RSS 2.0 FeedMay 11, 2011, Cover Stories, Dance
Ballet bids farewell with great "Moves"
The Kansas City Ballet grandly ends its tenure at the Lyric Theatre with a the world premiere of William Whitener's "Mercy of the Elements," the Kansas City premiere of Jerome Robbins' "Moves," and Twyla Tharp's mammoth "Catherine Wheel Suite."
Kansas City Ballet’s opening night spring performance and farewell series to the Lyric Theatre included a taste of everything. The moderately full audience witnessed three distinct selections, each with a different strength - the music, the dancing and the action. The common thread in the trio of works was Artistic Director William Whitener, who choreographed the first piece and, during his career, performed pieces by the other two choreographers, Jerome Robbins and Twyla Tharp.
In the footsteps of these two legends, Whitener incorporated more than one style of dance producing a ballet that strayed from the norm. Remaining primarily classical, Mercy of the Elements included folksy steps and moments of randomness. Beginning the first section was Alexander Peters, who stood out for his technical accuracy and ability to turn quite well to the right and left. Peters had a sprightly step as did Charles Martin. All of the dancers in the allegro sections had a cheerful, playful temperament which suited Nikolai Rimsky-Korsakov’s upbeat, brisk score.
Providing a relief in the middle were six tall dancers who languidly moved to the gorgeous music, creating long lines. In the last section—the most successful—Laura Wolfe and Nadia Iozzo brightened the stage with their fast footwork and sparkling smiles. However, majority of the execution appeared flat and the dancers lacked a true connection with one another, making it difficult to remain in unison. The best element to Mercy of the Elements was the music, which Music Director and pianist Ramona Pansegrau helped discover and the orchestra superbly played.
The middle selection, Moves, to which the program was aptly named, was performed flawlessly. Dressed in simple yet colorful everyday dance attire, Thursday’s cast executed the ensemble work at a level that has not been present lately. The difficulty of Jerome Robbins’ a cappella ballet lay in the timing. It required focus, articulateness and harmony, all of which the dancers embodied. And despite the lack of music, they were many sounds in addition to the moves. The dancers created their own beats and phrasing by stomping their feet and moving more loudly than usual. Even their calculated breaths could be faintly heard.
Each movement was performed on cue, with no dull moments amidst Robbins’ smart and exciting choreography. Several parts, including the “Dance for Men,” were reminiscent of West Side Story, which premiered on Broadway in 1957, only two years prior to Moves’ debut. Nadia Iozzo and Michael Eaton were masterful in their duet, initiating each step with purpose, passion, and precision. Other highlights of the piece were the “Pas de Deux” featuring Angelina Sansone and Geoffrey Kropp, and the progressive stretching section toward the end.
Twyla Tharp’s The Catherine Wheel Suite rounded out the evening and stood out for its eccentric movement and music and abundance of energy. In “Dinosaur,” the eight dancers moved around the stage like video game characters finding their way through a maze. They bee bopped back and forth in black costumes with red shoes and wrist bands, remaining sharp and grounded. Rachel Coats and Logan Pachciarz slowed down the tempo in “Cloud Chamber.” They alternated between a series of trust falls and suspended lifts, set to resonating pitches, with a handful of moments just to let loose.
“The Golden Section,” which was the finale to Tharp’s original 70-minute work The Catherine Wheel, was a true homage to the 80s era. As if provoked by trampolines, the dancers leaped, swung, and got tossed across the stage in a variety of ways. Most of the dancers committed to the relaxed style, but the men seemed to do it best, especially Pachciarz, Kropp and Luke Luzicka. They truly made it look like they were lost in the movement and having a great time.
The company closed out its 53rd season and last performance series at the Lyric Theatre strongly, leaving much to look forward to when it kicks off next fall at the Kauffman Center for Performing Arts.
REVIEW:
Kansas City Ballet
Jerome Robbins’ Moves
Thursday, May 5 – Sunday May 8, 2011 (reviewed Thursday, May 5th)
Lyric Theatre
1029 Central, Downtown Kansas City
For tickets, call 816-931-2232 or visit www.kcballet.org
Top Photo: Kansas City Ballet corps in Mercy of the Elements (Photo by Steve Wilson)
Dance Contributor
Laura Vernaci is a Kansas City native who has always been passionate about the arts, particularly dance. She began dance lessons at the young age of five and hasn't stopped since. She trained at the Kansas City Ballet where she became a serious dancer and learned about a professional company.
She attended Butler University in Indianapolis, IN where she majored in dance. She transferred to Truman State University in Kirksville, MO in 2006 and received a degree in Journalism in May 2008. Laura spent the 2008-2009 in Duluth, MN dancing professionally for the Minnesota Ballet. She performed in productions such as, "The Nutcracker," "Cinderella" and "Coppelia" as well as world premier ballets created on the company.
She recently moved back to Kansas City and is excited to combine her experience in writing with her passion for dance. In addition to performing and writing, Laura also enjoys teaching dance and choreographing.
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