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KC Ballet celebrates Americana in fall performance
Kansas City audiences were treated to a delightful program of lighthearted, classical pieces presented by the Kansas City Ballet in the first performance of its 51st season.
Kansas City audiences were treated to a delightful program of lighthearted, classical pieces presented by the Kansas City Ballet in the first concert of its 51st season. The three one-act pieces included "The Concert" (set to music by Frederic Chopin), "The Naughty Boy" (music by Wolfgang Amadeus Mozart), and Rodeo (Music by Aaron Copland). Even those who might think they do not like ballet, would enjoy these selections. This was a concert that the entire family could enjoy.
The program opened with "The Concert (Or, The Perils of Everybody)", a charade in one act, choreographed by the incomparable Jerome Robbins. Last performed by the KC Ballet in 2004, this rare comic gem should not be missed. Usually presented as a closing number, the Kansas City Ballet obtained permission to present it as an opening act of a very dynamic concert.
"We got special permission to open with the Robbins ballet, which is usually a closing ballet," said William Whitener, Artistic Director of KC Ballet. "I thought it would be a nice balance for 'Rodeo'... creating bookends, so to speak.... with the Trey McIntyre piece in the middle... the three pieces together on the same program present a nice evening of levity."
Set in the 1920s era, the narrative of "The Concert" features the interactions of various eccentric characters attending a piano concert, and takes a peek at the characters' fantasies about each other, as inspired by the music. Included is a short, humorous satire that recounts the trials and tribulations of being an under-rehearsed member of the corps de ballet.
"We really enjoyed this piece.... It was very comedic and theatrical," said Andrea Skowronek, dancer and teacher at City in Motion Dance Theatre. "It was a great ballet for my kids... they thought it was hilarious."
"It was hysterically funny," said Dale Fellin, a well-known performer and choreographer in the dance community. "It was an absolute joy."
The second selection was the Kansas City premiere of "The Naughty Boy", choreographed by Wichita-born Trey McIntyre. This tale of a mischievous cupid toying with the affections of various couples featured very complicated choreography and tightly coordinated partnering between dancers. This selection was one of the most challenging in technique to execute, despite its lighthearted subject matter.
"We had never seen this ballet before, and it was really nice to see something new," commented dancer Andrea Skowronek. "It was a very challenging piece with lots of tricky partnering."
"The technique for this piece was quite intricate," observed Jennifer Owen of Owen-Cox Dance Company. "It was quite interesting to watch."
The last act featured the stunning "Rodeo (The Courting at Burnt Ranch)", with choreography by the indomitable Agnes de Mille. Originally staged in 1942 for the Ballet Russe de Monte Carlo, this was the third presentation by the Kansas City Ballet. Not seen in Kansas City since 1996, this popular favorite was long overdue for performance, and it did not disappoint its enthusiastic audience. This majestic creation captures the imagery and iconography of Americana in its ranch-inspired choreography and simple narrative of a tomboy and her crush on a handsome cowboy.
The object of her affections, the Champion Roper, was played by new-comer, Michael Eaton, who was a big hit with audiences for his solo featuring clogging and tap dancing. This is Eaton's first season with the company, but he seems to have already made himself quite memorable in the minds of the audience members. Of the half-dozen or more children and guardians interviewed, his solo was cited most often as the favorite part of the concert.
"Michael Eaton is a fabulous tap dancer," said Jennifer Owen, echoing the comments of other audience members. "He had such energy," commented another. "He is someone to watch," said a third.
The cast received a standing ovation for its performance, and its share of hoots and hollers for a job well done. It was indeed a fine ballet program for an evening of levity and enjoyment, and well worth the price of admission. (more >>>)
Originally staged in 1942 for the Ballet Russe de Monte Carlo, this was the third presentation by the Kansas City Ballet. Not seen in Kansas City since 1996, this popular favorite was long overdue for performance, and it did not disappoint its enthusiastic audience. This majestic creation captures the imagery and iconography of Americana in its ranch-inspired choreography and simple narrative of a tomboy and her crush on a handsome cowboy.
The object of her affections, the Champion Roper, was played by new-comer, Michael Eaton, who was a big hit with audiences for his solo featuring clogging and tap dancing. This is Eaton's first season with the company, but he seems to have already made himself quite memorable in the minds of the audience members. Of the half-dozen or more children and guardians interviewed, his solo was cited most often as the favorite part of the concert.
"Michael Eaton is a fabulous tap dancer," said Jennifer Owen, echoing the comments of other audience members. "He had such energy," commented another. "He is someone to watch," said a third.
The cast received a standing ovation for its performance, and its share of hoots and hollers for a job well done. It was indeed a fine ballet program for an evening of levity and enjoyment, and well worth the price of admission.
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