MARK KAPPEL

252 West 76th Street
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ph: 212-724-3889
MARKKAPL1@aol.com

NEWSNOTES DANCE BLOG

NEWSNOTES DANCE BLOG

MARK KAPPEL

EDITOR

252 WEST 76TH STREET

SUITE 6E

NEW YORK NY 10023

TELEPHONE: 212-724-3889

E-MAIL: MARKKAPL1@aol.com

WEB SITE:

http://www.markkappeldance.com/

newsnotes_dance_blog

MISSION STATEMENT

FROM THE EDITOR

Recognizing the need to promote the personal accomplishments of creative artists and to inform dance audiences, dance professionals, dance supporters, and the general public about news in the dance world, I have established the NewsNotes Dance Blog. It is my goal to collaborate with the dance community, and all arts comunities in this effort. Please direct announcements and press releases for inclusion and coverage to Editor/NewsNotes Dance Blog at MARKKAPL1@aol.com

NEWS IN THE DANCE WORLD

7-12-22 - American Ballet Theatre has announced that Catherine Hurlin and Roman Zhurbin have been promoted to the rank of principal dancer, and Daniel Camargo will be joining the company as a principal dancer next season. Breanne Granlund, Sung Woo Han, Betsy McBride, Chloe Misseldine, and Sun Mi Park have been promoted to the rank of soloist.

7-4-22 - The LaScala Ballet has announced the promotion of Alice Mariani to the rank of principal dancer.

6-27-22 - The National Ballet of Canada has announced the promotion of Genevieve Penn Nabity to the rank of principal dancer.

6-12-22 - Christopher Wheeldon won the Tony Award for Best Choreography for his work on the Broadway musical, MJ.

5-22-22 - The Royal Ballet has announced that Reece Clarke and William Bracewell have been promoted to the rank of principal dancer.

5-19-22 - Ballet West has announced that Amy Potter and Jordan Viet have been promoted to the rank of principal artist.

5-9-22 - American Ballet Theatre has announced that Susan Jaffe will succeed Kevin McKenzie as artistic director of the company beginning in December 2022.

5-9-22 - The following choreographers have been honored with Tony Award nominations for their work during the 2021-2022 season: Camille A. Brown (for colored girls who have considered suicide/when the rainbow is enuf), Warren Carlyle (The Music Man), Carrie-Anne Ingrouillle (Six: The Musical), Bill T. Jones (Paradise Square), and Christopher Wheeldon (MJ).

4-22-22 - Macarena Giminez and Maximiliano Iglesias of the Teatro Colon will be joining the Sarasota Ballet as principal dancers beginning with the 2022-2023 season.

4-7-22 - Alejandro Cerrudo has been appointed the new artistic director of the Charlotte Ballet.

3-16-22 - Olga Smirnova and Victor Caixeta have joined the Dutch National Ballet during this current season.

2-22-22 - Jeffrey Cirio will be rejoining the Boston Ballet as a principal dancer beginning with the 2022-2023 season.

2-8-22 - Beckanne Sisk and Chase O'Connell will be joining Houston Ballet as principal dancers beginning with the 2022-2023 season.

1-31-22 - Northern Ballet (UK) has announced the appointment of Federico Bonnelli as the company's new artistic director.

1-18-22 - The Cincinnati Ballet has announced the appointment of Jodie Gates as its new artistic director.

1-11-22 - The San Francisco Ballet has announced that Tamara Rojo will succeed Helgi Tomasson as the company's artistic director at the end of 2022.

12-22-21 - The Boston Ballet has announced that soloist Chyrstyn Fentroy has been promoted to the rank of principal dancer.

12-17-21 - The Orlando Ballet has announced the appointment of Jorden Morris as its new artistic director.

12-13-21 - The Boston Ballet has announced the appointment of Joan Boada as Associate Director of Boston Ballet II.

10-16-21 - Maria Kowroski has been appointed the Acting Artistic Director of the New Jersey Ballet.

9-26-21 - Sonya Tayeh has won the Tony Award for Choreography for her work on the musical, Moulin Rouge.

9-1-21 - Francesca Harper has been named the new artistic director of Ailey II.

7-7-21 - The National Ballet of Canada has announced the appointment of Hope Muir as the company's new artistic director.

6-22-21 - The National Ballet of Canada has announced the following promotions: Koto Ishihara, Siphesihle November, Tina Pereira, and Ben Rudishin have been promoted to the rank of principal dancer. Jeannine Haller and Calley Skalnik have been promoted to the rank of First Soloist, and Brenna Flaherty, Noah Parets, and Genevieve Penn Nabity have been promoted to the rank of Second Soloist.

6-18-21 - Sidi Larbi Cherkaoui has been appointed the new artistic director of the Ballet de Geneve.

6-15-21 - Cathy Marston has been appointed the new artistic director of the Zurich Opera Ballet.

6-15-21 - Christian Spuck has been appointed the new artistic director of the State Ballet Berlin.

6-7-21 - Daniel Riley has been appointed the new artistic director of the Australian Dance Theatre.

5-18-21 - The Royal Ballet has announced the following promotions: Fumi Kaneko, Cesar Corrales, Anna Rose O'Sullivan,and Mayara Magri have been promoted to the rank of principal dancer. Meaghan Grace Hinkis, Nicol Edmonds, and Calvin Richardson have been promoted to the rank of First Soloist, and Gina Storm Jensen and Joseph Sissens have been promoted to the rank of Soloist.

4-8-21 - Ballet West has announced that Katlyn Addison and Hadriel Diniz have been promoted to the rank of principal dancer.

DIARY

The Butcher Boy

Irish Repertory Theatre

July 30, 2022

By Mark Kappel

From July 21 through September 11, 2022, the Irish Repertory Theatre is presenting the world premiere of a new musical, The Butcher Boy, based on Patrick McCabe’s novel which was published in 1992. With book, music and lyrics by Asher Muldoon, and directed by Ciaran O’Reilly, The Butcher Boy marks the world premiere of a new musical by a young, and upcoming musical theater artist.

The story of The Butcher Boy takes place in the village of Clones, Ireland in the 1960’s where Francie Brady (played by Nicholas Barasch) lives in his own fabricated dream world – with his parents, and his best friend Joe Purcell (played by Christian Strange) in what seems to be an idyllic existence.

That idyllic existence is turned upside down when Mrs. Nugent (played by Michele Ragusa) and her son, Phillip (played by Daniel Marconi) arrive in town. Mrs. Nugent targets the Brady family denouncing the family as pigs --bullying Francie and everyone else in the village. As a result of this toxic atmosphere Francie’s life crumbles, and he turns to subterfuge, hostility, and violence to resolve the issues between the feuding villagers.

Francie Brady, with his alcoholic mother (played by Andrea Lynn Green) and despondent father (played by Scott Stangland), has grown up in a troubled home environment which results in Francie retreating into a violent fantasy world which is also inspired by the many 1950’s and 1960’s television series and comic books that Francie has seen and read -- from Westerns to science fiction. Brady’s life is filled with fantasies in his head, and day dreams as he lives his daily life. From the moment that Francie steals comic books from Phillip, and he is haunted by a Greek chorus wearing pig’s masks, the story of The Butcher Boy is set into motion.

When betrayed and bullied by Mrs. Nugent, and losing his best friend Joe to Mrs. Nugent’s son, Phillip, Francie’s life falls apart. Running away to Dublin, Francie cons a trusting family to being a substitute for his own dysfunctional family only to be brought back to reality when his father tracks him down in Dublin and informs him that his mother has committed suicide. With Francie out of control, The Butcher Boy culminates in a destructive conclusion. Yet in spite of its disturbing story The Butcher Boy is a dark comedy of contrasts and pipe dreams, and is empathetically musicalized to highlight the ever-changing circumstances and emotional swings in this compelling adaptation of Cabe’s novel.

Nicholas Barasch portraying Francie Brady acts as both the narrator and protagonist in The Butcher Boy’s story, and commands the stage. Also notable are Andrea Lynn Green and Scott Stangland as Francie Brady’s parents, Daniel Marconi as Philip Nugent, Christian Strange as Joe Purcell, and Michele Ragusa as Mrs. Nugent. But this excellent ensemble cast, often playing multiple roles, brings McCabe’s complicated and jarring story to life.

Muldoon’s score was at its best in “Snowdrops” (Francie Brady’s fanciful thoughts on his life), “Those Were The Days” (Francie’s father’s look back at his younger days), and the concluding “The Color of Oranges” (an ensemble of the people and voices from the past and present in Francie’s life).

