Cleveland Orchestra and Joffrey Ballet combine for a thrilling evening

Roy Berko

What happens when you bring together the music of composer Béla Bartók, noted for developing new sounds for a new century, The Cleveland Orchestra under the direction of Franz Welser-Möst, and The Joffrey Ballet, under the creative vision of Ashley Wheater, and the sounds of two well-trained opera singers?   The result is a creative, spell-binding visual and musical concert of high audience pleasing quality.

Bartók was a “derivative” composer, part of a group of noted artists, whose voices derived from everything around them.  They refashioned the sounds of everyday life into artistic visions.  Included in this group were Debussy, Shakespeare and Eugene O’Neill. 

“Throughout his life, Bartók composed amid a cloud of influences.  He was a sponge for musical idioms, eagerly soaking up the new and the old, the local and the exotic, the simple and the arcane, integrating them with his musical personality and following them to the limits of his imagination.” Bartók always looked for new ways to create.  He painted music in strong and unexpected shading of colors.

The Hungarian would have been pleased to know that his “Miraculous Mandarin,” a pantomime-ballet, and “Bluebeard’s Castle,” a short story opera, had been effectively incorporated into a stimulating evening of ballet and opera. 

The Cleveland Orchestra, is, of course, recognized as being among the world’s handful of “best” orchestras.  This program advances the organization’s “ongoing commitment to offering dramatic stage works not just as great musical experiences, but also as opportunities for dynamic creativity,” and “unshakeable commitment to innovation and a fearless pursuit of success,” a vision which has highlighted the ensemble since its 1918 founding, and stressed in the present tenure of Welser-Möst.

The Chicago-based Joffrey Ballet is a dance company that is noted for its performances of classical ballets and modern dance pieces.  It was founded in 1956 by Gerald Arpino and Robert Joffrey as a touring company.  It moved into its permanent home, the Joffrey Tower, in 1995.  It has a history of performance with the Cleveland Orchestra, mainly joining together at the Blossom Center.

THE MIRACULOUS MANDARIN, tells the tale of a Young Woman (Victoria Jaiani), who plays the decoy game.  She stands by a window and entices men to come to her so that they can be robbed by three thugs (Raúl Casasola, Paulo Rodrigues, and Joan Sebastián Zamora).  The dance showcases three robbery attempts. 

In the first attempt, an old man (Miguel Angel Blanco) approaches.  The exercise is a failure since he has desire, but no money.  The second attempt also ends in frustration as the shy man (Temur Suluashvili) who is interested, also has no money.  The third attempt finds The Mandarin (Yoshihisa Arai), a man of intense power and sexual appeal, walking away with aloof interest.  He returns and their bodies engage with intensity.  The Thugs steal his money and decide to kill him.  They hang his body up, he is suspended by a rope but does not die, is released by The Young Woman, who embraces him as he expires.

The ballet was performed on the apron of Severance Hall.  Using the 12 feet of space in creative ways, the dance works well.  Yuri Possokhov’s choreography was creative, well performed and told the story well, though the handsome, athletic young Thugs visually were not as menacing looking and as intense as they could be.  Jaiani and Arai make an attractive and sensual team as the Young Lady and the Mandarin.

BLUEBEARD’S CASTLE, with both words and music by Bartók, was the composer’s only opera.   The story concerns a young woman (Katarina Dalayman) who “enters the world of a mysterious older man and gradually learns of his history of imprisoning and/or murdering women.”   His castle is filled with doors, seven of which are locked.  As she demands, and he agrees to open the portals, she finds wealth, jewelry, armaments, a garden, a lake, and finally, his biggest secret, the room of women.  As the psychological archetype is acted and sung out, three of the survivors (Amanda Assucena, April Daly, and Victoria Jaiani) emerge and dance with his newest conquered damsel. 

Staged with a series of sheer drapes representing the doors, which obscured the orchestra during most of the piece, the effects of electronic projections cast upon the drapery were compelling, as was the visual effect of each panel floating down from the very high proscenium arch.

