Fallfest-Ohio Ballet (Ohio Ballet)

Ohio Ballet performs ‘FALLFEST’

From the time the Cleveland-San Jose ballet fled town, local dance fans have been waiting for a company to come forth and take its place as the leading company on the north coast. The logical successor was Ohio Ballet, which already had a comfortable financial base and a well-formed company.

Unfortunately, while other companies, such as Verb Ballets and Groundworks have continued to build strong followings, as evidenced by the less than 1/3 capacity audience at the Ohio Theatre for the Saturday night production at the recent ‘FALLFEST,’ Ohio Ballet has not filled the void. Verb Ballets’ recent Cleveland Public Theatre run was nearly sold out. Last season the company’s Play House Square performance was sold out. They have decided that their Play House Square performance this season will be two nights rather than one (February 24 & 25). Groundworks also has developed a strong following, leading to sold out houses.

‘FALLFEST’ was an acceptable, if not outstanding evening of dance. The program featured two world premieres, ‘TURN OF THE SCREW’ and ‘FAITH.’

Domy Reiter-Soffer’s choreography of ‘TURN OF THE SCREW,’ Henry James’ haunting tale of suppressed emotions, was danced to the music of the ”2nd Symphony” and “Variation on the Theme of Hartman’ by John McCabe. Reiter-Soffer also designed the costumes and decor.

The piece was well choreographed to fit the music and competently danced, but the redundancy of movements led to some tediousness. In spite of this, the use of masks, Edwardian costumes, varied mood lighting and an appropriate backdrop aided to create a generally positive effect.

Eva Trapp as the governess, and Oren Porterfield and Jeremy Lemme as the young girl and her brother, were excellent. Grant Dettling, the former manservant and Andrea Blankstein, as the former governess were also impressive.

The piece concluded to polite applause.

‘FAITH’ was a nicely choreographed, if unevenly danced piece by Jeffrey Graham Hughes. Performed to the music of Jean Sibelius’ “5th Symphony in E flat major”
the use of mirroring movements, varied carries, strong partnering, flowing motions and movements that fit the music led to a pleasant, if not memorable experience. The major problem was a lack of polish in the large corps segments. Often the dancers were out of sync with arm movements not parallel, leg placements not universally duplicated, and one or more dancers moving before or after the others.

In the second movement, Brian Murphy, who continues to be the company’s strongest male dancer, partnered wonderfully with Oren Porterfield. Jeremy Lemme was excellent in his solo work. Too bad he doesn’t perform as proficiently as a member of the corps.

‘FAITH’ was pleasant if not a compelling segment of dance.

Winter Repertory (Ohio Ballet)

Ohio Ballet presents full evening of well choreographed dancing

Dance is composed of four elements: choreography, movement, music and message. When the four come together it makes for an exciting evening. Ohio Ballet’s ‘WINTER REPERTORY PROGRAM’ had three of the elements consistently present...choreography, music and message. The movement, the dancing, was inconsistent.

The program opened with a light, sprightly, South American beat. “Bossa Nova,” consisting of four short pieces, was given its world premiere in this program. They were well choreographed by Leslie Cook. The very talented Amanda Cobb was wonderful as the lead dancer in all the segments. She was ably backed by Kristin Knapp, Alicia Pitts and Eva Trapp. Brian Murphy’s facial expressions, pelvic thrusts and quick feet picked up the beat and created a perfect feel. Unfortunately, the other males were often flat footed and appeared to be laboring rather than enjoying themselves.

“Wanders Night Song” was a classic ballet whose choreography was the weakest of the evening. Toby George was acceptable, if not spectacular as the soloist. He displayed nice leaps and good flow, but lacked the charisma needed to capture the audience.

“Etudes” was performed to ear jarring modern music. The choreography of Jean-Pierre Bonnefoux didn’t always fit Gyorgy Ligeti’s tonal intentions. In spite of this, the piece was superbly danced by Alicia Pitts, whose toe work was wonderful, Eva Trapp and Kristin Knapp.

Chung-Fu Chang’s “Traveling in the Frost”was danced to pianist David Fisher’s live piano accompaniment and the poetic messages of Wilhelm Muller and Peter Hartling. Chang challenged the five male dancers with interesting choreography, pushing the performers to their limits. Though some of the unit timing was off, the overall effect was generally positive. Especially effective was Dennis Dugan’s lighting in a segment in which the dancers’ shadows were projected onto the back curtain.