O’Reilly’s carefully crafted direction brings the diversity of these characters in The Butcher Boy to life. You feel you know them, and their thoughts, and how emotionally complicated their lives are.

The Butcher Boy, as a story, is provocative and disturbing, but is interpreted by a composer/book writer with promise, and an especially talented cast.

Notre Dame de Paris

David Koch Theater

July 17, 2022

By Mark Kappel

Although it seems like the epic sung-through musicals are no longer in fashion on Broadway, they are popular in other parts of the world. Making its New York debut at the David Koch Theater from July 13-24, 2022, is Notre Dame de Paris, an imported production of a musical theater piece based on Victor Hugo’s well-known novel.

Hugo’s novel has inspired adaptations for films, operas, and ballets, and this musical stage adaptation represents the collaboration of Richard Cocciante as composer, and Luc Plamondon as author, which combines musical theatre, dance, and acrobatics. Since having its world premiere in Paris in 1998, Notre Dame de Paris has been presented in major cities all over the world.

Whether you define this version of Notre Dame de Paris as musical theatre or spectacle – it may not be definable – it tells Victor Hugo’s story expeditiously with pop-inspired songs, and also delivers a political point of view through themes that are interwoven into Hugo’s fable of love, betrayal, and jealousy.

This production is performed in French with English supertitles, and is performed by a cast of 30 performers and a live orchestra with direction by Gilles Maheu, and choreography by Martino Muller.

Taking place in Paris – in 1482 – Gringoire – the poet and troubadour – sets the scene singing “Le Temps des cathedrals” – as workers are in the process of building the Notre Dame Cathedral. The stage comes alive with living pictures in a cinematic style.

The story focuses on the gypsy girl Esmeralda (played by Hiba Tawaji), who has several swooning male suitors including Frollo (played by Daniel Lavoie) the villainous archdeacon of Notre Dame, Quasimodo (played by Angelo Del Vecchio), the hunchback, and Phoebus (played by Yvan Pedneault), Esmeralda’s rich suitor, who is also engaged to another woman. Add to the mix is that Gringoire, the observer and narrator of Notre Dame de Paris, is Esmeralda’s husband.

Frollo, Quasimodo, and Phoebus express their conflicted feelings about love in one of the show’s hit songs, “Belle”, with compelling lyrics, and in haunting music that provokes the suitors’ emotions.

The story is told in fleeting episodes that include exposition, and are linked together with acrobatic sequences and dances, conveying the story in split second timing. Although Quasimodo attempts to prevent Esmeralda from meeting her ultimate doom, her other suitors are the ones who control her fate.

And the politics are reflected in the opening song for Act II, “Florence” and through most of Act II, depicting Esmeralda and her followers as outcasts and, in their frustration, the criticism of the leaders in government and in the Catholic Church. There was definitely a questioning about how world problems can be resolved, and fairness as the guiding factor in living our lives. These universal thoughts are relevant to any time in history as well as in the present.

Notre Dame de Paris stars Angelo Del Vecchio as Quasimodo, Hiba Tawaji as Esmeralda, Daniel Lavoie as Frollo, Gian Marco Schiaretti as Gringoire, Yvan Pedneault as Phoebus, Jay as Clopin, and Emma Lepine as Fleur-de-Lys – all of whom have excellent singing voices, and are extraordinary story-tellers. They command the stage during every moment of Notre Dame de Paris. And even in some of the abstracted thoughts in Notre Dame de Paris, they communicate with the audience well.

Notre Dame de Paris has a story to tell that connects with audiences of today, and also does so in a manner and style that is theatrical and spectacular. It is an alternative to how musical theatre is produced on Broadway – and is involving and worthy of an audience’s attention.

American Ballet Theatre – Romeo and Juliet

Metropolitan Opera House

July 13, 2022

By Mark Kappel

For the closing week of its five-week season at the Metropolitan Opera House, American Ballet Theatre is presenting performances of its production of Kenneth MacMillan’s Romeo and Juliet.

MacMillan’s Romeo and Juliet was given its world premiere by the Royal Ballet in 1965, and was frequently performed by the Royal Ballet in New York, until American Ballet Theatre acquired MacMillan’s Romeo and Juliet, for its company premiere in 1984. With new designs by Nicholas Georgiadis, choreographed to Sergei Prokofiev’s legendary ballet score, and produced in the grand manner, American Ballet Theatre has continued the tradition of presenting performances of MacMillan’s Romeo and Juliet ever since.

Divided into three acts, the exposition is presented in Act I where the conflicts between the warring families, the Capulets and the Montagues, are revealed which culminates in a sword fight in Verona’s market square. Romeo, a member of the Montague Family crashes a ball at the residence of the Capulets and meets Juliet, a member of the Capulet Family – and it is love at first sight and the recklessness of youth quickly evolves into to a tragedy.

Although Romeo and Juliet meet in secret for the famous Balcony Scene which ends Act I, in Act II, they are secretly married by Friar Laurence. But Romeo is banished from Verona after he kills Tybalt, Juliet’s cousin. When the Capulets confront Juliet with a marriage arrangement with Paris, Juliet and Friar Laurence come up with the scheme for her to drink a sleeping potion which creates the impression of death – and the scheme is for Romeo to be informed about the scheme, finds her when she awakes, and they are to leave Verona to pursue their lives. However Romeo is not informed about the scheme and believing that Juliet is dead, he commits suicide, and upon re-awakening Juliet does the same – hence the unexpected yet inevitable tragedy.

Prokofiev’s moody and somber music underscores and effectively predicts the tragedy that is being revealed.

American Ballet Theatre’s dancers have grown into this production of Romeo and Juliet over the years, and have assimilated into the grand manner of MacMilan’s approach to the story. The stage is populated with the citizens of Verona, the warring families, and many on-lookers. However every cast member is totally involved in the story, and marvels as the story unfolds. The impression is that of animated choreographic pictures capturing each important moment in the story.

In this performance Isabella Boylston as Juliet and guest artist Daniel Camargo as Romeo, portrayed and effectively danced the roles of the doomed lovers. Boylston was suitably effervescent and spirited in representing her youth and impetuousness – and determined, in spite of the hurdles she must face. Camargo with his matinee idol demeanor portrayed Romeo with a little swagger and being a bit of a rogue. This was a romantic relationship and not reckless – a climax of a tragedy – and also representing a great deal of chemistry in the partnership of Boylston and Camargo.

Jonathan Klein was both quirky and charming in the role of Mercutio, and led the Mandolin Dance with aplomb and confidence.

However the effective reflection of the dramatic underpinnings in this performance of Romeo and Juliet were exemplified by the wonderful character dancers who portrayed their roles with their acting and dancing skills – most notably Zhong-Jing Fang as Lady Capulet, John Gardner as Lord Capulet, Carlos Lopez as both Escalus and Friar Laurence, and Nancy Raffa as the Nurse.

Romeo and Juliet marked an important moment during American Ballet Theatre’s Metropolitan Opera House – noting that it holds an important place in New York City’s dance season.

American Ballet Theatre – Single Eye

Metropolitan Opera House

July 7, 2022

By Mark Kappel

During its brief five-week season at the Metropolitan Opera House, American Ballet Theatre is offering only one triple bill program. But the one triple bill program being offered includes an assortment of short dance pieces that would justify a dance aficionado’s interest.

The triple bill opened with one of George Balanchine’s signature works, Theme and Variations, which was created for American Ballet Theatre in 1947 – and these performances mark the 75th anniversary since its world premiere. Choreographed to the fourth movement of Tchaikovsky’s Third Orchestral Suite, Theme and Variations reflects the grandeur of the Imperial Russian Ballet with music that find its roots in Tchaikovsky’s score for The Sleeping Beauty.

This is one of Balanchine’s best neo-classic ballets, and fortunately American Ballet Theatre has performed it on a continuous basis since its premiere.

Balanchine’s choreography requires precision, clarity, and musicality and not all of these elements had been perfectly polished in this performance. The Pas de Deux was elegantly danced by Devon Teuscher and Joo Won Ahn, however, and I hope that Theme and Variations will be performed by American Ballet Theatre on a regular basis – resulting in a finely honed performance.

It was the middle piece on this triple bill program that was of the most interest as it was a New York premiere, and represented a first-time collaboration between the choreographer and American Ballet Theatre’s dancers.