Mikhail Petrenko (Duke Bluebeard) is a Russian bass who, while making his Cleveland Orchestra debut, has sung at many of Europe’s most prestigious opera houses.  Katarina Dalayman (Judith, the young woman), is a Swedish soprano  renowned for her dramatically intense stage performances.   Their soaring voices filled the performance hall with powerful musical sounds.

Capsule judgment: BARTÓK ON STAGE was a special evening of music and dance at Severance Hall.  Combining the eminent Cleveland Orchestra and the well-respected Joffrey Ballet, with a duo of world renowned singers led to a stirring aesthetic experience.  Bravo!
BARTÓK ON STAGE was presented on April 7, 8, 9 and 10, 2016 at Severance Hall s part of the 2015-16 Cleveland Orchestra season.

Upcoming concerts at Severance Hall include:  AT THE MOVIES:  BRIDE OF FRANKENSTEIN (April 26 @ 7:30 p.m.) and STRAVINKSY’S THE FIREBIRD (May 5 @  7:30 p.m., May 6 @ 11 a.m. and 7 p.m., and May 7 @ 8 p.m.)

For tickets and information to future Cleveland Orchestra performances go to clevelandorchestra.com or call 26-231-1111.

“The Nutcracker”—orchestra and chorus superb, short version and dancing proficient

From 1981 until about 2000, Cleveland audiences were enchanted with Dennis Nahat, the then artistic-director of Cleveland Ballet, later the Cleveland San Jose Ballet’ s version of “The Nutcracker.”  Often starring the wunderkinds of the company, Karen Gabay and Raymond Rodriguez, the production was filled creativity, gorgeous costumes and scenery, enveloping story telling, and general wonder.

Since the departure of the company to San Jose, California, the holiday season offering of the epic “The Nutcracker,” adapted from the E.T.A. Hofmann tale, “The Nutcracker and the Mouse King,” with magnificent score by Tchaikovsky, which has become one of the most famous compositions in the western lexicon of music, has been filled by touring productions.  Companies such as the Pennsylvania Ballet and Winnipeg Ballet have performed.  Though competent, they did not compare with the Nahat version, nor meet the dance levels of his performers.

The newest guests are the Joffrey Ballet.  The company has performed during the summer at Blossom with mixed results.  Sometimes their performances have been breath taking, at other times pedestrian. 

Joffrey’s production, staged for seven performances, is drawing large crowds.  Little girls, dressed in their holiday finest, are seen joyously prancing through the lobby, with visions of Nutcrackers, princes and sugarplums in their heads and smiles on their faces.

The Joffrey production was conceived and directed by Robert Joffrey, with choreography for “Waltz of the Snowflakes” and “Waltz of the Flowers” by Gerald Arpino. 

The Joffrey version, as is traditional, is set in Germany on Christmas Eve. (The Winnipeg production was set in Canada, and started out with a hockey match, proceeding the march of guests coming to the family celebration. 

Two children if the house, Clara and Fritz Stahlbaum, and their cousins and guests, enjoy the lovely party.   Clara and Fritz’s godfather, the toymaker, Herr Drosselmeyer, gives the children gifts.  Clara receives a large nutcracker doll, which unfortunately is broken by Fritz and mended by Drosselmeyer.  When the children are sent to sleep, Clara dreams of her nutcracker and his adventures fighting The Mouse King and going on a journey to an enchanted forest where the Sugar Plum Fairy, and the presents, who have been brought to life, perform traditional dances of various countries.

This presentation is an adapted version, cutting out about eight minutes of the traditional staging, cuts which took away some of the visual wonder from the “Waltz of the Snowflakes,” have Drosselmeyer, rather than the nutcracker prince accompany Clara on her journey, and doesn’t have her return to her home to realize she has been dreaming, but, instead, she floats away in a hot air balloon, thus leaving the tale incomplete.  It changed the fairy tale love by almost eliminating the story of Clara and her prince, and instead had her spending time with Drosselmeyer.  

