KCMETROPOLIS.org
Kansas City's Online Journal of the Performing Arts

It wasn’t a full house at the Lyric Theatre on Thursday night, but the Kansas City Ballet ended its opening night fall performance with several big bangs! The bill of the program Slaughter on Tenth Avenue got the audience laughing, clapping and tapping their feet to Richard Rodgers’ catchy show tune. All four selections delivered, each one improving on the one before.

The evening began with an old and revised Balanchine piece, Mozartiana. The orchestra warmed up their instruments as the curtain opened on Angelina Sansone accompanied by four young girls. Displaying a delightful disposition, Sansone moved with grace, producing long, elegant lines while the girls danced professionally and harmoniously, always framing Sansone. Charles Martin lit up the floor in the second section. His lithe and jovial variation contrasted the first, showcasing quick, staccato steps which Martin executed energetically.

Sansone and Logan Pachiarz started the Theme et Variations with an intricate entrance around the stage, intertwining in and out of each other’s arms. Sansone initiated an audience connection with her playful personality, but lost it as the piece continued and the steps got harder. Pachiarz covered a lot of ground and variety, transitioning from large jumps to turn sequences, and finally, fast and furious footwork. The pas de deux ended with a partnering section that built on their initial entrance, but went on a little too long with a few minor bumbles. The corps reenergized themselves for the finale, but Sansone lacked the final punch.

Dancers Kimberly Cowen and Michael Eaton gave a solid showing in the short and sweet Tchaikovsky Pas de Deux. Balanchine knowingly featured the female in the duet, and Cowen rose to the occasion. Her fun and flirty expression and infallible musical phrasing made the piece exciting. Eaton lacked confidence and emotion, but made up for it technically in his variation. Both solos were powerful exhibitions as was the coda, which ended with the same enthusiasm as in the beginning.

Lark Ascending was a fan favorite. The simple, subtle lighting combined with violinist Gregory Sandomirsky’s moving interpretation of Ralph Vaughan Williams’ score created a prefect vehicle for lead Stayce Camparo. She delivered a believable performance, truly embodying the struggling bird emotionally and physically. Camparo exposed herself to the difficult stylized movement and came out on top. The five men juxtaposed the lark with their strength and purpose, taking turns partnering Camparo. In the end, she emerged as the men lifted her higher and higher giving the appearance of flying. As the curtain closed, Camparo continued to ascend, basking in the sole spotlight. 

Gabriel Davidsson set the tone for Slaughter on Tenth Avenue, the final selection of the night. Emerging from the curtain, he first instructed Gangster (Phil Fiorini) to shoot a target and then went on to prove to the audience that he was the Premier Danseur. The tacky scenery and skimpy costumes set the stage for the mob-era scene where people got shot right and left. Balanchine originally created the piece for Rodgers and Lorenz Hart’s 1936 musical On Your Toes.

Aisling Hill-Connor, who plays the Strip Tease Girl, captured the loose, easy feel of the production while showing off her flexibility. The Hoofer (Michael Eaton) paid up for a dance with Hill-Connor and ends up falling for her. The two dance alone after everyone leaves the bar, but when the Big Boss finds them, she ends up getting shot. The Hoofer returns the favor to the boss and expresses his loss by, of course, dancing. When he receives a warning note that he’s about to get shot, he convinces the orchestra to play multiple encores. Just in the nick of time, a cop arrests the Gangster but the grief-stricken Eaton chooses to end it himself. And just when the audience thinks its over, the curtain rises one last time for an all-cast finale.

Martin and Pachiarz portrayed the quintessential bartender sidekicks, disposing of dead bodies, looking out for the cops, and in their downtime, enjoying a cigarette while tapping. It is Eaton, however, that truly shined, giving his best performance both technically and theatrically. Kansas City Ballet began its last year in the Lyric strongly, and has set a high bar for the remainder of the season.

 REVIEW:
Kansas City Ballet
Fall Performance
Thursday, October 14 at 7:30 p.m. (Rreviewed)
Friday, October 15 at 7:30 p.m.
Saturday, October 16 at 2:00 p.m. and 7:30 p.m.
Sunday, October 17 at 2:00 p.m.
Lyric Theatre
1029 Central, Downtown Kansas City
For tickets call 816-931-2232 or online to www.kcballet.org 

Cover Photo: Luke Luzicka (in center, wearing black) with Aisling Hill-Connor and Michael Eaton. 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.