That dance work was Alonzo King’s Single Eye, which was choreographed to music by Jason Moran, with atmospheric costume and scenic designs by Robert Rosenwasser, and had its world premiere earlier this year at the Segerstrom Center for the Arts.

King’s choreographic style and vocabulary favors contemporary dance, and in Single Eye, King has created an amorphous work that is defined in seven short vignettes reflecting somber moods. King has his own unique approach to moving groups of dancers on a stage and this aspect of King’s signature is evident in every aspect of Single Eye.

King utilizes the attributes of the cast of Isabella Boylston, Thomas Forster, Calvin Royal III, Herman Cornejo, and Skylar Brandt who infused King’s choreography with commitment – creating the images that King had intended.

Closing the program was Jessica Lang’s Zig Zag which is a musical and choreographic tribute to recording artist and singer Tony Bennett. In Zig Zag Lang has choreographed a series of dances to Bennett’s recordings -- which also channels the styles of well-known theatrical choreographers – with a décor incorporating Bennett’s own artwork.

The songs from the American Song Book lend themselves to theatrical entertainment – and the enthusiastic cast of Isabella Boylston, Aran Bell, Katherine Williams, Eric Tamm, Catherine Hurlin, and Calvin Royal III wended their way through Zig Zag interpreting Lang’s choreography and the lyrics that Bennett was singing.

American Ballet Theatre’s triple bill program provides a well-balanced variety of works by choreographers who have worked in a diversity of choreographic styles. Variety and entertaining are the words that best describe this program of dance.

American Ballet Theatre Dances Swan Lake

Metropolitan Opera House

June 29, 2022

By Mark Kappel

A feeling of stability has been felt during American Ballet Theatre’s Metropolitan Opera House season – in particular with the company’s performances of Kevin McKenzie’s production of Swan Lake – a production of this classic ballet that has been danced by the company since 2000 – and also has been an important bread and butter 19th century classic that New York ballet audiences have been able to revisit regularly during American Ballet Theatre’s Metropolitan Opera House seasons. This was a welcome return.

McKenzie’s production, opulently designed by Zack Brown, compresses the ballet’s four acts into two parts with only one intermission which moves the narrative forward with dramatic impetus.

Swan Lake’s classic story focuses on Prince Siegfried who is advised by his mother that he must marry – a choice that he is not happy about making. He becomes part of a hunting party and near the lakeside he comes upon a swan who is transformed into a woman in the night time hours. How Princess Odette was condemned to this existence, being put under a spell by the evil sorcerer von Rothbart, is explained in the Prologue of this production of Swan Lake. Prince Siegfried vows eternal love to Odette, and it is hoped that their love will break von Rothbart’s spell.

In this ballet’s ballroom scene Prince Siegfried is introduced to possible brides – rejecting all of them – but sets his sights on a surprise guest, Odile, von Rothbart’s daughter disguised as Odette. Odile manages to fool Prince Siegfried into believing that she is Odette, and encourages him to vow eternal love to her – tricked – Prince Siegfried realizes what he has done. The culmination of the ballet is Prince Siegfried finding Odette and apologizing to her for what he has done. However Odette, condemned to be a swan forever, chooses suicide – as does Prince Siegfried – and ultimately their love breaks von Rothbart’s spell.

Effectively underscoring this story is the symphonic ballet score composed by Tchaikovsky.

Besides the addition of a prologue, this production also divides the role of von Rothbart – the evil sorcerer who appears in the lakeside scenes (portrayed by Roman Zhurbin), and the von Rothbart who appears in the ballroom scene who dances his own dance of seduction – trying to seduce the Queen Mother, and four princesses who are seeking Prince Siegfried’s hand in marriage (portrayed danced by Gabe Stone Shayer) – danced to the usually cut Russian Dance.

There is also new choreography for the ensemble dances in the first act of the ballet, and choreography created to effectualize the transition between the two scenes in the second part of this ballet from the ballroom to return to the lake. There are elements included to give the male dancers in the company more to dance, and ease the transition from one act to another in an effort to reduce the running time of the ballet. All within the discretion of McKenzie’s production.

As in any performance of Swan Lake, the alignment of the music, staging, design and the presentation of the dancers in the principal roles makes or breaks this haunting story.

In this performance Skylar Brandt took on the dual role of Odette/Odile with Herman Cornejo as Prince Siegfried. Cornejo exemplifies his experience being a traditional classicist and providing a traditional interpretation of the role of Prince Siegfried. Brandt was poetic as Odette and fiery as Odile – not a total break with tradition but stretching tradition, and giving her interpretation room to grow.

Also notable were Zimmi Coker, Breanne Granlund, and Patrick Frenette in the Act I Pas de Trois. And American Ballet Theatre’s corps de ballet meeting the demands of the swan ensembles in Act II and IV.

These performances of American Ballet Theatre’s production of Swan Lake are offering many debuts in the principal roles. All that much more satisfying when experiencing this well-known full-length narrative ballet.

Valentina Kozlova International Ballet Competition Gala/Awards Ceremony

Symphony Space

June 24, 2022

By Mark Kappel

Featuring participants from around the world the Valentina Kozlova International Ballet Competition was held at Symphony Space in New York from June 20-24, 2022.

Participants were judged in two rounds of classical variations, and contemporary dance and choreography, and the Competition culminated with awards bestowed at the Gala/Awards Ceremony on June 24, 2022.

The competitors were judged by the jury of:

Classical Ballet:

Charles Jude (France), President of the Jury

Nina Ananisashvili (Republic of Georgia)

Patricia Aulestia de Alba (Mexico

)Cervilio Amador (USA

)Chan Hon Goh (Canada)

Gladisa Guadalupe (USA)

Olga Guardia De Smoak (Panama)

Sun Hee Kim (South Korea)

Paul McRae (USA)

Christopher Moore (England)

Mikko Nissinen (USA)

Nell Shipman (USA)

Sergei Soloviev (France & Russian Federation)

Contemporary Dance:

Charles Jude (France), President of the Jury

Mi Sook Jeon (South Korea)

Virginia Mecene (USA)

Steven Melendez (USA)

David Parsons (USA)

Melanie Person (USA)

Ricardo Scheir (Brazil)

Before the awards were announced the audience was treated to a gala performance which included Valentina Kozlova, who danced in a solo of her own creation, “Et si tu n’existais pas” choreographed to music by Beethoven, and was followed by a guest group of dancers dancing Kozlova’s staging of the Marius Petipa divertissement from Glinka’s opera, Ruslan and Ludmila.

Also among the guests performing were medalists from previous competitions including Nikita Boris (currently with the Cincinnati Ballet) dancing Reverie Interlude, Jillian Schubert dancing a variation from Paquita, and Mari Sugawa and Humberto Teixeira dancing Ricardo Scheir’s Rumai.

But there were also notable performances by participants and medal winners including Sarah Kusek (dancing Rapport), Ekaterina Pichkova (dancing a variation from Paquita), Mary Elsener (dancing Corrida), Liselotte Van Doorn (dancing the Lilac Fairy variation from The Sleeping Beauty), Vitor Braz (dancing the male variation from the Bluebird Pas de Deux), Vitoria Caloni (dancing Walpurgis Nacht), Michaela Fairon (dancing Reverie), Chaewon Lee (dancing Beautiful Beast), Yejin Joo (dancing a variation from Talisman), Min Seo Kim (dancing Act 3 Chapter 3), Clement Guillaume (dancing the male variation from Diana and Acteon), Sadie Weintraub (dancing Fremd), Eunmin Yoon (dancing a variation from The Sleeping Beauty), and the ensemble from Italy (dancing Unison).

These competitors represented the high caliber of ballet and modern dancers who participated in this year’s Competition.

