taylor’s witty approach to postmodern movement.

‘Kaddish’ (1945) from the music by Ravel, with Kate Lombardi, Melissa Sobel and Elissa Schreiber in dramatic black dresses with black piping coiled on one arm, seemed like a beautifully danced parody of a Graham knock-off.

“The Unanswered Question” (1971), scored to music by Charles Ives, it is a meditative group sculptural piece with both the Dancefusion and Sokolow dancers face down on the floor and their bodies slowly lifting  skyward.  The symbolism of universal human struggle and ultimate shared hope, both earthy and ethereal.  This collaborative concert a reminder that Dancefusion remains one of Philadelphia’s most diverse and vital repertory companies.

BalletMetros~extra

Premier soloist James Ihde bids farewell with ‘Diamonds’

May 13 on the Academy stage ~ Lillian DiPiazza & James Ihde in Diamonds photo: Arian Molina Soca

Red roses sailed over the Academy of Music stage on May 13 landing at the feet of Pennsylvania Ballet soloist James Ides, retiring from the company after 25 seasons, a favorite with audiences and three generations of PABallet dance artists. Ihde’s career with the company is almost unparalleled & he is has continued to dance in top form in his final seasons.  His swansong dance is indeed one of the most demanding roles for a danseur, the male lead in George Balanchine’s ‘Diamonds.’  It was suggested to Ihde by PAB artistic director Angel Corella and in his final performance James would partner prima ballerina Lillian Di Piazza.

Back to those roses in a moment, but first, there the matinee performance of Balanchine’s trilogy “Jewels”~  ‘Emeralds’, ‘Rubies’ and ‘Diamonds’~  representing a range of neoclassical choreography.   The dramatic glittery backdrops and sumptuous costumes by Karinska elicited applause and wows as the curtain went up on each one.  Much credit goes to Balanchine Trust repetiteur Elyse Borne’s for her technical precision and distinct musicality she brings to each ballet in this revival.

‘Emeralds’ is scored to music by Gabriel Fauré and is one of Balanchine’s most decorative ballets, and at its best as it was in this performance, a haunted mystique.  Karinska’s costumes have the mens in velvet emerald doublets and the women in pale green tulle ballet skirts.

Both lead couples, Yuka Iseda-Jermel Johnson and So Yung Shin- Jack Thomas,  captivating in their technical artistry.  The featured trio also proved a dazzling mise-en-scene for corps dancers Alexandra Heier, Emily Davis and Ashton Roxander.  Affron brought forth all of the lyrical mystique of Faure, and among the sterling soloists principal violinist Luigi Mazzocchi, harpist Mindy Cutcher, oboist Nick Masterson & cellist Jeannie Lorenzo.

‘Rubies’ is Balanchine is another defining collaboration with composer Igor Stravinsky and an undisputed masterpiece.  The propulsive drive of Stravinsky’s ‘Concerto for Piano and Orchestra’ inspiring Balanchine to break out of his own signatures and conventions. ‘Rubies’ choreo in a completely different choreographic key for Balanchine, so different from the austerity of his most famous modernist ballets. It’s witty and wry choreography that leaves room for liberated interpretation by the dancers. And lead couple Ian Hussey and Oksana Maslova revel in its propulsive virtuosity as a most fiery balletic romp. Balanchine’s angling the choreography in counterpoint to the Stravinsky dominant piano solos. played with breathtaking command by PAB pianist Martha Koenemann.

And the third lead, a breakthrough role for PB apprentice Sydney Dolan. Commanding technical artistry and star power. Five men are in position to move her around in arabesque variations, a dancer version of the ‘facets’ to a ruby’s inner ‘fire.’  And really that concept extended, in this performance to the corps women,  who throughout with sharp ensemble pointe & (counter)pointe work.