Traditionalists will not be enchanted by these changes, though the shorter sit time is wonderful for children, as was the decision to start the evening performances at 7 o’clock so that parents didn’t have to carry sleeping young children out of the State Theatre.

On opening night the dancing was generally fine.  It was not world class, but acceptable.  Some of the staging confounded.  Why, in the second act, was Drosselmeyer allowed to distract attention from the dancers, upstaging them, by repeatedly waving his arms, wandering among them, rearranging his cloak while sitting, and talking to Clara, was confounding. 

The large number of local children who were incorporated as “supernumeraries,” was exciting, especially since they were excellent, thanks to Gladisa Guadalupe, their rehearsal director.

The sets, costumes, and special effects were beautiful.

The highlights of the evening were the Cleveland Orchestra and the Cleveland Orchestra’s Children’s Chorus.

Under the baton of Tito Muñoz, the orchestra created a sound that virtually engulfed the audience with a clarity and style that made the music live.  Even though they were in the pit, which often muffles the sound, the tones were full and articulate.  The chorus, under the direction of Ann Usher, perched in the mezzanine level boxes on both sides of the theatre, created pitch perfect sounds that added illusions of delight and beauty. 

The combined sound of the orchestra and chorus was acknowledged when on opening the audience, who gave the dancers a polite round of applause, leapt from their seats as Muñoz came onto the stage, gestured toward the orchestra, and the lights came up on the choir.  Bravo!

Capsule judgement:  It has been an interesting experience to see a variety of companies come into the area in and attempt to fill the void of not having a local company to satisfy the “The Nutcracker” tradition.  None of these groups has yet reached the level of the rendition by Dennis Nahat and Cleveland Ballet.  The recent presentation, which combined the Cleveland Orchestra and Chorus with the Joffrey Ballet, was entertaining, with the music and singing superb, and the dancing quite proficient, but not compelling. 

The performances conclude with performances at 2 and 7 on November 30, 2014.  For tickets call 216-241-6000 or go to www.playhousesquare.org

Previews and Quick Reviews: CWRU/CPH, Groundworks, KIBBUTZ CONTEMPORARY DANCE COMPANY, THE NUTCRACKER: Joffrey Ballet/Cleveland Orchestra

“Three Sisters” @ CWRU/CPH MFA Acting Program

Eight students are accepted each year to be part of the Case Western Reserve/Cleveland Play House MFA Acting Program.   The purpose of the program is to combine educational and professional theater experiences to prepare students for theatre careers.

Their latest production, staged in the Helen Theatre in the Allen Complex in PlayhouseSquare, was Anton Chekhov’s “The Three Sisters.” 

Chekhov was a Russian realist writer who is often referred to as the literary predictor of the twentieth century Russian Revolution.

“The Three Sisters” centers on the Prozorov sisters who relocated from their beloved Moscow to a provincial Russian town with their late father.  They wish to return to the refined life in Moscow, but fail to do so and their dreams recede further and further.
The production, under the direction of Ron Wilson, is slowly paced and thoughtful.  The acting is generally proficient.  Standouts in the cast are Nick Barbato as Andrei, the frustrated brother of the three sisters who was moving swiftly toward being a professor before he was wrenched from Moscow to live in the provinces,  Kathryn Metzger as Olga, is the matriarchal and spinster sister, Megan King as Masha, who is involved in a disappointing marriage, and Katie O. Solomon as Irina, the youngest sister, who believes her love is in Moscow and she must go there to find happiness. 
The images are nicely showcased in a fragmented set, enhanced by traditional Russian music, and era correct costumes.
The production runs through November 18, 2014.  For tickets call 216-241-6000 or www.clevelandplayhouse.com

The next performance by the CWRU/CPH MFA program will be Phillip Barry’s “The Philadelphia Story” from February 25th through March 7th, 2015 in the Helen.

GroundWorks Dance Theater, Fall Concert @ the Allen Theatre

Bannered as “imagination you can see,” GroundWorks dance has been critically celebrated as an “artistically significant” ensemble.  The company, which was founded in 1998, spreads its creative wings by performing in challenging settings including an ice house, cathedrals, libraries, outdoor venues, often with live musicians on stage.  In its 16 years it has commissioned 23 premiers from national and international choreographers, as well as 30 new works by its Artistic Director, David Shimotakahara, and 10 by Artistic Associate, Amy Miller.