The following are the award winners:

Youth Girls

Gold: Ekaterina Pichkova, USA

Silver: Sarah Kusek, Poland

Bronze: Ana Luiza Marquez, Brazil

Youth Boys

Silver: Vitor Braz, Brazil

Bronze: Aleksey Kutsenko, USA

Student

Gold: Linzi Huang, USA

Silver: Marina Galon Brunetti, Brazil

Bronze: Liselotte Van Doorn, Aruba & Valerie Sokolenko, USA

Junior

Gold: Vitoria Caloni, Brazil & Sadie Weintraub, Ireland

Silver: Michaela Fairon, South Africa, Elodie Lefebvre, Belgium & Emma Tatum, USA

Bronze: Giovanna Gomes, Brazil, Mary Elsener, USA, & Christie Anderson, Great Britain

Senior Girls

Gold: Yejin Joo, South Korea & Seo Yeon Kang, South Korea

Silver: Minjin Lee, South Korea

Bronze: Eunmin Yoon, South Korea & Sydney Henson, USA

Senior Boys

Gold: Clément Guillaume, France

Silver: JunHyoung Yoon, South Korea & je Jeong Yong, South Korea

Bronze: Chanju Jung, South Korea & Seungkyun Park, South Korea

CONTEMPORARY MEDALS

Division 1 Solo

Gold: Linzi Huang, USA & Ekaterina Pichkova, USA

Silver: Sarah Kusek, Poland

Division 2 Solo Girls

Gold: Michaela Fairon, South Africa

Silver: Sadie Weintraub, Ireland

Bronze: Christie Anderson, United Kingdom

Division 2 Solo Boys

Silver: Victor Sampaio, Brazil

Division 3 Solo Girls

Gold: Riha Kim, South Korea

Division 3 Solo Boys

Gold: MinSeo Kim, South Korea & Chaewon Lee, South Korea

Contemporary Duet

Gold: Barbara Dias, Marcos Silva, Brazil

Contemporary Ensemble

Gold:Ensemble Italy

Bronze: Ensemble USA

Pacific Northwest Ballet Celebrates

Its 50th Anniversary

David Koch Theater

June 25, 2022

By Mark Kappel

In an engagement presented by the Joyce Theater, Pacific Northwest Ballet celebrated its 50th anniversary performing at the David Koch Theater in New York from June 22-26, 2022 – the company’s first New York engagement in six years.

Pacific Northwest Ballet was founded in 1972, and has toured nationally and internationally. Since 2005, Peter Boal, former New York City Ballet principal has been the company’s artistic director, and the programming for this engagement was a reflection of his artistic vision for the company. The triple-bill program presented on June 25, 2022 included the dance works of three contemporary choreographers – one of those works a creation for Pacific Northwest Ballet.

The focal point of the triple bill was Twyla Tharp’s Waiting At The Station which was choreographed to music by Allen Toussaint and had its world premiere by Pacific Northwest Ballet in 2013.

This narrative ballet is set in 1940s New Orleans with a story that follows the adventures of a man, accompanied by his son, coming to terms with his life before he must surrender to the three gilded fates that are pursuing him. Through the course of this narrative dance piece, Father and Son experience and participate in many adventures as they encounter the diverse people in New Orleans – and also to make peace with each other.

Tharp’s style here is signature. However she does channel her experiences working in the Broadway theatre in her choreography, and also in her story-telling. This is a big company piece with elaborate scenery and costume designs by Santo Loquasto. And also big and expressive performances by Ezra Thomson as the Father, and Kuu Sakuragi as the Son.

Waiting At The Station is a dance piece that showed off Pacific Northwest Ballet’s dancers, and amply filled the large David Koch Theater stage.

Canadian choreographer Crystal Pite was represented by Plot Point which was premiered by the Netherlands Dance Theatre in 2010. This dance piece is a post-modern choreographic exploration of the movie score from Psycho – a dance interpretation of film noir -- expressing narrative through movement employing still photographs and video clips as scenery – and two sets of dancers – one in white from head to toe – looking like ghost images – in comparison to the more conventionally costumed other set of dancers. In this piece those conventionally clad dancers represent the primary characters in the narrative of this dance piece while the other set of dancers reflect contrasting images of these same primary characters.

Besides Bernard Herrmann’s haunting music, there was also a sound track of voice audio, the sounds of a busy city, with Pite presenting the very thin plot in a linear – and at times – non-linear form. It is a murder mystery which does keep up suspense for a period of time but doesn’t develop towards the climax it should have had.

Plot Point was an ensemble effort, and offered a very different, yet organic, choreographic vocabulary for Paific Northwest Ballet’s dancers to dance.

Pacific Northwest Ballet’s resident choreographer – and now artistic director of the Charlotte Ballet – Alejandro Cerrudo – turned to the abstract in his piece, Little mortal jump, which is sourced through its variety of choreographic styles ,and unexpected turns in direction. Unexpected is the word as in Little mortal jump, a male dancer runs through the audience, rips off his mask, jumps on the stage – and ultimately jumps into the orchestra pit. Two dancers are attached to two vertical cubes struggling to remove their clothes, and struggling to get off the cubes – and this dance piece ends with the ensemble pushing the cubes around the stage.

Created for Hubbard Street Dance Chicago in 2012, Cerrudo has employed the music of Zach Condon, Andrew Bird, Alexandre Desplat, , Philip Glass, Hans Otte, Max Richter and Kathleen Brennan which provides an eclectic soundtrack for his dance piece.

The word eclectic can be overused in describing dances and dance programming but Pacific Northwest Ballet’s triple program was exactly that. The programming provided a window into the company’s style and artistic vision at the moment, but perhaps didn’t show off the company’s dancers in the best light.

However as our domestic ballet companies rarely perform in New York, this was a welcome opportunity to observe for oneself what road Pacific Northwest Ballet has taken in its artistic development.

American Ballet Theatre – Of Love and Rage

Metropolitan Opera House

June 20, 2022

By Mark Kappel

One of the focal points of American Ballet Theatre’s Metropolitan Opera House season is the New York premiere of Alexei Ratmansky’s new full-length ballet, Of Love and Rage, which had its world premiere in California in March of 2020. Also to note that Of Love and Rage is a co-production with the National Ballet of Canada and will be reaching a wider audience in the future.

Visiting the Ancient World, Of Love and Rage, is a 2-act narrative ballet based on one of the oldest novels known to history, Callirhoe by Chariton of Aphrodisias, with an adapted libretto by Guillaume Gallienne. The story is set within the opulent designs by Jean-Marie Puissant taking place in various locations including Greece, Italy, and the Middle East.

Ratmansky has set his adaptation of the story by employing the music from the ballet Gayaneh, a score composed by Aram Khachaturian in the 1930’s – as adapted by Philip Feeney. All of these elements would have the ingredients for an intriguing full-length ballet.

This 2000-year-old story takes one on an adventurous journey within the Greek Empire starting in Syracuse (modern-day Sicily), then on to Athens and Babylonia. Callirhoe was a novel written between 1st Century BC and the Second Century AD – but the story is set in 4th Century BC – at the time of Alexander The Great.

Callirhoe is a young noblewoman making her home in Syracuse, Sicily. Her love for Chaereas is intense, and they are married in spite of the objections of their families. Callirhoe’s former suitors persuade Chaereas that Callirrhoe has been unfaithful to him.

Their relationship becomes combustible and tragic when Callirhoe collapses after being con fronted by Chaereas with these accusations and seemingly has died. This pivotal moment in the ballet takes place offstage which decreases the intensity of the moment.

Although Callirhoe is entombed, pirates burst in and abduct her when they realize she is alive. She is sold into slavery to Dionysius, who falls in love with her. Being pregnant with Chaereas’ child and wanting to protect herself and her child, she agrees to marry Dionysius.
Upon finding the tomb empty Chaereas seeks out Callirhoe and upon reuniting in his kingdom, Dionysius encourages Callirhoe to make the choice between him and Chaereas – and she chooses Chaereas who vows to make amends to Callirhoe. However this denouement to Of Love and Rage evolves after Callirhoe is prized and romanced by several suitors including Mithridates, and the King of Babylon.

The plot is filled with quarrels and duplicity – and adventurous journeys – in a plot that is similar to Giselle, Shakespeare’s A Winter Tale and Othello, and other classic tales of jealousy.

Ratmansky’s greatest challenge was to make this complicated plot understandable and clear. Unfortunately Ratmansky doesn’t depict the many plot twists nor the emotions between the characters in a crystal-clear fashion in his choreography. The plot is sketched rather than fully drawn. His interpretation of the story is made even less apparent without mime or narrative choreography.

The choreography reflects tableau that seem to be images from Greek art – with dancing ensembles that intrude on the complicated plot rather than illuminating the plot. Callirhoe is desired by every man she meets – some times even mauled by them – and somehow the battle between Chaereas and Dionysius is epic but also exaggerated and overblown. The end of this 2-act ballet seems anticlimactic. Unfortunately the music didn’t provide dramatic underscoring to heighten the emotions during the numerous important plot points.

In Ratmansky’s choreography and concept for Of Love and Rage, there are a great many references to the familiar full-length ballets in the repertoire of the Bolshoi Ballet, among them Spartacus, and Legend of Love. Of Love and Rage offers a journey into the exotic but seems like familiar territory.

