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Libby Hanssen's Music Take

Symphonic Quixotic ached to become a PBS special. This elaborate production, a new collaborative show between the Kansas City Symphony and Quixotic, was fast-paced and, with lights, aerialists, costumes, and video elements, offered many visual and a few aural surprises.

Collaboration may be too strong a word as Quixotic took center stage with the symphony players in more of an accessorial role, seated behind the scrim. The show wasn’t about the music or entirely about the movement. It was the gestalt – an inorganic whole.

The symphony’s associate conductor, Steven Jarvi, was quite in his element, caught up in the theatricality of the event. With the baton raised high in his clenched fist, he jumped up and down at the big hits and seemed to be thoroughly enjoying himself.

The combined ensembles offered limited timbres with strings and percussion from the symphony and Quixotic’s core performers on violin, drums, keyboards, and bass. This limitation was colored somewhat by the multiple tones from the pre-recorded electronic elements, but all that amplification, especially in the strings, lent an airy reverb to the tone quality and dissipated the rich interlocking overtones that come with acoustic music.

The music, comprised primarily of arrangements by the Quixotic team of Anthony Magliano, Noel Selders and Rick Willoughby, consisted of repetitive interlocking rhythms and seemed more concerned with creating a dramatic ambience than creating anything very thematically or harmonically inspired. This did, however, lay a steady framework for the kaleidoscopic visuals.

There was a strong reliance on manipulation of musical elements, rather than development. The arrangement of Ravel’s “Assez vif – Très rythmé” from String Quartet in F Major, was the biggest variance. Though still heavily rhythmic it displayed intricate work between the boisterous pizzicato and the fluid melodies. But the arrangement of Stravinsky’s Rite of Spring involved the same treatment as everything else, with repetition, elongation and overlapping of thematic material creating a wash of sound. It was also unfortunate that the basses were extremely out of tune during this exposed section.

There was no purely musical piece, with video elements incorporated into performances without dancers. The symphony percussionists and Quixotic’s Brandon Draper performed the challenging Music for Pieces of Wood by Steven Reich. This piece, which featured the phasing of interlocking rhythms, was by far the most interesting and mesmerizing musical offering, yet the audience experienced fits of giggling as though it was some sort of humorous shtick.

I was a little shocked that Piotr Tchaikovsky didn’t warrant a shout-out in the program for Samuel Hyken’s “Black Swan Requiem,” since the theme was almost perfectly quoted from “Swan Lake.”

The strongest performance came from dancer Laura Jones in a beautiful balletic solo, accompanied by a projected ball of light. Her movement avoided the posing and posturing that was prevalent in the choreography, leaving only a graceful and satisfying performance.

While the music lacked the sophistication and complexity of a Beethoven string quartet or Wagner opera, it did create a sense of drama. The texture served mainly as an added aural layer within a primarily visual tapestry, but without it the performance would not have achieved its intoxicating glamour.

Laura Vernaci's Dance Take

Without leaving a single open seat in the Lyric Theatre, first-time followers and loyal fans of all ages and backgrounds came together Friday night anticipating what could be considered the best performing arts collaboration in Kansas City history. Excitement escalated as the curtain opened and the musicians took their places—the symphony spread out upstage, led by Associate Conductor Steven Jarvi, and the Quixotic Fusion band members stationed themselves along the sides. Over the ensuing 90 minutes, the combined musical ensembles along with the Quixotic dancers and aerialists performed 20 sensational selections.

Building on this year’s controversial dance movie, the orchestra began with Samuel Hyken’s Black Swan Requiem while a video of several Quixotic performers played on the scrim. Three dancers then appeared from behind, moving as if underwater to Rick Willoughby’s interpretation of Saint-Saëns’ hauntingly familiar “Aquarium” from Carnival of the Animals.

Aerialists BJ Erdmann and Chelsea Teel executed an enterprising, acrobatic demonstration that left the audience gasping and clapping. Erdman and Teel showed off tremendous strength and skill as they moved together, dangling from the top of the theater. Their exciting, daring moves matched the crescendos of the music and the only disappointment was that it had to come to an end. Violinist Shane Borth took center stage in Ambient Music II, a stellar stand-alone musical composition, before Teel reappeared, this time alone and en pointe. Covering space, alternating between highs and lows, she made every movement look effortless. Without a falter, she entranced the audience with her beautiful lines, flexibility, and fluidity, and ended the act upside down with just one foot supporting her entire body.

In contrast, Megan Stockman demonstrated her aerial abilities in a raw and sharp trapeze solo. Stockman later joined Devan Smith in another joint aerial act inside of the new diamond-shaped apparatus, referred to as the “gyroscope.” Precariously positioned inside the suspended prop, Stockman and Smith moved slowly and surreally. Toward the end, Stockman gained momentum as the music picked up speed until she was spinning at full force.

Intermittently performing to the musical compositions, the dancers also delivered several strong works. Quixotic regular Laura Jones reprised Illuminations from last summer’s Paix Reveuse, as she gracefully and playfully danced with the projected graphics. Even behind the scrim, Jones’s energy radiated, and her use of dynamics was captivating. Angelina Sansone, Logan Pachciarz, and Gabriel Davidsson danced a difficult trio with interesting and intricate choreography. The three delivered the steps admirably but lacked a genuine connection with one another and the audience. The strongest ensemble dance of the program was Sonya Tayeh’s choreography to Shores of an Epiphany.

Inventive visual effects were woven into the dancers’ costumes and choreography. Sansone and Rachel Coats took flight in long, lit-up skirts. They transformed into powerful giants as they glided through the air over two male dancers who appeared minuscule below. Later on, three women danced with red lasers on their hands, creating an innovative strobe effect.

Each element incorporated into the concert had its moment—be it projection, lighting, costumes, aerial or dance—but the standout component was the music. The symphony and Quixotic fused so naturally, forming a phenomenal partnership. Even when they weren’t playing together, each group was noticeably supporting the other. Jarvi was a delight to watch as he conducted the 38-piece symphony. His animated movements even resembled a dancer’s choreography at times.

Everything came together perfectly, creating an incredible, immersing, and engaging show of which both artistic groups should be proud. Even if the two organizations never collaborate again in the future, it would be a shock if this crossover concert didn’t gain new fans for each one.

REVIEW:
Quixotic and Kansas City Symphony
Symphonic Quixotic  
May 13, 2011 and May 14, 2011 ( Music reviewed Saturday, May 14; Dance reviewed Friday, May 13)
Lyric Theatre
1029 Central, Kansas City, MO
For more information, visit kcsymphony.org and http://www.quixoticfusion.com/

Top Photo: Quixotic Fusion aerielists (Photo by Susan Pfannmuller)

By KCM Staff

Comments(1):

1. Clint Mansell anyone?

   Am I crazy (which very well may be possible) or should Clint Mansell have gotten a "shout-out" in the program as well? Mansell was the composer for the movie Black Swan and elements of his Lux Aeterna piece from the Requiem for a Dream soundtrack were most definitely utilized in the show's opening and closing pieces that were credited to a Samuel Hyken. Not sure who Hyken is... I googled him and came up with pretty much nothing. I might be completely ignorant here but this is not making sense to me so hopefully someone can straighten me out. Here's a link to a clip of Lux Aeterna to compare with what you heard Friday night (if you can remember that far back) http://en.wikipedia.org/wiki/Lux_%C3%86terna_(song)

   Wednesday, May 18, 2011 Eric