Earlier this fall the company presented its third annual concert series at the Allen Theatre in partnership with Cleveland State University as its professional dance company in residence.

The nicely balanced program introduced GroundWorks newest company member, Troy Macklin, a welcome addition.  His youth and dynamisms fit well with the precision, athleticism and discipline demanded by Shimotakahara.

The program included “Always” choreographed by Gina Gibney to the music of Patsy Cline, centering on story telling, often about relationships.  The pulse and rhythms of the music were well integrated into the movements.  The second offering was the world premiere of “wait. now. go now.” by choreographer Johannes Wieland, which combined theatre and dance centering on how others see us and we see ourselves.   The concluding piece, “CoDa,” choreographed by Ronen Koresh, was a display of high level emotions, which featured the concept of focus as illustrated by strong physical and static movements.

GroundWorks next public presentations, The Winter/Spring Concert will be March 5 & 6 at EJThomas Hall in Akron and March 20 & 21 at The Breen Center,
2008 West 30th Street, Cleveland.

KIBBUTZ CONTEMPORARY DANCE COMPANY

A joint production of the Cleveland-Israel Arts Connection, The Jewish Federation of Cleveland and Dance Cleveland, the Kibbutz Contemporary Dance Company, presented “If At All,” choreographed by Rami Be’er, at the Ohio Theatre.

The 65-minute piece, presented without intermission, was a dance/theatrical piece which centered on interpersonal relationships by using literal and abstract movements, mainly the forming and breaking of circles.  The constant motion, and the expanding and contracting physical space, created a feeling of the altering dynamic of individuals and groups sometimes interacting, sometimes being static, other times being alone.

Though the choreography was often repetitive, the overall effect was positive. The well trained and disciplined dancers, especially, the males, were dynamic in their explosive movements. 

Dance Cleveland’s next offering is the creative Pilobolus (http://www.pilobolus.com/) on Saturday, January 31 @ 8 PM in the State Theatre.  For tickets, which run $20-55, call 216-241-6000 or go on line to www.playhousesquare.org

THE NUTCRACKER:  JOFFREY BALLET AND CLEVELAND ORCHESTRA

The holiday season is upon us and nothing seems to signal it more clearly than a performance of “The Nutcracker.”  And what could be more exciting than hearing Tchaikovsky’s distinctive score, being performed by The Cleveland Orchestra, one of the world’s great musical assemblages, and danced by the famous Joffrey Ballet?   Great music, choreographic excellent, brilliant costumes, larger than life scenery, all showcased in a tale for all times.

When?  November 26-30, 2014.  Tickets:  $20-99.  Where:  State Theatre in PlayhouseSquare. 

Please note:  Children under two years of age are not permitted.  Everyone, no matter their age, must have a ticket and be seated with an adult.

For tickets call 216-241-6000 or go to www.playhousesquare.org

Cleveland Orchestra superb, Joffrey Ballet disappoints

What happens when The Cleveland Orchestra, considered to be one of the world’s great ensemble of musical performers, couples with the Joffrey Ballet, hailed as “America’s Ballet Company of Firsts?” After their well-received five sold-out performance of THE NUTCRACER last winter at PlayhouseSquare, and their past linking at Blossom, the very large opening night audience was filled with high expectations.

The orchestra, under the baton of Tito Muñoz, held up its end of the coupling by beautifully interpreting both modern and symphonic music with proficiency.  On the other hand, Joffrey, though it reached brilliance in one segment of the evening, did not deliver on its expected luminosity.

The evening opened with INTERPLAY, originally choreographed by Jerome Robbins, and danced to sprightly music by Morton Gould.  Robbins, mostly known for his Broadway creations, including THE KING AND I, WEST SIDE STORY and FIDDLER ON THE ROOF, conceived INTERPLAY to be an interaction of music and dance, filled with humor and jazzy influences.  This is a dynamic all-American piece.  