American Ballet Theatre’s dancers rose to the occasion in displaying virtuoso, and bravura dancing even in the ensembles.

Catherine Hurlin does wonders with the thankless title role while Aran Bell is charismatic as Chaereas, and his bravura dancing is one of the highlights of Of Love and Range. However transporting the emotions were the performances of guest artist Daniel Camargo in the role of Dionysius, Jarod Curley as Mithridates, and Roman Zhurbin as the King of Babylon. Katherine Williams makes the best out of the role of the put-upon Queen of Babylon.

However Of Love and Rage needs the representation of greater narrative details – the plot and the characters – that would allow this enigma of a ballet to be communicated to an audience. American Ballet Theatre’s dancers were trying to do just that and came close – but Ratmansky was not close enough -- even as provocative as Of Love and Rage is.

American Ballet Theatre Returns to the Metropolitan Opera House with Don Quixote

Metropolitan Opera House

June 15, 2022

By Mark Kappel

There is much to celebrate about American Ballet Theatre’s summer season at the Metropolitan Opera House. Simply the return to the Metropolitan Opera House to perform after what seems to be a long gap in years, and the announcement that Susan Jaffe will be succeeding Kevin McKenzie as the company’s artistic director – and Kevin McKenzie’s tenure as artistic director.

Opening American Ballet Theatre’s Metropolitan Opera House season is a week of performances of Kevin McKenzie’s production of Don Quixote which has been a mainstay in the company’s repertoire. Although not the first American ballet company to acquire Don Quixote for its repertoire, American Ballet Theatre has consistently performed this ballet during its Metropolitan Opera House seasons, and it is a welcome return.

McKenzie’s production is traditional and follows the narrative of an eccentric Spanish aristocrat who seeks out his ideal love, Dulcinea, but in the end is a by-stander as he meddles in a local tavern keeper’s marriage plans for his daughter, Kitri, with one of the local aristocrats, Gamache. Kitri prefers to wed Basilio, a lowly barber, and it is only with a little cunning and trickery that Kitri’s father is persuaded that she would be better matched with Basilio.

Don Quixote has its roots in the Cervantes novel and also in the choreography by Marius Petipa, and then as adapted by Alexander Gorsky. Most of the exposition is presented in Act I, there is a vision scene in Act II, and then the culminating wedding celebration divertissement to end the ballet in Act III. Along the way there is a showcase of comic and classical dancing, but it is left to the dancers dancing the principal roles to set the tone for the performance and create their characters.

In this performance American Ballet Theatre’s dancers took this production of Don Quixote to a much higher level than in years past. The dancers seemed to be enjoying themselves on the Metropolitan Opera House’s stage, felt free to express themselves, and making the entire performance entertaining and fun for the audience.

Catherine Hurlin took on the role of Kitri, partnered by Joo Won Ahn as her Basilio, both making their New York debuts in these roles. Their performances were perfect balances of technique and acting – comic timing and technical virtuosity. Hurlin played the flirtatious Kitri with flair and style. Ahn, an excellent partner, had extraordinary chemistry with Hurlin, and held his own in terms of exhibiting his bravura technique. This was a high energy performance that even culminated in the audience giving them a standing ovation at the end of their Act III Grand Pas de Deux.

Zhong-Jing Fang displayed her outstanding elegant classical dancing as Queen of the Dryads which was contrasted with her street-wise Mercedes. This was a challenging contrast but she pulled it off with ease and confidence. Blaine Hoven was strikingly elegant and vain as Espanda providing an excellent foil for Fang.

Also notable were Cy Doherty as the towering Don Quixote, and John Gardner as the hapless Sancho Panza – also the amusing performance of Gamache by Duncan Lyle. Excellent examples of the talent within the company were reflected in the performances of Chloe Misseldine and Sunmi Park as the Flower Girls, and Erica Lall as Amour.

This was a spirited performance of Don Quixote and a wonderful beginning for American Ballet Theatre’s Metropolitan Opera House summer season.

Boston Ballet – Swan Lake

June 10, 2022

By Mark Kappel

During the 2020-2021 season arts organizations all over the world experimented with the technology of streaming performances in an effort to continue their connections with audiences who were home bound due to Covid-19 restrictions or unable to attend performances in theatrical venues. This expertise enabled these arts organization to reach out to both domestic and international audiences, and many American ballet companies were at the forefront in experimenting with this new technology.

The Boston Ballet was one of those ballet companies, and having achieved a success in those experiments has decided to offer both live performances – now that restrictions on live performances have been removed – and streamed performances to continue to connect with its loyal home-based audience and also reaching out to a much wider audience.

In ending its 2022-2023 season the Boston Ballet revived Mikko Nissinen’s production of Swan Lake which had its world premiere in 2014 boasting new designs by Robert Perdziola. The Boston Ballet is offering a live capture of one of those performances from the Citizens Bank Opera House in Boston, Massachusetts that can be streamed and available from June 9-19, 2022.

Based on the production choreographed by Marius Petipa and Lev Ivanov in 1895, Nissinen has provided additional choreography but most notably he has added to his production of Swan Lake a Prologue, during the ballet’s short overture, in which Odette is reading a book while there are activities all around her. She is approached by Von Rothbart who abducts her and places a spell on her – she is then transformed into a swan.

Thereafter the plot points of Swan Lake follow in a traditional manner as Siegfried is imposed upon to marry but upon meeting Odette by the lakeside, he vows his commitment to her in spite of her being under the spell of the evil Von Rothbart. Siegfried meets several prospective brides but is happily surprised by the appearance of Odile, Von Rothbart’s daughter, who is disguised to look like Odette – and successfully fools Siegfried to encourage him to break his vow to Odette. Siegfried seeks out Odette and expresses his sorrow about his decision but ultimately their relationship ends in tragedy.

This story is told with the musical backdrop of one of Tchaikovsky’s ballet scores, and Nissinen has staged a production of Swan Lake that balances both the dancing and the storytelling. Neither gets in the way of each other, and the production is presented in the grand manner with polished classical ballet dancing – and this streamed performance is well filmed and photographed.
The corps de ballet is as much the star of this ballet as the principal dancers, and this is notable in their committed and animated performances in both of the party and ballroom scenes.

Lasha Khozashvili as Siegfried is an accomplished dance actor which is emphasized in his performance of the contemplative solo that ends Act I. However he also matches the poetry in the lakeside scenes and the virtuosity required in the ballroom scene with Victorina Kapitonova in the dual role of Odette/Odile. Kapitonova infuses the poetry one would expect as Odette, and the seductress as Odile. Tigran Mkrtchyan is suitably sinister as Von Rothbart, and Ji Young Chae, Derek Dunn, and Chisako Oga are notable for the clarity in their dancing in the Act I Pas de Trois.

The Boston Ballet is making it possible for a wider audience to see a production of one of the major 19th century classics that the company has in its repertoire – and this opportunity should be taken advantage of during this limited streamed engagement.

English National Ballet Dances Khan’s Giselle

Brooklyn Academy of Music

June 8, 2022

By Mark Kappel

The Brooklyn Academy of Music is currently presenting the English National Ballet in performances of Akram Khan’s personal re-interpretation of the classic 19th century ballet, Giselle, from June 8-11, 2022.

Significant in that the English National Ballet hasn’t performed in New York since 1989 – and now under the directorship of Tamara Rojo, who commissioned this significant work, danced the title role, and by the end of the year will be taking over the artistic direction of the San Francisco Ballet.

Giselle is a quintessential ballet from the Romantic Era of early 19th century ballet, and had its premiere at the Paris Opera. It has survived in the classical repertoire until the present day, and is a staple in the repertoire of most ballet companies.

The ballet is best known from Marius Petipa’s production of this ballet for the Mariinsky Ballet in St. Petersburg, Russia, and over the years there have been adjustments and adaptations in productions of Giselle, including interpretation, and style. However for the most part productions of Giselle are not reinterpreted. It is a ballet about class distinctions and deceit – and revenge – and redemption.

Khan’s Giselle may be haunted by other productions of Giselle that have been presented at the Brooklyn Academy of Music. During the period from 1982 through 1984, three different dance companies performed versions of Giselle at the Brooklyn Academy of Music – Peter Wright’s production of Giselle for the Royal Winnipeg Ballet, Heinz Spoerli’s production of Giselle for the Basel Ballet, and a third production of Giselle which is closer to Khan’s Giselle in both spirit and in the deconstruction of Giselle’s libretto.