Bennefoux also choreographed “Chaconne” which was danced to violin soloist Amy Barlowe Bodman’s interpretation of composer Johann Sebastian Bach. The piece was very nicely performed by Amanda Cobb.

The world premiere of “Transformation!” by Ohio Ballet’s Artistic Director Jeffrey Graham Hughes was highlighted by the outstanding singing and musical sounds of the group Divine Hope. Damien Highfield, portraying Paul, stood out in the story taken from the “Bible,” Acts 6: 1 through 9:19. Eric Carvill was effective as Stephen. Though no great piece of ballet, the overall effect was positive.

CAPSULE JUDGEMENT: Ohio Ballet continues to draw small but appreciative audiences. The group needs to take steps to make people want to come through more innovative programming and improved presentation, especially by their male dancers.

Ohio Ballet Fall Repertory Program-2003 (Ohio Ballet)

OHIO BALLET PRESENTS ENTERTAINING FALL PROGRAM

In contrast to the Kirov’s packed houses, the recent performances by the Ohio Ballet at the Ohio Theatre had much smaller attendance. Too bad, because the Ohio Ballet’s Fall Repertory Program was one of their best offerings since Jeffery Graham Hughes took over as the company’s Artistic Director.

A smorgasbord of offerings, the audience was exposed to everything from serious classical ballets, dynamic humorous moves, and drum-band accompanied movements.

The evening opened with the world premiere of “Rossini Dances.” The number was choreographed by former Cleveland Ballet prima ballerina Cynthia Gregory. Gregory was an elegant dancer who captivated the stage with her control and excellence. Though the ballet doesn’t quite hit her level of performance, it was a fine example of classic choreography. The women were joyous, the men had some difficulty in their timing. Fine stage pictures and movements well fit Rossini’s “String Sonata No. 6 in D Major.”

A series of very short pieces followed. “In Nuit,” which was accompanied by David Fisher on the piano, Larissa Freude performed effectively. Her toe-work was outstanding.

The ever-beautiful “Dying Swan” was presented with the classic choreography of Michael Fokine as restaged by Isabelle Fokine. Performed to the piano artistry of David Fisher, the music of Camille Saint-Saens from the “Carnaval des Animaux Suite” was beautiful. Eva Trapp was competent in the role of the swan in the final stages of life. She fluttered to her death compassionately, though the enthralling elegance of prima ballerinas was missing.

“Esmeralda Pas De Deux,”presented as a company premiere, is a nice patterned piece. Toby George, whose forte is high leaps, and Amanda Cobb who moves well and is lovely with her constant smile, partnered well. Again David Fisher accompanied the duo playing Cesare Pugni’s music.

One of the highlights of the evening was Sam Watson’s contemporary “Wired.” Actually, the title “Unwired” might have been better for this Pilobus-type number. Bouncing, intertwining, bouncing off each other, rolling on the floor, the piece defies description. How about, “it was a blast, a hoot, a fun interlude.” Damien Highfield and Brian Murphy appeared to have a ball in this non-traditional piece.

Jeffrey Graham Hughes’ “Ballet Ramajay” received its world premiere as the finale of the program. Danced to a combination of sprightly, reggae, contemporary music performed by the excellent University of Akron Steel Drum Band, the choreography fit the music well. Though at times there was a lack of coordinated timing in the dancing there was enough creativity to make up for the minuses. A.Christina Giannini’s costume design was wonderful. The dancers flashed across the stage in multi-colored creative pieces of material. Hughes did an excellent job of coordinating the movements to the sounds. The highlights were “The Girl From Ipanema”a sprightly interpretation by Amanda Cobb and Toby George, and “Six Dances in Bulgarian Rhythm” finely performed by Ashley Bowman and Damien Highfield.

CAPSULE JUDGEMENT: Ohio Ballet’s “Fall Repertory Program” was a fine evening of dance. Let’s hope that future programs live up to this.