Unfortunately, the Joffrey company seemed incapable of producing the intended joy.  The dancers, especially the male corps, were consistently out of sync, with jagged lines and missteps highlighting the number.  They had difficulty producing many of the classic and contemporary moves. In contrast to the orchestra’s creation of joyful sounds, the dancers failed to produce the parallel energy and proficiency.   This was definitely a second string group of young dancers who started off the evening on a less than positive note.

SON OF CHAMBER SYMPHONY, danced to deconstructionist music by John Adams, who composes in the minimalist tradition of Philip Glass and Steve Reich, allowed choreographer, Stanton Welch, to probe standard ballet traditions and invent ways to look at them through a different lens.  The purpose was not storytelling awareness, but emotional reaction.

The three movement composition, was well danced.  The highlight was a pas de deux by April Daly and Dylan Gutierrez, which contained fluid movements, fine partnering, exquisite toe work, and an excellent parallel between musical sounds and dancing.  The piece ended with not only strong positive audience reaction, but the dancers applauding the orchestra.

The highlight of the evening was a superb, fluid performance of ADAGIO by Victoria Jaiani and Temur Suluashivili.  The duo was perfectly matched in dancing skills and played well off each other.

ADAGIO, as choreographed by Yuri Possokhov, and set to music from SPARTACUS by Soviet Armenian composer, Aram Kachaturian, was effectively lit by Jack Hehler.

Possokhov, a Russian born and trained former member of the Bolshoi Ballet, has created a dance that is full of movement, which flows to the ebbs and tides of the lush music.  The orchestra created the perfect sounds for enhancing the proficiency of the dancers.

Now considered one of the great works of balletic music, reviews of Russian composer Igor Stravinsky’s THE RITE OF SPRING, tagged the work as “The work of a madman.” Those comments heralded the May 29, 1913 ballet and orchestral concert, performed at Paris’s Theatre des Champs-Elysees.  The piece  was choreographed by the legendary Vaslav Nijinsky.

The reviewers were not alone in their evaluation.  The avant guard music, which is often atonal, with non-traditional meter and rhythm, and dissonant stress, and the sensational choreography, resulted in vocal and physical riots by the audience.

Bowing to the reviews and reaction, the piece did not get another major performance for many years.  The 1980 reconstruction of the Najinsky original choreography by the Joffrey Ballet brought the work back of life.

The ballet and its music may have incited strong reaction in its early days, but, based on the comments by those exiting the Saturday night’s performance, there was neither positive excitement nor strong praise for THE RITE OF SPRING.

The piece, which mainly consisted of performers walking and shuffling in circles, sliding across the stage by small groups in straight lines, and an extended self-induced death by an emotionally reserved female dancer, did not develop the strong feelings needed.  It may have been the repetitious movements, the lack of emotional involvement, the minimal actual dancing, or the years of audiences hearing what were once unusual musical sounds, but the overall effect was not strongly positive. 

The strongest reaction at the end of the concert was the irritation of those waiting in endless lines to get on the trams to go to the parking lots.  Long waits and what appeared to be poor organization, did not endear the crowd to Blossom.

Capsule judgement:  The much anticipated reunion of The Cleveland Orchestra and the Joffrey Ballet resulted in an evening that was less than expected. The orchestra was superb, the ballet company, though there were two highlight segments, failed to live up to its reputation.  Too bad.  Cleveland has no permanent ballet company and the appearance of the world renowned Joffrey should have given ballet aficionados a chance for a fulfilling experience.

Not one, but two NUTCRACKERS danced the same weekend in downtown Cleveland

Roy Berko
(Member, Dance Critics Association)

It’s that time of year.  Local theatres are staging all sorts of holiday fare.  Tiny Tims, Scrooges, elfs and Santas are traipsing their way across the boards.  And true to form, THE NUTCRACKER is marching and dancing. 