James Ihde about to launch his final performance (photo: Arian Molina Soca)

Then it was all about ‘Diamonds.’ The anticipation for James Ihde entrance was building during the extended corps de ballet scene that opens Balanchine’s ‘Diamonds’ his glittering distillation of  Imperial Ballet classicalism set to the sonic waves of Tchaikovsky’s Symphony No. 1.  when they finally exit and then the burst of applause as Ihde and partner Lillian DiPiazza make their entrance,   Di Piazza and Ihde have radiant chemistry together from the start.  Ihde had a few tentative moments and completely pitched out of grand pirouettes, but, powered through, with incredible authority and artistry.

His jete circle nicely paced. DiPiazza’s steely pointe work and subtle expressiveness make this an indelible partnering. The full corps de ballet executing the crucial unison ensemble work without looking mechanical. And this was another opportunity for Corella to showcase what has been developing all season, a more uniform strength in the mens corps.

The curtain coming down on the full company ensemble grande processionale by Balanchine and DiPiazza and Ihde the glittering center. And then it was all over, the applause building as the curtain came back up on Ihde alone on the Academy stage for several moments that were, indeed, like an intimate, a once in a lifetime moment with an old friend…

James Ihde final bow

photos: Beverly Wexler

 

…As the current roster of PABallet dancers came onstage with roses & heartfelt embraces. Many of James’ former dance colleagues were there to bid him farewell including  legendary founder of Pennsylvania Ballet Barbara Weisberger, who was a protégé of Balanchine dating back to the 30s when she was the youngest dance student in his class.

A most memorable moment as Conductor Beatrice Jona Affron came onstage to take a bow with Ihde. Affron has been conducting  PABallet Orchestra since the early 90s, in fact, as long as James’ tenure.  And without doubt, this performance of Tchaikovsky, Faure and Stravinsky has to be among the finest programs this orchestra has ever played.

PABallet founder Barbara Weisberger & James Ihde (courtesy PAB)

Artistic director Angel Corella presented Ihde with a bouquet and champagne as confetti and more roses sailed out from the orchestra pit during the 20 minutes of lusty applause for a great contemporary danseur, an indelible dancer in this and many another ballet season to remember.

A PABallet dancer for all seasons

Pennsylvania Ballet soloist James Ihde is retiring after 25 years, a rare achievement in itself, but rarer still, the fact that he is dancing taking his final bows in top form, co-starring with PAB principal dancer Lillian Di Piazza in George Balanchine’s ‘Jewels’ at the Academy of Music in Philadelphia this weekend.

Soloist James Ihde & PABallet maestro Beatrice Jona Affron (photo: Arian Molina Soca)

Originally from Kent, Ohio, in the early 90s, Ihde was a student at the company’s school, during a particularly rocky time for the financially strapped company. The artistic director Christopher D’Amboise was stepping down and Roy Kaiser, longtime principal with the company was named interim director and both D’Amboise and Kaiser wanted Ihde in the company. Ihde became a corps de ballet member in 1993 and flourished during Kaiser’s tenure and has been a soloist for 15 years.

Ihde has danced a wide variety of lead roles over the years is widely admired by colleagues and audiences for his artistry, warmth and down to earth personality. Earlier this week, not resting on any laurel, Ihde was in PAB studios, for his regular rigorous regimen of rehearsals and morning class and talked about his long talked tenure with the company.

(photo: Alexander Iziliaev)

He noted that he first thought about retiring five years ago, “I felt that something was happening then, that was telling me ‘it’ was shutting down,” he explained “My back had been bothering me,” he explained “and I thought maybe ‘it’ was shutting down.” But Ihde worked through it, dancer warrior that he was used to being, “eventually I got my full mobility back,” he recalled, “then I got a 3rd or 4th career wind and these amazing roles swung my way and I was dancing in some of my favorites.”

Ihde adds, “I had the opportunity to do them better actually, then I would have in the past,” he said “I appreciated them more. When Roy Kaiser stepped down in 2014 and former American Ballet Theater star Angel Corella became artistic director, there was a large turnover of dancers and Ihde knew there was a possibility that his contract wouldn’t be renewed. But the parts kept coming Ihde way for what would be his final seasons, with Corella programming many of the most innovative and in-demand international choreographers. Through it all Ihde’s technique and artistic imprimatur was well suited to neoclassicism and contemporary ballet fusion.