Romeo and Juliet, the ballet (Ohio Ballet)

Pleasing ‘ROMEO AND JULIET’ by Ohio Ballet

Shakespeare’s ‘ROMEO AND JULIET’ is the classic love story. It contains unrequited love, passion, conflict and pathos. It has been translated into many forms. Plays, films, even a musical (‘WEST SIDE STORY’) have told and retold the story. It has also been done in various dance forms, including a ballet with lush music by Segei Prokofiev. The latter was recently performed by the Ohio Ballet at the Ohio Theatre as the company’s season opener. The performance will be repeated on October 10 and 11 at E. J. Thomas Performing Arts Hall in Akron (Friday and Saturday at 8:00 p.m. and Saturday at 2:00 p.m.).

Though the OBT production can never be compared to that performed by the Bolshoi or other world class companies, it is a very pleasing, enjoyable and nicely created piece.

Choreographer Bengt Jorgen, artistic director of Ballet Jorgen Canada, decided to do a traditionally costumed, but modern balletic interpretation of the piece. Thus, the story seems more accessible and easier to follow than more classical versions. Jorgen’s gymnastic, interactive, often tense, often humorous choreography allows the performers latitude to create characters, thus forcing the performers to be actors as well as dancers. Some of the corps is capable of the necessary stretch, others are not so adept.

Alicia Pitts is glorious as Juliet. She is young, childlike without being childish, and dances with style and ease. She appears to float as she moves across the stage on toe. She partners well with her Romeo. Most impressive is her acting ability. She goes from glee to being forlorn, from indifference to love, with ease. This is impressive, very impressive!

Young Eric Carvill is more than adequate as Romeo. Last year, in a review of the OBT, I indicated that Carvill had grown in his short tenure with the troop. I never dreamed that he was ready to play the lead in a full-length story-line production. In a world class company, he wouldn’t have had the opportunity. At OBT, where except for Brian Murphy, who is too old to play Romeo, there is no stellar male dancer, he was the right choice. Carvill danced well, was properly youthful, partnered superbly. His major problem was his lack of character development. He showed few mood changes. His face was generally static. Smiles appeared not to be part of his acting repertory. His was a case where an acting coach, to supplement the dancing direction, was needed.

Toby George, a newcomer to the OBT corps, danced Mercutio with style. He was especially proficient in the comic scenes. He is a welcome addition to the troop and it can only be hoped that with more experience he will control his tendency to react in stylized movements and reactions and expand his dance proficiency.

Ashley Bowman as the nurse, Amanda Cobb as Lady Capulet, and Damien Highfield as Tybalt were all excellent.

The sword fight choreography was outstanding. On the other hand, the physical confrontations were marred by Jorgen’s annoying tactic of using and reusing two handed pushing as his major conflict vehicle. It often made the performers look like pre-schoolers on the playground.

The final dual-death scene is compelling. Romeo dances with the “dead” Juliet in his arms, then the format reverses as Juliet is revived from her coma-like state and caresses her lover. It is a fine, fine visual illusion.

Glenn Davidson’s set design is beautiful. It is made functional by choreographing set changes so that the staging flows smoothly. Unfortunately, his lighting design is not as successful. There are many dark spots on stage and, at times, lights seem to go on and off at whim, causing some confusing moments. Gary Dahm’s sumptuous costumes are era-correct and add greatly to the visual illusion of the ballet.

CAPSULE JUDGEMENT: ‘ROMEO AND JULIET’ was one of OBT’s better productions since the ascension of Jeffrey Graham Hughes to the role of artistic director.

The Magic of Dance: Winter Program (Ohio Ballet)

Ohio Ballet celebrates the magic of dance

One of the cues to how effective a performance has been is to listen to the audience “buzz” as they exit after the final curtain. If the topics center on what’s just been experienced it usually means that the audience has had a moving encountered. That movement may have been either positive or negative, but, they have been effected. Unfortunately, the “buzz” after many of the Ohio Ballet performances has been missing.

Does this mean the performances have been bad? No. They just don’t distinguish themselves, excite the audience. They don’t bring prolonged applause, let alone a standing ovation. The company is acceptable if not outstanding. On the male side, there is no Raymond Rodriguez, no David Shimotakahara, though there is Brian Murphy, who comes close and youthful Eric Carvill seems to be coming into his own. The women are stronger, but still no Karen Gabey or Cynthia Graham. Jesica Salomon is developing into a potential star. Eva Trapp showed much promise in the winter program.