Since Cleveland no longer has a professional ballet company, venues bring in the holiday necessity from other sources.  The same weekend, The Moscow Ballet presented its 20th anniversary GREAT RUSSIAN NUTCRACKER for two performances at the Music Hall, and The Joffrey Ballet and the Cleveland Orchestra played for four performances with THE NUTCRACKER at the State Theatre.

The major question from those who knew I had seen both versions was, “Which production was better?”  Let’s examine the venues, the story lines, the sets and costumes, the music, and the level of dancing.

It is a shame to invite a quality dance company into the Music Hall in the Convention Hall complex.  Shame on the city of Cleveland and the county for allowing the facility to deteriorate as it has.  The once beautiful Music Hall, part of the Cleveland convention center complex, is now a tired venue with worn out carpeting and seats, moisture textured walls and ceiling, out of date lavatories, and a ripped front curtain with a hanging lining.  It is in this setting that the Moscow Ballet performed. 

Since 1993, Moscow Ballet has gone into local areas and offered ballet students, from ages 7 to 16, the opportunity to audition, rehearse and perform with the professional company.  The students portray party children, mice, snowflakes, angels, and perform in the “around the world” segments.

The sparse evening audience at the Music Hall, consisting mainly, it appeared from the bouquets they were carrying, relatives of the child dancers, witnessed a very traditional version of the piece.

Entitled the GREAT RUSSIAN NUTCRACKER, it featured more traditional dancing, with Masha receiving the nutcracker prince from Uncle Drosselmeyer, but finds it destroyed by Fritz, her brother.  Distraught, she falls asleep, only to have a vision of the Mouse King and his fellow rodents fight the Nutcracker and his soldiers.  After the soldiers’ victory, Masha and her prince go on a wonderful adventure including a tour to the Snow Forest, and the Land of Peace and Harmony.   This version features much dancing by Masha and the Nutcracker prince, highlighted by the famous Grand Pas de Deux.

The Moscow Ballet’s version featured rather tired drop background drops and much used costumes.  But, what it lacked in visual beauty, it more than made up for with superb dancing by the lead performers.   

The recorded music of the enchanting Tchaikovsky score sounded rather tinny in the vast space, with its outdated sound system. 

The children were cute, sometimes in step, but received oohs and ahs from their relatives, and had the memorable experience of performing with an excellent company.

What can be more glorious than hearing the world class Cleveland Orchestra playing THE NUTCRACKER?  Usually nothing.  As expected, the orchestra, under the baton of Tito Munoz, was in fine tune, but those who are used to hearing them on the open Severance Hall stage, may have been dismayed by listening to the muted sounds coming from the under-the-stage orchestra pit.  That, added to the usual sound difficulty for those sitting on the first floor beneath the balcony-overhang, made for a less than thrilling experience.

The State Theatre is a visually glorious setting for the opulence of the Joffrey production.  Special effects included snowflakes dancing on the curtains before the production, a snow storm, gliding sleigh, a Christmas tree which grew before the wondering eyes of the audience from the stage level to the fly area, gorgeous costumes, full sets, and special lighting.  It all added up to making for a wonderful sight, but some might in the near sold-out audiences might question the sometimes languid pace of the performance.

Joffrey’s account, based on THE NUTCRACKER AND THE MOUSE KING by E.T.A. Hoffman, with choreography conceived by Robert Joffrey and supplemented by Gerald Arpino, is the traditional version to which American audiences have been exposed.  This edition takes place in a Victorian Parlor in the 1850s, moves to the Magical Battleground, the Land of Snow, the Kingdom of Sweets and finally back to the parlor. 

The dancing was quite good, but with limited performance opportunities for Clara and the Nutcracker Prince, the show lacked some of the real ballet experience of the Moscow version.  The Joffrey segment where the dolls from around the world come to life was well danced and intriguing, with the children well integrated into the scenes. 

The use of the children in the Joffrey version, and the quality of their performances, was far superior to the Moscow group.  Bravo to Willy Shrive, the Children’s Ballet Master, for his work with the youngsters.

