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The Kansas City Ballet presented a fanfare last Thursday evening for the opening performance of their Spring Performance. The program consisted of four very different works; including two brand new contemporary creations, a classical pas de deux from the Ballet's earliest days, and a KC Ballet premiere of a jazzy favorite.

Concerto Grosso fulfilled choreographer Toni Pimble's desire to set a ballet to a score by Ernest Bloch. Her vision incorporated seven couples in four different musical sections: a prelude, a dirge, a pastorale and fugue. Featured in Pimble's work were Charles Martin, who displayed easy, fluid movement and effortless, bounding jumps, and partners Angelina Sansone and Gabriel Davidsson, whose duet lacked total commitment and a sincere connection. Sansone was graceful, creating long, beautiful lines, but Davidsson's delivery was indifferent and dispassionate.

Pimble's choreography decorously complemented Bloch's score, which was played flawlessly by the Kansas City Symphony. However, the first half of the work was not danced in unison and the partnering seemed awkward and forced. Some corps parts throughout also appeared chaotic and under-rehearsed. There were very nice moments though, from various pairings of dancers, such as Kimberly Cowen and Luke Luzicka as well as Breanne Starke, Adam Rogers and Marty Davis. Acclaim also must be given to Jennifer Carroll for her stunningly simple costumes that flowed nicely and represented a gorgeous color palette, and to Kirk Bookman who designed the lighting.

Brought back into the company's repertoire after nearly 20 years, Donizetti Pas de Deux was originally created in 1966 by the late, great Todd Bolender. It is an excerpt from La Favorita, a full-length ballet he set with the Frankfurt State Opera and Ballet Company. Dancers Aisling Hill-Connor and Luzicka took to the stage elegantly, but despite their grand appearance, the pas de deux was shaky and their nerves were apparent. Credit must be given to the pair for sticking with it and easing into the piece more comfortably in their solos and the coda. Bolender's use of musical phrasing and flirtatious gestures helped provide a likableness to the classical variation that ended with a dive, a catch and a simple partnered arabesque which said, "Ta-da."

Jessica Lang's A Solo in Nine Parts was widely accepted by the audience, along with Lang herself who has surprised and impressed fans this season with two premieres (one brand new) for the Company. Split into three movements, the five women and four men combined modern dance with ballet to create a joyful, uplifting piece to watch. The second movement featured four dancers, rotating couples with seamless transitions in a relaxed, tender manner. The final section felt like a celebration of movement with the dancers smiling and moving easily in Lisa Choules' provincial costumes. The Symphony's execution of Vivaldi's score was breathtaking, especially violinist Sunho Kim whose curtain call was well deserved.

Who Cares? closed out the night with a big bang showcasing George Balanchine's jazzy, Broadway-inspired choreography and George Gershwin's iconic musical compositions, arranged by Hershey Kay. Judith Fugate did a terrific job staging the ballet, which the dancers brought to life. All three female solos were executed fabulously, each with a different theme. Nadia Iozzo kept the audience engaged with her precise, fast footwork and striking stage presence. Cowen truly possessed "fascinatin' rhythm" with a playful, captivating portrayal that made it look like she was dancing the solo for the first time. Caitlin Mack worked up the gumption to take on turn after turn in her dizzying divertissement.

Michael Eaton, the only male lead, proved that he never tires, even after three pas de deuxs, a solo and a finale. Although it took him a little while to warm up to the audience and show off his charisma, Eaton eased into the swagger as the piece progressed, fully embracing the style in the title duet, "Who Cares?" and his variation, "Liza." He was calm, cool and collected, utilizing the stage well and executing the solo perfectly. Most everyone demonstrated spot-on musicality, some even flirting with the alternating tempos. It was nice to see Logan Pachciarz return to the stage but sad to say goodbye to 10-year veteran Matthew Donnell who will be retiring after this season. "I Got Rhythm" was a true finale to the first-class production, which was full of energy and pulled out all the stops.


Kansas City Ballet
Who Cares?
Thursday, May 6 at 7:30 p.m. (Reviewed)
Friday, May 7 at 7:30 p.m.
Saturday, May 8 at 2:00 p.m. and 7:30 p.m.
Sunday, May 9 at 2:00 p.m.
Lyric Theatre
11^th and Central Streets, Downtown Kansas City, MO
www.kcballet.org

Cover photo: Dancers Rachel Coats & Marty Davis in Concerto Grosso. Photo by Steve Wilson.

By Laura Vernaci

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.