The Brooklyn Academy of Music presented The Cullberg Ballet in Mats Ek’s deconstructed version of Giselle in 1982. Ek examined the ballet from a 20th century prism using contemporary dance as its medium and by default examining the ballet’s concepts as well. Giselle truly goes mad, and Act II of Ek’s version takes place in an insane asylum.

Akram Khan, whose training has been in Kathak, a dance style of Northern India, has collaborated with dramaturg Ruth Little in creating a new interpretation of Giselle which had its world premiere in 2016.

Commissioning a new score by Vincenzo Lamagna, adapting Adolphe Adam’s original score, with costumes and scenery designed by Tim Yip, and employing a dance vocabulary being drawn on kathak, ballet, contemporary dance – and colloquial gesture – Khan’s Giselle focuses on a Giselle captured in 21st century life rather than life in the 19th century.

In Khan’s version of this dance piece, Giselle is a garment factory worker – one of a group who has organized a camp within the walls that surround an abandoned garment factory where they had previously worked. They comprise a group described as The Outcasts. Albrecht is a man of wealth and is part of the opposition to The Outcasts, a group described as The Landlords. His deceit is that he pretends to be one of The Outcasts. In so doing this production of Giselle retains the themes of betrayal and death from its original libretto – but with more contemporary overtones. Included are the larger economic and political issues that separate The Outcasts and The Landlords.

While Albrecht is insinuating himself with Giselle, Hilarion is a strong rival for Giselle’s affectations as a “fixer” who collaborates with The Landlords, but ultimately locks horns with Albrecht when his deceit is revealed. Albrecht’s fiancée, Bathilde, is a member of The Landlords, the ruling class and overlords over the garment factory workers. Upon meeting Bathilde, Giselle recognizes Bathilde’s dress as a product made at the garment factory.

Bathilde’s father forces Albrecht to keep his promise of marriage to Bathilde after which Giselle is driven mad. Upon the command of The Landlord, The Outcasts encircle Giselle only to disperse to find Giselle’s lifeless body.

The story unfolds at an abandoned factory – Albrecht condemns The Landlords but faces the wrath of the Queen of the Wilis who leads the ghosts of factory workers who seek revenge against The Landlords and other oppressors. Hilarion comes to mourn Giselle and is subsequently killed by the Wilis.

Albrecht and the spirit of Giselle are reunited, and Giselle forgives Albrecht. But having defied The Landlords, Albrecht is now doomed to be an outcast himself.

There are choreographic patterns from traditional productions of Giselle included in Khan’s Giselle. Although Giselle and her female colleagues do not dance in pointe shoes in Act I, notably in Act II, Giselle and the Wilis dance their roles in pointe shoes. It is a contrast that is emphasized in the many ritualistic choreographic images that Khan has created, and also represented in the surrealism that is present in this re-interpretation of Giselle. Unfortunately the characters are not consistently established throughout this dance piece which weakens its impact.

However in this New York debut of Khan’s Giselle, the English National Ballet presented an extraordinarily talented group of dancers to dance and act this dance piece’s principal roles. It was their expressiveness as actors that brought this provocative interpretation alive. The cast was led by Tamara Rojo in the title role, Isaac Hernandez as Albrecht, Jeffrey Cirio as Hilarion, and Stina Quagebeur as Queen of the Wilis.

Khan’s Giselle is a challenge for the English National Ballet’s dancers, and a test for an audience to re-think 19th century classics.

Valentina Kozlova Studio Company

Symphony Space

June 4, 2022

By Mark Kappel

On June 4, 2022 Valentina Kozlova’s Studio Company made its debut at Symphony Space in New York. Consistently Valentina Kozlova has provided live performance opportunities for her school’s students, and this showcase was meant to focus on her students’ achievements during this past year of training. At the same time the repertoire also reflected the impact of world events.

Notably there was an historic item that was included in this performance and which was enriched by Valentina Kozlova’s roots with the Bolshoi Ballet. This was the staging of a ballet sequence from Glinka’s second opera, Ruslan and Lyudmila -- based on Pushkin’s poem -- which had been choreographed by Marius Petipa. Ruslan and Lyudmila had its premiere in St. Petersburg, Russia in 1842.

Led by three female soloists (Jillian Schubert, Aubrey Stevenson, and Katherine St. Jean) with an all-female corps de ballet, this divertissement had choreographic references, and antecedents, to Petipa’s later works – including The Sleeping Beauty. La Bayadere, and his staging of Giselle. The choreography had the usual Petipa musicality and these dancers danced Petipa’s creation with confidence and polish.

Also notable were the performances of Mary Elsener and Albert Davydov in the Act I Pas de Deux from Don Quixote which not only focused on the technical pyrotechnics in the dancing but also in portraying the characters of Kitri and Basilio – and also conveying the comedy. Equally notable were Katherine St. Jean and Clement Guillaume dancing the Classical Graduation Pas de Deux.

Reflecting on recent world events was the performance of Valentina Kozlova’s Overcome, which had been originally created in response to 9/11 – and its emotion is timely. Choreographed to Gospel music and divided into the four sections of “Trouble”, “Trapped”, “Hope”, and “Overcome”, the choreographic vocabulary puts this ensemble cast in pointe shoes but primarily is dancing a pastiche of modern dance and contemporary ballet. The emotions were there and the commitment was there in the performance of Overcome – a fitting work for the times.

This performance by Valentina Kozlova’s Studio Company was welcome in seeing the progress of these students’ training but also a bright spot in being able to see repertoire that had diversity – and relevance.

San Francisco Ballet Celebrates

Helgi Tomasson

Chelsea Factory

May 23, 2022

By Mark Kappel

As it seems that the San Francisco Ballet will not be performing in New York before Helgi Tomasson cedes his role of artistic director to his successor, Tamara Rojo, on May 23, 2022, a celebration of Tomasson, sponsored by the San Francisco Ballet, was held at the Chelsea Factory here in New York City.

This event included the premiere of MacKay Productions’ documentary, “Helgi Tomasson: Reaching Harmony”, in which Tomasson told his back story about growing up in Iceland, studying ballet, and pursuing a career in dance in the Untied States at the Joffrey Ballet, the Harkness Ballet, and the New York City Ballet – and his path to becoming artistic director of the San Francisco Ballet, where he has been artistic director for 37 years.

Among those providing tributes in this documentary were two former principal dancers of the San Francisco Ballet, Ashley Wheater, now artistic director of the Joffrey Ballet, and Mikko Nissinen, now artistic director of the Boston Ballet, representing Tomasson’s legacy to the dance world.

Excerpts from three of Helgi Tomasson’s ballet were presented in live performances danced by six of the San Francisco Ballet’s principal dancers.

Chaconne for Piano and Two Dancers, which had premiered in 1999, and was choreographed to music by Handel, was performed here by Frances Chung and Wei Wang.

Misa Kuranaga and Max Cauthorn performed a duet from Harmony, which had premiered in 2022, and was choreographed to music by Jean-Philippe Rameau. This piece is significant as it was the last ballet that Tomasson created on the San Francisco Ballet’s dancers.

The third piece on the program was a duet from The Fifth Season, choreographed to music by Karl Jenkins, and was premiered in 2006 -- and was danced by Yuan Tan and Tiit Helimets.

All three of these pieces were romantic, and elegant, understated, contemplative and beautifully danced and interpreted by all six dancers.

Concluding this event was Words On Dance, a panel discussion which was moderated by Kay Mazzo, and besides Tomasson also included Edward Villella, and Mark Morris. Tomasson had the opportunity to speak of his own path he took in his dancing career and all participants offered their comments about the responsibilities of directing their own artistic organizations.

Overall this was a thoughtful and appropriate overview of Helgi Tomasson’s career in dance.

Romeo & Bernadette: A Musical Tale of Verona & Brooklyn

Theater 555

May 21, 2022

By Mark Kappel

Although the official Broadway theatre season has come to an end with the announcement of the Tony Award nominees, one can now turn to off-Broadway to find imaginative and entertaining theater performances. Recently having its opening on May 16th, 2022 at Theater 555, is the comedic gem, and hilarious, Romeo and Bernadette: A Musical Tale of Verona & Brooklyn, a musical comedy spoof of the well-known William Shakespeare play, Romeo and Juliet – and in this instance turning a tragedy into a frantic farce.