While viewing these productions, older locals were probably drawn back to the glory days of Dennis Nahat’s Cleveland Ballet superb version, with the then wunderkindt’s Raymond Rodriquez and Karon Gabay in the starring roles.

Capsule judgement: It’s too bad that Cleveland doesn’t have a professional ballet company but has to invite groups from other places to provide the yearly THE NUTCRACKER holiday fix.  That negative was balanced by an opportunity for local dance aficionados to have the chance to view two entirely different versions of the Tchaikovsky composition.

Joffrrey Ballet/Cleveland Orchestra 9/10

Orchestra shines, but disappointing Joffrey Ballet at Blossom

Last year my review of the Joffrey Ballet/Cleveland Orchestra program read: “Combine the world-class Joffrey Ballet, with the world-renowned Cleveland Orchestra, and place them in the lush Blossom Center on a crisp August evening. The results? A very special experience.” Not so this year. The dancers seemed distracted, lacking in precision and vitality, and, in spite of several highlight moments, generally were disappointing. The orchestra, on the other hand, was marvelous.

How can dancers, when accompanied by the finely tuned sounds of the world famous Cleveland Orchestra, be so flat and lax?

A man who I talked to at intermission said, “I don't know anything about ballet but when the dancers are in lines, aren't the lines supposed to be straight; and, in group movements, aren't the arms supposed to be moving together; and, aren't the dancers supposed to jump and land in tandem?” Yes, he was right on all counts. This is a world-class company. What we saw, at least on opening night, was not world-class dancing.

The evening opened with 'REFLECTIONS,' danced to the “Variations on a Rococo Theme' by Piotr Tchaikovsky, featuring the thrilling sounds of Cleveland Orchestra cellist Mark Kosower. It is neoclassical in the Arpino style, consisting of high lifts, a fast pace and traditional balletic beauty. Though the dancers seemed uninspired, with weak synchronization of corps movements, the piece was adequately interpreted.

'AGE OF INNOCENCE,' performed to the music of Philip Glass and Thomas Newman, which was more tonal than most of Glass's works, told a story of societal repression. Again, the corps timing was off with crooked lines and out of sync movements, especially by the male dancers. Compelling Christine Rocas and athletic Mauro Villanueva were excellent in the “First Dialogue” segment, while Victoria Jainai and Fabrice Calmels were convincing and dynamic in “Obey Thee.”

'TARANETLLA,' a sprightly southern Italian folk dance characterized by a fast upbeat tempo, was adequately, but not spectacularly danced by Yumelia Garcia and Derrick Agnoletti. There are so many occasions for the dancers, especially the male dancer to shine, but there was little enthusiasm or showcased talent expressed by Agnoletti.

The highlight number of the evening was the “PAS DE DEUX FROM LE CORSIARE.' Set to music by Adolphe Adam, with new music by Riccardo Drigo, the number is loosely based on Lord Byron's poem, “Corsair.” It featured lovely music, well played by the Cleveland Orchestra, and was nicely danced by Victoria Jaiani and Miguel Angel Blanco, who displayed good partnering, with fine toe work and excellent circle jumps. Finally, the audience saw what the entire evening should have been!

'PRETTY BALLET' was set to “Symphony No. 2” by Bohuslav Martinu. The highlight was Movement II in which Valerie Robin and Fabrice Calmels flowed as one to create a cohesive piece. Again, when the full cast was present in Movement IV, the sync was off.

The tell-tale clue to the audience's reaction was that the usual “mandatory” Cleveland standing ovation was missing at the end of the performance and many left well before the evening was concluded.

Capsule judgement: Joffrey Ballet's latest trip to Blossom paled by comparison to last year's performance and other showings that I have seen. It was almost like the powers that be sent in a secondary set of dancers who were seemingly neither prepped for, nor enthused about, this appearance. We deserved more from this world-class company!

Joffrey Ballet

Joffrey Ballet, Cleveland Orchestra and Blossom….a wonderful blend!

Combine the world class Joffrey Ballet, with the world renowned Cleveland Orchestra, and place them in the lush Blossom Center on a crisp August evening. The results? A very special experience.