With that said, let’s examine ‘OHIO BALLET CELEBRATES THE MAGIC OF DANCE: WINTER PROGRAM.” The opening number, “Nell Amore E La Devozione” examines “in love is devotion.” Due to an injury changes were made in the partnering and the second segment was cut. The piece opened with “Canto Della Terra” which featured intricate partnering danced to soaring music. A beautifully performed solo piece followed. “Sogno” was the highlight of the set, featuring the excellent partnering of Alicia Pitts and Brian Murphy, though the frenetic choreography didn’t fit the classical music. “Tremo E T Amo was nicely danced by Larissa Freude and Eric Carvill, though, again, the choreographed movements didn’t always fit the mood of the music. “The Prayer” featured excellent female dancing but group movements were often not coordinated.

Danced to the dual pianos of Margaret Baxtresser and David Fisher,“Spring Waters”is
a revival of acrobatics in Soviet ballet. Choreographed by Asaf Messerer, the very brief piece featured nice performances by Amanda Cobb and William Hoppe.

“GHOST TOWN,” which features the music of Richard Rodgers, was staged as part of the National Centennial Celebration to the famous theatre writer of such shows as ‘SOUTH PACIFIC’ and ‘CAROUSEL.’ This is the only ballet music written by Rogers. Mary Beth Hansohn and Damien Highfield performed the piece as part of ‘SHALL WE DANCE--A DANCE TRIBUTE TO RICHARD RODGERS’ at the City Center in New York on October 21, 2002. For the Ohio Ballet’s winter program Brian Murphy replaced Highfield. Performed to the excellent live piano music of Margaret Baxtresser and David Fisher, this was a playful piece, featuring many gymnastic movements. Hansohn and Murphy were excellent.

The grand pas de deux from “Don Quixote,”was a company premiere which featured Alicia Pitts and Dmitry Tubolstev. The work debuted in 1869 at the famed Moscow Bolshoi Theatre. Pitts sparkled. Her performance featured fine toe work and excellent solo moves. Tubolstev is the company’s highest leaper and does an excellent job of executing flying circles. Unfortunately, his partnering skills are lacking and he draws attention to his technique rather than to his dancing. He postures, poses and feigns involvement instead of actually being involved in his performance.

The final number was the “Firebird Suite,” based on the music of Igor Stravinsky. The futuristic approach to the fairy tale which examines the contrast between desolation and hope, the conflict between machine and humankind. After a compelling opening, which featured flashlights, fog, a mechanistic set, and sensational light effects, the piece ground to a chaotic but technically compelling conclusion complete with snow and spectacular lighting. Part of the problem centered on using many young children from local dance schools. The youngsters just did not have the dancing skills to carry their load. The timing of the adult dancers was often off. The over-all concept was not defined enough to make for clarity.

Capsule Judgement: The Ohio Ballet’s winter program was an acceptable, if not outstanding evening of dance. It’s too bad the company hasn’t picked up the challenge and filled the void left by the Cleveland San Jose Ballet. Our area needs and deserves a world class ballet company.

Fall program 2002 (Ohio Ballet)

Ohio Ballet presents pleasing winter program

Ohio Ballet is presenting a very pleasant evening of dance as its FALL PROGRAM. It showcased in Cleveland’s Ohio Theatre on November 15 and 16. It will be repeated on November 22 and 23 at the E. J. Thomas Performing Arts Hall.

FRIENDS AND LOVERS, which consists of three pas-de-deux, examines relationships. It featured strong performances by all of the women dancers and exceptional partnering by Alicia Pitts and Brian Murphy. Young Eric Carvil is improving with each Ohio Ballet performance. Unfortunately, the same cannot be said for William Hoppe who still needs to learn the necessary confidence and skills. The live musical accompaniment of Antonin Dvorak’s music was beautifully performed by Linda Nagy Johnston, Madelena Burle Marx and David Fisher.

CAPTURE, choreographed for the Diavolo Dance Theatre, was a fascinating piece. It featured a proficient Damien Highfield and the effervescent Amanda Cobb. Cobb entered and exited a segmented silver half-sphere into which Highfield was attached. The segmented globe rocked and twirled to Juliet Prater’s well-conceived original far eastern music creating a visual illusion of flow and movement.