James Ihde & Martha Chamberlain (photo: Alexander Iziliaev)

Ihde has always been modest about his artistic skills “I didn’t have the goods to be a purely classical dancer, in the sense of getting those featured parts. I don’t have a lot of bravura technique or tricks I could pull out. I was suited to have more opportunities in neo classical and contemporary dance, I felt I had a better niche.”

A short list of Ihde’s most notable roles over his long career include Lar Lubovitch’s” Waiting for the Sunrise,” Balanchine’s “Agon” and “The Four Temperaments, Jerome Robbins’” In G Major” William Forsythe’s “Artifact Suite,” Jiří Kylián’s” Forgotten Land,” Christopher Wheeldon’s “Liturgy” and “After the Rain” and title roles Balanchine’s “Apollo” and Ben Stevenson’s “Dracula.” Ihde’s brilliant interpretation of two solos in Balanchine’s “The Four Temperaments.”

And now as a career finale, a part that, Ihde has always dreamed of. “I was envious over the years not having danced “Diamonds” pas de deux. When Angel presented that, when we talked about this being my last year, I felt grateful. And I immediately thought it would be an amazing thing to get to retire with. I didn’t go into it with any expectation. But I wanted it to be memorable.”

The role is pristine Balanchine, requiring lyrical technique with the lead couple dancing throughout and capping it off with a central 10-minute pas de deux, which will highlight what so many PABallet fans will remember about Ihde, his dynamic partnering.

“It’s a little more classical approach than most of Balanchine’s ballets. And of course, it’s so great dancing with Lillian Di Piazza. Ihde is known for his partnering strength and onstage chemistry with such luminous former and current prima ballerinas. Ihde remembered his first partnership on a regular basis was ballerina Meredith Reffner “we always had a great time in rehearsals and on stage.” Ihde recalled some challenging partnerships but said that he always learned “the positive effect” because “you always had to figure out how to make it work.”

Ihde is known for his strong partnering with such luminous PABallet principals as Gabriella Yudenich, he recalled “Gabby always really went for it onstage and I loved that.” And with Lauren Fadeley Veyette, dancing in ‘After the Rain’ and ‘In G Major’ and the Forsythe ballets with her. She was so generous, always patient and the we always worked things out together.”

They are some of Ihde’s best memories as a dancer, but “I wasn’t a natural at it,” he admits, “Quite the opposite. I wasn’t a disaster, “he laughs “but I had to learn partnering every step of the way. Even down to this performance. I do feel very confident in my partnering, but I still being coached, taught and shown things.”

The soloist has been onstage a lot in his final season, including last month appearing for the 23rd time in the dancer’s annual Shut Up & Dance concert benefit performance for MANNA (Metropolitan Area Neighborhood Nutrition Alliance) raising extra funds by letting an audience member rip his shirt off.

Ihde’s short term plans are uncertain. He plans to teach and enjoy a break from the studio regimen for a while, but nothing is definite right now. For now, as he prepares for his final challenge, he can even look back with a measure of pride.

“Almost any dancer, if they have any self-awareness. see their limitations and what they didn’t do in equal, if not greater amounts,” he intimates, “But I have gotten a different perspective lately, that I’ve been here a long time and got to do so much, and feel I’ve made a contribution to the company.” Ihde said.

DanceMetros

Cracking the Nutcrackers

Russian expat George Balanchine choreographed The Nutcracker for New York City Ballet in 1954. Balanchine danced several roles in the ballet at the Maryinsky Theater created by Lev Ivanov’s 1892. He streamlined the story with a mix of neoclassic balletics and pantomime dance for American audiences. The Balanchine artistic trust only permits certain companies permission to dance Balanchine’s Nutcracker and there are plenty of other interpretations that re-imagining the story, some sticking closer to the ballet’s Russian origins.

When The Moscow Ballet’s ‘Great Russian Nutcracker’ swung into Philly for two nights at the Annenberg Center in Philly just nights after the Pennsylvania Ballet’s Balanchine production opened, I thought it would be interesting to compare the choreographic templates, lineage and impact on contemporary audiences.

