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Kansas City's Online Journal of the Performing Arts

Kansas City Ballet's first performance of its 52^nd season offered a mix of everything -  two classical excerpts, a contemporary pas de deux and a local favorite. Audience members who did their homework knew they were in for a treat because three of the four pieces were Kansas City Ballet premieres. The night provided a well-rounded repertoire with multiple dance styles and several crowning moments, predominantly for the women.

The first two excerpts were from the mid-19^th century. Classical ballet was on the rise throughout Europe and works were being created based on the fascination with Oriental culture and exoticism. Frescoes, an excerpt from the full-length ballet The Little Humpbacked Horse, touches on this enchantment through the costumes - bare-bellied and elaborate headpieces - and Asian-inspired poses. However, the classic steps and repetitious movement is reminiscent of choreographer Marius Petipa's more well-known works like Swan Lake and Coppelia. The four women created picture-perfect moments with their precise, controlled movement and graceful mimics of the vintage style, which was executed exceedingly well considering its difficulty. Each dancer portrayed the mannerly disposition representative of the time-period and succeeded at not out-shining her fellow dancers.

Next on stage was one of the most famous pas de deuxs from Le Corsaire known to classical ballet dancers and enthusiasts. In the pas, Breanne Starke exuberated elegance and took each step with great purpose and care. She created beautiful lines, accentuating her hyperextension and perfect placement. Michael Eaton was a solid partner and added to the exoticness of the dance with his bare chest and masculine movements. In his solo, Eaton displayed amazing control, athletic ability and a flawless execution. In contrast, Starke was dainty and flirtatious, especially with the ever-changing tempos. Separately the two dancers performed the complex choreography correctly but together lacked enthusiasm and excitement. The pas de deux, which is meant to be danced by two people in lust, appeared over-rehearsed and devoid of sparkle and spunk.

As the curtain went up for the last piece in the first act, the audience collectively gasped at the beautiful portrait created by Stayce Camparo and her dress. The costume, with a delicate lace top, encompassed a wedding train that covered center stage. The premise of the work actually stems from Gustav Mahler, the composer of the piece, and his wife, Alma. Mahler would only marry Alma, also a composer, if she sacrificed her talented profession to become a housewife. Splendid Isolation III depicts Alma's emotional struggle and, ultimately, her decision to give herself to Gustav (danced by Marcus Oatis.)  The genius of Jessica Lang's choreography is the symbolism of the train. Camparo's movement with the train is entrancing and, at the same time, disheartening the way she literally fights against it and gets tangled in its massive volume. While she silently explores the weight and mobility of the added appendage, Oatis dances around her exuding power and dominance. Mainly dancing apart while weaving in and out of each other's spaces, the two long for a solution. But compromise is not it. Camparo finally loses herself, and the train, and joins Oatis in the last phrases of the soft, passionate score. Oatis was a constant throughout, but it was Camparo who stole the spotlight. Her incredibly honest performance in addition to her gorgeous and effortless movement quality left the audience wishing it wasn't intermission yet. Camparo proved herself worthy of principal roles and Lang left the audience in anticipation of her next Kansas City Ballet premiere coming this spring.

The bill of the evening, Carmen, did not disappoint when it came to passion, curiosity and excitement. Guest artists Danica Sena and Beau Bledsoe, the flamenco dancer and guitarist respectively, set the tone with their opening instrumental section. Throughout the Ballet, Sena's omniscient presence and dominant swagger foreshadowed the inevitable fate of Carmen (Kimberly Cowen) and her two suitors, Don José (Logan Pachciarz) and Escamillo (Luke Luzicka.) It did not take long for Cowen to command attention from everyone - other dancers, musicians and audience members. As Carmen, she revealed her promiscuous ways and refused to take no for an answer. In contrast to Carmen's looseness was the stiff corps work of the male guards. Carmen finds herself under arrest by Don José but by the power of seduction is quickly released. The interweaved story of the threesome comes to a climax as the three dance amongst a red ribbon symbolizing the passion-crazed tragedy that is on the horizon. Carmen continues to prove how elusive she is while Don José loses the fight and his sanity. The music box-like, upbeat reprisal of the Carmen theme near the end of the ballet mimics what is about to come of the seductress. Escamillo remains undaunted while Don José's rage heightens until he has lost all control and murders Carmen.

Throughout the dramatic production, Cowen's stamina thrived and her passion only increased as the story progressed until she met her finish. Every turn of the wrist and stomp of her heel was perfectly on cue and her technique and musicality were unmatchable. Even better was the raw quality she brought to the role despite having performed it just two years ago. Pachciarz danced fluidly and with every part his body. He performed his solo as if he truly was a young, innocent man discovering love (and dance) for the very first time. Luzicka also lived up to his character's stature. He was tall, grand and powerful, remaining unfazed by Carmen's domineering presence. Both men were completely in sync with Cowen in each passionate encounter. The sleek and simple costumes, scenery and lighting wonderfully juxtaposed the complexity of the main characters' story. However, the abrupt transitions from the storyline to the corps filling space and music were disjointed and out of place, often completely ignoring the previous or subsequent tones of the piece.

Overall, Carmen was a successful production from all angles - dance, music and lighting. The Kansas City Symphony Ballet Orchestra was fabulous through and through. Its beautiful harmonies and powerful fortes deserved much more applause than they received and the Ballet should consider having the symphony accompany their rep shows more often. The night truly showcased the company's wide range of accomplishment and highlighted the women's ability to be technically and emotionally captivating.

REVIEW:
Kansas City Ballet
Carmen (Fall Performance)
October 15 - 18 (Reviewed Thursday, October 15, 2009)
Lyric Theatre
1029 Central Street, Downtown Kansas City, MO
For tickets call 816-931-2232 or online at www.kcballet.org

Cover Photo:
Dances Stayce Camparo and Marcus Oatis in Splendid Isolation III>
Photograph 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.