RSS 2.0 FeedOctober 19, 2011, Cover Stories, Dance
Dancing an all-American ballet
In 1876, the same year that Swan Lake debuted in Moscow, Mark Twain published one of his greatest novels, "The Adventures of Tom Sawyer." Over a century later, Tony Award-winning composer Maury Yeston had a vision of an all-American ballet. Yeston called on William Whitener to help accomplish the project. Their vision, "Tom Sawyer—A Ballet in 3 Acts," debuted on Friday at the new Kauffman Center for the Performing Arts.
Laura Vernaci's review focuses on the dancing of the production. Libby Hanssen's music critique can be found here.
In 1876, the same year that Swan Lake debuted in Moscow, Mark Twain published one of his greatest novels, The Adventures of Tom Sawyer. Over a century later, Tony Award-winning composer Maury Yeston had a vision of an all-American ballet—an American composer collaborating with an American choreographer to create a full-length ballet production based off of American literature. Yeston called on William Whitener to help accomplish the project. Their vision, Tom Sawyer—A Ballet in 3 Acts, debuted on Friday at the new Kauffman Center for the Performing Arts.
As newcomers and loyal followers excitedly filled their seats, the rich purple curtain unveiled the expansive stage of the Muriel Kauffman Theatre as Tom Sawyer, flanked by his friends and foes, came to life. Those familiar with the story reminisced about Sawyer’s famous adventures—witnessing a murder, getting lost in the cave, clowning around with Huck Finn, and falling head over heels for Becky Thatcher.
Company dancer Alexander Peters portrayed the spirited and playful Tom Sawyer. Peters, who is technically masterful, gave a great impersonation. Where he lacked that extra boyish, carefree demeanor, his comrade Huck Finn, played by Charles Martin, made up for it.
The opening scene where Tom employed his friends to paint Aunt Polly’s fence was full of inviting choreography and it set the tone for what would be an enjoyable three acts. Laura Wolfe found her quintessential role as the innocent, girlish Becky Thatcher. Wolfe, in her pale petticoat and bright pink pointe shoes, danced tenderly and displayed a harmonious balance of ease and precision. It also was a pleasure to watch the group of children interact with the professional dancers and match their performance level.
Act II strayed from the original narrative but was probably the most entertaining. Tom and Becky were joined by dancing fireflies and ghosts who performed classical steps to sounds reminiscent of a child’s music box. This magical scene with lush scenery created by Walt Spangler was accompanied by a comical act of goblins trying to imitate Tom and Huck’s balletic moves. Also impressive was the “Sprites’ Circus” where the audience got to see a variety of other skills from the dancers, such as juggling and acrobatics.
Other highlights included Logan Pachciarz as Muff Porter, who lit up the stage even more than the hidden treasure, and Aisling Hill-Connor as the statuesque and regal Stone Angel. Michael Eaton depicted the mysterious, murderous Injun Joe but sadly did very little dancing. Throughout the performance, there was less overall dancing than other well-known ballets and the choreography was more simplistic but the scenes and stories flowed together to create an comprehensive production. Ramona Pansegrau and members of the Kansas City Symphony were highly commendable and Holly Hynes’ costume designs, though washed out, seemed comparable to attire of the nineteenth century.
Though not every seat was filled, everyone youthfully sprang to their feet in the likes of Tom Sawyer for a standing ovation. Depending on one’s preferences, perhaps Yeston’s Broadway score took center stage over the straightforward dancing but combined with all of the other artistic elements, it produced a successful and delightful American ballet that likely could be seen on more stages around the country. It won’t replace the great romantic full-length ballets, but why not add it to the repertoire in celebration of our country’s nostalgia.
REVIEW
Kansas City Ballet
Tom Sawyer—A Ballet in 3 Acts
Friday, October 14–23, 2011 (Review Oct. 14)
Muriel Kauffman Theatre, Kauffman Center for the Performing Arts
1601 Broadway, Kansas City, MO
For tickets, call 816-931-2232 or visit www.kcballet.org
Top Photo: Kansas City Ballet dancers Laura Wolfe and Alexander Peters in Tom Sawyer (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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