PB principal Alexander Peters leads the Candy Canes

PB Principals Ian Hussey & Amy Aldridge as Sugar Plum & her Cavalier

PB Corp de Ballet in Snowflake scene

MoscowBallet Arabian Variation Sergey Chumakov & Elena Pretrachenko

MB’s Harlequin scene

Pennsylvania Ballet’s production of George Balanchine’s The Nutcracker

Academy of Music, Dec. 9-31

Pennsylvania Ballet Artistic Director Angel Corella continues to sharpen the company’s production of George Balanchine’s Nutcracker and since the Balanchine trust keeps tight reins on the few companies that are licensed to perform Mr. B’s, PAB’s attention to the smallest details make all of the difference, dusting off ACT I of ballet, which is can drag on if not fueled with enough performance energy.

Child dancers Claire Smith and Rowan Duffy as siblings Marie and Fritz, Both young dancers have natural stage presence and are strong dancer-actors, a key element in focusing the opening scenes. And this energy extends to all of the children at the Holiday party, which can often look like seasonal pageantry.

Corella is making sure that both the children and adult dancers are defining characters in their pedestrian and gestural movement.

PAB’s new dance master Charles Askgard portrays Herr Drosselmeir, and is a study of detailed pantomime dance. Even Balanchine’s lumbering mouse battle moves swiftly along.

The Act I solos commence when Drosselmeir animates the Harlequin dolls in their cute pointe patterns, but Balanchine saves the fireworks for the toy soldier solo, a precision dance, with precision flatfooted jumps and limb moving in sharp opposite angles- In this performance danced by Peter Weil with haunted eyes executing the drill steps.

After the faux mouse battle, Marie and the Nutcracker Prince are transported to the snowy forest where Snowflakes perform vintage Balanchine choreography full of geometric configurations and requiring tight esprit de corps. At this performance the corps’ ensemble had the pulse but veered off with some blurry unison pacing and scrambled transitions.

Amy Aldridge as the Sugar Plum Fairy among the little angel gliding over the floor to open Act two and Aldridge who has danced this role many times and this performance can be counted as among her most radiant performances.

In the Act II divertissment Lillian DiPiazza smolders as Coffee in the Arabian Dance and Jermel Johnson slices through the air with saber leg splits for Tea. Alexander Peters and his battalion of Candy Canes getting through those hoops with jaunty flair. Making the most of their flash tarantella in the Spanish Dance are newcomers Sterling Baca and Nayara Lopes.

But it was Dayesi Torriente dancing the lead in Marzapan Shepardess that stood out. This is a deceptively simple looking mid-tempo choreography, is actually very tricky and easily scuttled. Balanchine’s counterpoint patterning can loose technical clarity and merely look pretty. In this performance Torriente commanded with thrilling artistry and her Shepardesses- Adrianna deSvastich, Jacqueline Callahan, Yuka Iseda and Ana Calderan, were completely in sync.

The corp de ballet looked sharper than in the Snowflake scene, with precision and attack in Dewdrop Flowers dance. Principal Mayara Pineiro set the highest mark with her fiery lead solo. Pineiro can just hang on point arabesque and her transition steps flawless entrances and exits to diamond centered turns, airy jetes and luminous pointe work.

The finale pas de deux is all Balanchine fireworks and tests the mettle of even the most technically proficient dancers. Aldridge not missing a moment to thrill with her solid technical prowess from every angle. Aldridge and principal dancer Ian Hussey as her Cavalier with palpable chemistry throughout highlighted by their consistent fluency Balanchine’s difficult lift sequences. Hussey’s solos highlighted with centered turns and solid tours en l’air.

It can’t be understated how vibrant conductor Beatrice Jona Affron’s tempos, detailing and orchestral thrust of Tchaikovsky score are key. In Act I, among the outstanding soloists are Luigi Mazzocchi’s violin solo just engulfing the Academy and harpist Mindy Cutcher floating gorgeously crystal strings first as the first snowflake piques on the floor.