PYGMALION & GALATEA, choreographed by Jeffrey Graham Hughes, was the weakest segment of the evening. The dance movements were often out of sync with the mood and cadence of the music. In spite of this, Jesica Salomon was wonderful. Unfortunately Dmitry Tubolstev didn’t get physically and emotionally involved in his dancing. He is talented, but his posturing creating overly affected moves and gestures to convey a surface level performance. He failed to emotionally connect with his partner.

SIXTY-EIGHT, choreographed by Leslie Cook, combined music of Simon and Garfunkel, Jimi Hendrix, Janis Joplin and Buffalo Springfield into a series of dances. It paralleled the musical styles of 1968, the year the Ohio Ballet was created 35 years ago. The highlight was a jazz version of “Summertime” and was beautifully danced by Amanda Cobb and Damien Highfield. Brian Murphy, the company’s strongest and emotionally most involved male dancer, lit up the stage. Strong performances were also put in by Jesica Salomon, Larissa Freude, Kristin Knapp, Alicia Pitts and Mary Beth Hanson.

'DRACULA: THE BALLET' (Ohio Ballet)

Ohio Ballet opens seasonwith 'DRACULA'

When the Cleveland San Jose Ballet exited the Cleveland area it left a void in local dance. This is especially evident in full-length story ballet. Only touring companies such as American ballet theatre staged these often audience-pleasing pieces. Up stepped Ohio Ballet to fill the void. Last season they performed the delightful 'PETER PAN' followed by the less successful, but enjoyable 'HAMLET, THE BALLET.' Their 2002 2003 season started with 'DRACULA,' which turned out to be an inconsistent piece.

The ballet is based on the Gothic tale of Count Dracula, a blood-thirsty vampire which was written by Bram Stoker. The ballet is set to the music of Verdi, Rossini, Bizet, Rachmaninoff and Debussy and was conceived by Stuart Sebastian. It premiered in 1990 with a performance by the Dayton Ballet.

The story lends itself to a grand production. The OBT 12-member company made the production intimate. This “little” performance was even intensified due to the massive stage and auditorium space at The University of Akron’s E. J. Thomas Hall stage. It appeared that Barbara Pontecorvo who staged the production tried to compensate by having her performers give bigger-than-life gestures and movements. It caused the dancers, especially the males, to appear melodramatic and comedic rather than dramatic. This was especially true in the performances of Dmitry Tubolstev, William Hoppe and Eric Carvill. Damien Highfield danced very well, but lacked the evil and grandeur needed to convey the horror of Dracula. Brian Murphy was his usual excellent self, but one must question why the choreographer decided to make his madness look like monkey movements. Amanda Cobb, Kristin Knapp and Alicia Pitts worked as a unit as the Vampire wives. Mary Beth Hansohn, Jesica Salomon, and Larissa Freud danced well. Hansen’s toe-work was outstanding.

The massive amount of music was almost overwhelming. From requiem masses, to piano and organ solos, from nocturnes to preludes, the music changed constantly, yet the choreography often did not parallel the alterations. The fact that the music was recorded also caused ear-jarring changes as the modes and instruments altered.

Capsule judgement: Ohio Ballet needs to be praised for trying to offer the community full story-line ballets. On the other hand, they must be aware of the abilities of their dancers and the small size of the company.

Hamlet, the Ballet (Ohio Ballet)

Ohio Ballet's 'HAMLET, THE BALLET' visually effective

Earlier this year the Ohio and Dayton Ballet companies combined to present a wonderful dance version of 'PETER PAN.' Their newest joint venture is the full-length balletic version of Shakespeare’s 'HAMLET.' Though the production does not reach the excitement level of 'PETER PAN,' 'HAMLET, THE BALLET' makes for an enjoyable evening of dance.

Choreographing to contemporary composer Phillip Glass’s composition, choreographer Stephen Mills wisely chose to stylize the production. Mills, the Artistic Director of Ballet Austin, was hailed by Dance Magazine for his sleek and sophisticated version of 'HAMLET, THE BALLET.' And sleek and sophisticated it is. Except for the repeated device of using vertical leaps to portray anguish, the choreography showed texturing and integration of music and movement.