The premise of Romeo and Bernadette begins at the outset when a young Italian-American man is attending the Brooklyn Community Players production of Romeo and Juliet – a date to impress his girlfriend – and he is impatient for the play to an end as both Romeo and Juliet take too long to die.

To further impress his girlfriend the young man volunteers to tell the “more” of this story beginning with the undiscovered fact that Romeo actually took a sleeping potion provided by Friar Laurence, and did not kill himself. Romeo survives and awakes in 1960’s Verona – where quite displaced and bewildered – Romeo comes into contact with Bernadette, the daughter of an Italian-American crime family boss, who Romeo perceives to look like Juliet, but is the exact opposite in terms of personality and attitude. This is where this new interpretation of Romeo and Juliet has a connection with another Shakespeare play, The Taming of the Shrew. Romeo follows the family to Brooklyn, New York, and that is where this musical comedy takes off.

Through music and the dialogue, Romeo and Bernadette transforms itself into a comic opera with the book and lyrics written by Mark Saltzman, who sets his lyrics to familiar Italian songs and melodies – you will probably recognize the melodies composed by Leoncavallo, Rossini and Bellini -- and Justin Ross Cohen, as director and choreographer, who sets into motion the boulevard comedy, and the twists and turns in the plot.

The plot focuses on the blossoming romance between Romeo and Bernadette in the midst of warring Italian-American crime families with tempers flaring, lots of surprises, with an excellent group of actor/singers who bring these quirky characters to life.

Nikita Burshteyn, brings the hapless Romeo to life as he tries to fit into 20th century life – and also into the lives of people living in Brooklyn in the 1960’s. Cleverly trying to transform himself from the Renaissance Romeo to the Brooklyn street-wise Romeo is one of the components that makes Romeo and Bernadette the comic farce that it is. Anna Kostakis is the stereotypical spoiled young Italian-American woman who knows what business her family is involved in, and also knows where and when to shop. And there is Bernadette’s fiancé, Tito, who is played with the appropriate arrogance and self-deprecating humor by Zach Schanne.

Also contributing to the comedy are Michael Notardonato (playing the dual role of the Brooklyn Guy, who brings his date to see Romeo and Juliet, and Dino Del Canto, a member of the Del Canto crime family), and Ari Raskin (playing the dual role of the Brooklyn Girl, and Donna Dubachek, who becomes Dino’s girlfriend). Completing this superlative cast is Carlos Lopez as Sal Penza, Judy McLane as Camille Penza, Michael Marotta as Don Del Canto, Viet Vo as the security guard Lips, and Troy Valjean Rucker, who plays multiple roles including a gun-toting dance teacher, who channels Martha Graham, while trying to teach Tito how to dance.

If you want to forget the problems of the day Romeo and Bernadette is the antidote.

Charlie and the Chocolate Factory

State Theatre New Brunswick New Jersey

May 14, 2022

By Mark Kappel

In what was a bit of magic, and certainly good feeling, that surrounded the State Theatre in New Brunswick, New Jersey when it presented the national touring company of Charlie and the Chocolate Factory from May 13-15, 2022. A magical and fantastical musical for both children and adults.

Charlie and the Chocolate Factory is based on Roald Dahl’s novel of the same name which was first published in 1964. Dahl was the author of other children’s books – another one of which was Matilda, which was also adapted into a stage musical.

This stage musical has a score with music composed by Marc Shaiman, and lyrics by Shaiman and Scott Wittman, and a book b y David Grieg. In addition to the contributions of Shaiman and Whittman also included in the score are songs by Leslie Bricusse and Anthony Newley which were composed for the 1971Warner Brothers motion picture. I guess such a musical adaptation of Charlie and the Chocolate Factory wouldn’t be the same without such songs as “Pure Imagination” “I’ve Got A Golden Ticket”, and “Candy Man”.

Unfortunately the songs by Shaiman and Wittman, with the exception of “The View From Here”, are not of the same quality but well serve this adaptation of Dahl’s book.

Charlie and the Chocolate Factory had its premiere in London in 2013, and with new direction by Jack O’Brien, Charlie and the Chocolate Factory opened on Broadway in 2017. Since, it has been produced all over the world – in particular on national tour in the United States for which Matt Lenz has reproduced Jack O’Brien’s direction, and Alison Solomon has reproduced the choreography based on Joshua Bergasse’s original choreography for the Broadway production.

Setting the scene we find Willie Wonka expressing his boredom for being a chocolatier and his desire to find a protégé and successor. In order to discover that special someone, Wonka creates a contest and marketing scheme for people around the world to buy his chocolate creations, and hope for getting a golden ticket that will include them in a special tour of Wonka’s factory – and perhaps a prize in the end.

This whimsical journey becomes the obsession of Charlie Bucket, who admires Wonka’s genius, although he doesn’t understand Wonka’s eccentricities. With luck he does win one of the golden tickets, and with the encouragement and support of his Grandpa Joe – Charlie follows his dreams, participates in a tour of Wonka chocolate factory, and ultimately receives an unexpected prize.

Charlie goes along for the ride even as competitors are eliminated as they succumb to their own weaknesses – primarily for candy -- and he also comes into contact with the mysterious Oompa-Loompas who assist Wonka in putting up hurdles for the competitors to jump over.

In this version of Charlie and the Chocolate Factory, Dahl’s story is enhanced by the designs by Mark Thompson, the projection designs by Jeff Sugg, and the puppet and illusion designs by Basil Twist. This all adds to the fantasy of this familiar story.

Cody Garcia as Willy Wonka is a superb ringmaster of the unexpected, and unexplained events, and illusions that are surrounding him – and also displaying Wonka’s eccentricities with a grain of salt. Kai Edgar as Charlie Bucket is an excellent foil – and their chemistry is appealing. Just as appealing is the endearing performance of Steve McCoy as the crusty and charming Grandpa Joe who has many tall tales to tell.

Charlie and the Chocolate Factory is a timely musical theatre piece that allows the audience to take their minds off the problems of the day and re-visit our inner-child.

City Center Encores – Into The Woods

City Center

May 8, 2022

By Mark Kappel

With the recent passing of Stephen Sondheim, his musicals continue to be even more revered, and worth exploring for his intent and inner-meaning.

One of the projects that was planned while Sondheim was still with us was the City Center Encores concert version of Into The Woods, a collaboration of Sondheim and book writer James Lapine – their second of three collaborations – which had its Broadway premiere in 1987.

New York has seen other productions of Into The Woods since its Broadway premiere including a Broadway revival in 2002, in 2012 the presentation of London’s Regent’s Park Open Air Theatre revival at the Delacorte Theater in Central Park, and the Roundabout Theatre Company presenting the Fiasco Theater’s inventive improvisational production in 2014.

Being presented from May 4-15, 2022, as the last presentation of the City Center Encores current season, this concert production of Into The Woods has been directed by Encores! Artistic Director, Lear de Bessonet with music direction in the capable hands of Rob Berman, and choreography by Lorin Latarrro.

Although a classic and traditional production of the Sondheim/Lapine musical, nevertheless there were distinct moments of new insights into Into The Woods, and to delight in the new interpretations of the characters portrayed by the stellar cast. Certainly this is the best of the three City Center Encores presentations this season, and for good reason.

Into The Woods can be appreciated on many different levels. Its premise fractures familiar children’s fairy tales, but also examines how a community faces crises and threats – and somehow still survives.

In Into The Woods fairytale characters’ stories intertwine and unravel – familiar and unfamiliar. The premise of Into The Woods unfolds with the comic and droll prose spoken by the Narrator (played by David Patrick Kelly) who describes the offer of the Witch (played by Heather Headley) to remove the spell she has placed on the Baker (played by Neil Patrick Harris) and the Baker’s Wife (played by Sara Bareilles) which made their marriage a barren one. In order to cajole the Witch to grant them their wish to have a child, the Baker and his Wife must journey through the scary and dark woods to find the ingredients for the potion that the Witch needs to break the spell – a cow as white as milk, a cape as red as blood, hair as yellow as corn, and a slipper as pure as gold.

As the Baker and his Wife set of on this quest their search is both guided and stymied by a Mysterious Man (also played by David Patrick Kelly) -- and then there are the fairy tale characters that they meet along the way, con and befriend to fulfill the Witch’s demands. Those characters are also carrying their own emotional baggage. Each character expresses wonderment as they form friendships and empathy, and confront the problems they must face together – and they learn a great deal about themselves in so doing.