Moscow Ballet’s Great Russian Nutcracker

Annenberg Center, Philadelphia

Dec. 12-13

The Moscow Ballet version of the Nutcracker is a more classic Russian version, without doubt and is a choreographic update by the directors after Imperial Ballet period versions by Russian choreographic masters Vaganova, Marius Petipa and Lev Ivanov.

At the Moscow Ballet’s Great Russian Nutcracker, you pick up right away that the story is much different, with Uncle Drosselmeyer, in a wonderfully danseur lead character part performed by Maksim Bernadskyl. Uncle is Christmas Eve magician who conjures the young girl Masha’s Nutcracker dream escorts us through the whole ballet.

Drosselmeyer Anastasiya Terada is hypnotic in her mechanical moves in a multi-colored ribbon tutu ‘Kissy Doll’ and Konstantin Vinovoy’s Harlequin (the prototype for Balanchine’s Soldier) equally spellbinding. Not transcribed by Balanchine are the Moor Dolls.

Where Balanchine leans heavily on just pantomime and gestural acting to carry Act I, here there is much more dancing including a waltz for the adults, and an officer saber dance.

The Nutcracker Doll & Prince is danced by Mykhailo Syniavskyl throughout (Balanchine turned it into a mostly pantomime role for a young male dancer).

The mice battle is a much more interesting scene, than Balanchine’s limp and comedic version. Here Sergyl Merzlyakov is not a fat cartoon rat, but a scary Rat King in red and black dyed tights stylishly sinister headpiece. The fight choreography has Merzlyakov slicing through the air or in thrilling sword dances with Nutcracker Prince.

Elena Petrichenko and Sergey Chumakov were flash dancing ‘Moor Dolls’ in the first act, but they emerge as virtuoso dance – acrobats to open Act 2 as the Dove of Peace, each with a majestic wing and they cleave together in a series of lifts that keep moving to various symbolic and sculpted positions. Later, the couple appears in an even more dramatic tableau in the Arabian Dance (a lengthier transcription of the Arabian music from Tchaikovsky’s score.)

Balanchine made this a solo dance and one of the highlights of his version for a smoldering solo for a principal ballerina. This has an equally entrancing quality and these two make the most of it.

Balanchine was skimpy on his version of The Spanish Dance even though he has four couples animated in a stylized tarantella, with fancier footwork for the leads pair. Moscow Ballet’s duet for Boris Yastrub and Olga Aru is more interesting in its variation; this couple has wonderful presence and flair in this dance, though their technique flagged.

Moscow Ballet’s ‘Chinese Variation’ (Tea) is much more developed than Balanchine’s flash dance version with glittering repeated phrases. MB’s is much more a character dance, however un-pc with ‘Orientalism.’ Juliya Verian and (stealing the show again) Sergyl Merziyakov’s playful patterns transition steps to technically dazzling double tempo grand pirouette and razor sharp aerial splits.

The reverse is true in The Snowflake ensemble dance at the end of Act I, Moscow’s Snowflakes are exemplar of Russian ballet decorousness, whereas in Balanchine’s turns the heat way up for the Snowflake scene to cap off Act I.

Moscow Ballet’s ‘Russian Variation’ is an expanded Czardas dance with Anton Romashkevych and Anna Bogatyr in traditional Ukrainian dress exuberant in high stepping patterns. Romashkevych in robust barrel rolls and Cossack plies, around Bogatyr, who is twirling like a top. Balanchine turned this into the Candy Canes hoop dance, which is just as effective as a scene, but doesn’t have this folkloric flavor.

Mykhilo Syniavskyi and Veronika Hordina have great chemistry and refinement in the central pas deux that define their characters and unfolds in dramatic finales for both acts.

So Moscow Ballet’s Great Russian Nutcracker has a lot to offer in contrast to Balanchine’s distillation of Russian aesthetics. Even with techniques among this large cast erratic, particularly in the corp de ballet scenes, it should be noted that dance schools and companies in Russia have gone through drastic reduction of state sponsorship over the last 20 years and that is a classic Russian story for another cold winter’s dance night.