Blossom Music Center has hosted such ballet luminaries as Nureyev, Baryshnikov, New York City Ballet, San Francisco Ballet and the Vienna State Opera Ballet. But that was in the 60s, 70s and 80s. Most recently, the Blossom stage has been void of dance. Now, thanks to DANCECleveland, the Heinz Poll Summer Dance Festival and the University of Akron, for two performances, the stage was alight with marvelous dancing, the orchestra pit filled with the Cleveland Orchestra, and the large audience treated to the best of the best.

The program consisted of five selections of various moods and lengths. The opening number, ‘KETTENTANZ,’ was a chain dance set to the music of Johann Strauss Sr. and Johann Mayer. Combining classical movement with waltzes, gallops and polkas, the company was sprightly in showcasing various dancers in the nine pieces. The highlights were “Kettenbrück Waltz” performed by Jonathan Dummar and Victoria Jaiani, “Eisele und Beisele Sprüng,’ highlighted by the dancing of the delightful and adorable Anastacia Holden, “Schnofler Tanz,” with excellent toe work by Christine Rocas, and “Chachucha Galop” featuring fine parallel dancing by April Daly and Victoria Jaiani. In all segments, the dancers were proficient, movements perfectly timed to the musical alterations, and performer synchronizations well coordinated. Time flowed by during the thirty-two minute charming and challenging piece.

Alexander Calder developed an art movement centering on Moving Objects Behaving In Linear Equiposie, known to many as mobiles (using the first letter of his apt description). Choreographer Tomm Ruud used the Calder image to create his piece, ‘MOBILE.’ Interrupted by constant applause and sighs of “ohs” and “ahs,” Caitlin Meighan, Tiani Shuai and Abigail Simon awed the audience with their strength and fluidity. It was a study in body control and skill. Jack Hehler’s lighting added to the effect by casting shadow movements onto the back and side walls of the stage, creating a constant moving mobile of bodies and shadows. This was a show highlight!


‘CLOVEN KINGDOM,’ as choreographed by Paul Taylor, pictured man as a civilized social animal who also has the natural instincts of a wild beast. Danced to a baroque score, contrasted with contemporary percussive music, the dual level dance actions paralleled the dual musical sounds. Civilized and primitive, the dancers walked and stalked, and were elegant and animalistic. Though overly long, the point-counter point of the movements was effective in developing the conceiver’s intent. The male dancers were extremely effective in this selection.

Choreographed by Gerald Arpino to the music of Gustav Mahler, ‘ROUND OF ANGELS’ was lovely and soothing. The image of two central figures (Victoria Jaini and Thomas Nicholas) surrounded by five men representing broken-winged angels, created a strong depth of feeling. Only twelve minutes in length, the emotional sound of the music, coupled with the heartfelt movement of the dancers, made this a very special piece of dance telling the story of the depth of loss.

Rodgers and Hammerstein’s ‘CAROUSEL’ is one of the great pieces of musical theatre. Choreographer Christopher Wheeldon decided to develop a balladic piece as a tribute to Rodgers. Using the “Carousel Waltz” music from the play, combining it with other music from the show, mainly “If I Loved You” and “The Soliloquy,” Wheeldon tried to recreate the entire storyline in an abbreviated time. Though the visual effects were excellent, especially the recreation of a moving carousel, using the bodies of the dancers and some poles, the overall effect was somewhat lacking. Unless you could insert the necessary “rest of the story,” the heartbreak of the tale was not present. Part of the problem, was Fabrice Calmels unemotional Billy. He did not give the needed tortured feelings that drive Billy to his reactions to falling in love and making life changing decisions. April Daly was lovely as Julie.

Assistant conductor Tito Munoz and the Cleveland Orchestra moved through the music with precision and the needed variances, allowing the dancers to create the needed illusions. It was a fine melding of two art forms into a cohesive whole.

Capsule judgement: What a wonderful night! We can only hope that the forces that brought the Joffrey and the Cleveland Orchestra together will take swift action to make dance a regular part of future Blossom seasons.