The ballet follows the Hamlet story closely enough that viewers familiar with the Shakespearean piece have no trouble in understanding the danced story. In general, Hamlet’s father is killed by his uncle Claudius. Claudius marries Hamlet’s mother. Hamlet broods, sees visions, and is visited by the ghost of his dead father who asks him to revenge his death. In the process of plotting revenge, more murder, intrigue and finally the destruction of Hamlet’s world, as we know it takes place.

Kirk Henning, who portrayed Hamlet on opening night, danced with ease but he lacked the physical and emotional presence needed to portray the great brooding and bigger-than-life character. Rachel Carmazzi was lovely as the emotionally tortured Ophelia. Mary Beth Hansohn danced and portrayed the role of Gertrude with strength and power. Dmitry Tubolstev, as he has done in previous performances, continues to feign emotion. Though adequately danced, his Claudius was overacted. Brian Murphy exerted his usual strong presence as Laertes. The sword fight between Murphy and Henning was extremely effective and well staged.

Tony Tucci’s lighting design, Christopher McCollum’s contemporary costumes, and Jeffrey Main’s scenic design added a strong visual dimension to the production.

Capsule judgement: Yes, this ballet is sleek and sophisticated!

Diamonds and Blues (Ohio Ballet)

Ohio Ballet--baseball, flamenco, The Point Sisters

Several weeks ago when I met with Jeffrey Graham Hughes, the Artistic Director of the Ohio Ballet, we discussed the future and his dream for the company. He is interested in taking it in a direction quite different from the Heinz Poll years. With the dream come pitfalls. Many OB loyalists have difficulty moving on...they were comfortable with the old and want it to remain. We also discussed my observations that though I most often find the new works creative, I often feel that they are not well polished.

Creativity and polish were not an issue with at least one of the pieces from OB’s newest offerings, 'DIAMONDS AND BLUES' at Playhouse Square’s Allen Theatre. The program is being repeated at E. J. Thomas Hall in Akron February 8 & 9.

Karen Gabay, the dancing darling of the now defunct Cleveland San Jose Ballet has started to establish herself as a fine choreographer. Her 'NOUVEAU FLAMENCO' is a modern version of the classic flamenco dance, flamenco on toe shoes. This piece is creative, exciting, and was perfectly executed. Dennis Dugan’s lighting added greatly to the production as did Natasha Guruleva’s black and red costumes. Jesica Salomon was radiant in Part II. Though dancing strongly, with soaring leaps, Dmitry Tubolstev continues to distract with grimacing facial expressions. The company worked as a fine- honed unit in the other segments.

In 'HOT RIFFS AND BLUE NOTES' choreographer Gregory Robinson of the Dayton Ballet presented a series of creative modern dance pieces to the music of the Pointer Sisters. Though innovatively conceived there was a lack of unity among the dancers. Many did not pick up the attitude of the music in their bodies and faces. For example, in Salt Peanuts, the fast pleasurable music engendered hip attitudes. The woman were fine. With the exception of Brian Murphy, whose face and body burst with energy, the male dancers appeared to be concentrating so hard they forgot to have fun, to let loose. (Come on guys, this is not Swan Lake.) Jesica Salomon was wonderfully sensual in Black Coffee. Lowell A. Mathwich’s costumes were attitude perfect.

In an interesting program inclusion, pianist David Fisher presented a musical interlude of three Spanish dance compositions.

The highlight of the evening was supposed to be 'PLAY BALL!' It is intended to take the game of baseball and translate it into a fun-filled ballet. The music spanned most major classical pieces including “Carmen,” “The Comedians,” and “The Barber of Seville.” The piece lacks a strong sense of comedy needed to make it outstanding. Part of the issue is that ballet dancers are hard to accept as baseball players. Also there needs to be a sense of farcical acting that isn’t often part of a dancers’ repertoire. The serious tone of most of the music also seems to get in the way. The highlight of the number was Brian Murphy and Anitra Nurnberger’s nicely performed sixth inning pas de deux. Overall, bad? No. Great? No. Memorable? No. Enjoyable? Yes.

Capsule judgement: It’s worth attending this weekend’s Ohio Ballet performance for no other reason than to see Karen Gabay’s NOUVEAU FLAMENCO. The program should work even better in a setting other than the huge bowling alley shaped Allen Theatre. I’m glad they saved the Playhouse Square theatres but the Allen is a problematic setting for almost every venue, especially for intimate ballet.