Act I fulfills expectations with a happy ending but the second act gets dark in tone as these fairy tale characters collide with unexpected conflicts, realities, and face real and imagined threats as a community. Although dark to begin with there is a glimmer of hope.

The stories presented in Into The Woods are also told within the simply sketched out scenery designs by David Rockwell with tree trunks, moonlit nights – and three doll house miniatures representing the houses of the principal characters.

This concert production of Into The Wood includes a stellar cast of experienced Broadway performers – equally at adept at singing, acting, and dancing – and also masters of comic timing. Their performances are the most significant ingredients that result in the joy of this production of Into The Woods.

Neil Patrick Harris as the Baker beautifully and emphatically captures the dramatic arc of his character as he takes on life’s responsibilities, and Sara Bareilles as the Baker’s Wife expresses the confidence of this character and a bit of this character’s naivete equally and brilliantly. The chemistry and comic timing between them is exemplary.

Heather Headley chews the scenery as the Witch – but she also expresses the mixed emotions she feels as her hopes and dreams fall apart around her.

Harris, Bareilles, and Headley also give their own personal interpretations of these characters which provides a different slant on Sondheim’s and Lapine’s creation.

Also notable in this cast were Denee Benton as Cinderella, Gavin Creel and Jason Forbach as the Princes, Anna Harada as Jack’s Mother, David Patrick Kelly as the Narrator/Mysterious Man, Julia Lester as Little Red Ridinghood, Shereen Pimentel as Rapunzel, Cole Thompson as Jack, and Kennedy Kanagawa as the puppeteer who brings Milky White to life.

Into The Woods is as captivating as ever in this City Center Encores production as Sondheim’s music comes to life, and whether you are a Sondheim aficionado or not, Into The Woods will captivate you.

Hairspray

State Theatre, New Brunswick, New Jersey

April 30, 2022

By Mark Kappel

Continuing with its Broadway series, the State Theatre in New Brunswick, New Jersey, had been presenting performances of a touring revival of Hairspray from April 29 through May 1, 2022.

Hairspray is a stage musical adaptation of the offbeat John Waters’ film of the same name, with a score by Marc Shaiman and Scott Wittman, and a book by Thomas Meehan and Mark O’Donnell, which opened on Broadway in 2002. Hairspray has since been adapted for a filmed version, and also for a live television production. However what was presented at the State Theatre was a new national touring company – a revival – which included Jack O’Brien’s original direction and Jerry Mitchell’s original choreography – duplicating the spirit and energy of the Broadway production.

Hairspray chronicles life in Baltimore in the 1960’s, a time of political and social change. Tracy Turnblad (played by Niki Metcalf) is an intense and loyal fan of the local teenage dance show, which is hosted by Corney Collins (played by Billy Dawson), and it is her ambition to – in spite of her size and weight – successfully audition for the show and become a “star”. Besides actually fulfilling that ambition, she also succeeds in breaking down racial barriers which makes it possible for a representative group of teenagers to appear on the show.

Tracy’s nemesis is Velma Von Tussle (played by Addison Garner) who is the television station’s manager and doesn’t approve of Tracy participating in the television show as she might be a rival for her own daughter, Amber Von Tussle (played Kaelee Albretton) This is not to mention that Tracey has a crush on one of the teenagers on the show, Link Larkin (played by Will Savarese), who has ambitions of his own to be a recording star – and then there are Tracy’s supportive parents, Edna Turnblad (played by Andrew Levitt) and Wilbur Turnblad (played by Christopher Swan) who rekindle their own romance as they support their daughter in fulfilling her dreams.

There is also Motormouth Maybelle (played by Sandie Lee) who inspires Tracey’s activism and her friend Penny Pingleton (played by Emery Henderson) who falls for a young black teenager, Seaweed J. Stubbs (played by Jamonte D. Bruten), a relationship that adds more spice to the chaos and enthusiasm that Tracy has inspired.

Shaiman and Wittman have created a score that is a reflection of the style of music of the 1960’s and Meehan and O’Donnell have written a book that allows the audience to participate and be surprised as this Broadway musical unfolds. From “Good Morning Baltimore” to “You Can’t Stop The Beat” this is a great ride.

You can’t help getting involved in the heart of the story, and the spirit of the actors playing the principal roles in Hairspray.

Nikki Metcalf plays Tracey Turnblad in an infectious manner as an outsider trying to fit in, and in becoming her own heroine and exhibiting her fortitude she changes the world – transforming Hairspray into a modern-day Cinderella story. Also Andrew Levitt is a triple threat as a singer, a dancer, and an actor – and certainly not self-conscious in performing the role of Edna Turnblad. But all of the cast members turn in high-powered performances often touching the hearts of audience members preparing them for the uplifting and appealing finale of Hairspray.

Most of all Hairspray is a feel-good musical with a feel-good score – and an off-beat Cinderella story – much needed in these strange times we are living in . And after all you can’t tamp down the enthusiasm and you can’t stop the beat.

Lincoln Center Theater –

The Skin Of Our Teeth

Vivian Beaumont Theater

April 28, 2022

By Mark Kappel

The Lincoln Center Theater is currently presenting an unconventional and provocative play in an unconventional style and manner – that is Thornton Wilder’s Pulitzer Prize-winning play, The Skin Of Our Teeth, which had its original Broadway production in 1942. The added unconventional aspect of this revival is revealed in the additional material by Branden Jacobs-Jenkins, and the conception of this revival’s director Lileana Blain-Cruz, who also happens to be Lincoln Center Theater’s resident director. And conveniently this revival also celebrates the 125th anniversary of Thornton Wilder’s birth.

Thornton Wilder was a novelist and playwright best known for his plays, Our Town, and The Matchmaker – the source for the musical, Hello, Dolly! – and The Skin of Our Teeth. In all his writing he had a sense of the American psyche that dominated when he was writing these major plays – and his novels.

The Skin Of Our Teeth is a theatrical allegory about the history of mankind – as seen and heard through the experiences of the Antrobuses, an American family living in the fictional suburban town of Excelsior, New Jersey. The Antrobus Family is the archetypical American family. Mr. Antrobus is the inventor of the wheel and the alphabet, and birthdays and anniversaries are calculated in thousands of years. The Antrobuses have been married for more than 5000 years.

The Antrobus Family are followed as they survive a new ice age, a great flood (before which Mr. Antrobus channels Noah in selecting animals to be saved from the flood), and a war. They even have prehistoric animals as pets. In this revival Blain-Cruz has added an extra layer to the play by the depiction of The Antrobus Family as a black family which gives The Skin Of Our Teeth a different spin.

This epic story is presented with the theatrical convention of allowing the actors to portray themselves as well as the characters they are portraying in The Skin of Our Teeth which allows the audience to play along with the dualities in the play. Some of the characters break the fourth wall and speak to the audience, and also break from their characters as they comment on their surroundings, frustrations, and fellow actors.

Wilder presents this all with influences from the Expressionist theatrical movement, farce, burlesque and satire. Yet another added layer are the Biblical references as Mrs. Antrobus represents Eve, Mr. Antrobus represents Adam, and there are also representations of Lilith and Cain (a reference to Henry Antrobus, one of the Antrobus children, who is really Cain – and who has killed his brother Abel) . Overall the theoretical and philosophical foundations of The Skin of Our Teeth are represented by the survival instincts of the human race – and its sense of community.

Adding to chaos of the Antrobus Family is the character of Sabina, the Maid, who is an ageless vamp, and chameleon, who keeps the extremes of the Antrobus Family in line, and informs the audience where the title of the play evolved from – we came through the Depression by the skin of our teeth.

The first act takes place before the earth is to be facing an ice age during which the Antrobus Family opens its house to the community’s population to provide them with food and shelter, and also protects their prehistoric pets.

In contrast, somewhat in normal circumstances, the second act takes place in Atlantic City where Mr. Antrobus has been elected President of the Order of Mammals, and resolves to save both humankind and the animal kingdom in bringing together all of the inhabitants of the earth in anticipation of a Noah-like flood.

The third act sees Mrs. Antrobus and her daughter Gladys facing the world at the end of a 7-year war – the outpouring of thoughts about the world explained by Mr. Antrobus, and the family conflict created when their son Henry returns home from the war and the truth is faced that Henry had been fighting for the “other side”. The debate is how human beings will be able to start over again from yet another major crisis – to be motivated to do so – and giving people a second chance.

In order to appreciate how timely The Skin Of Our Teeth is – which was before its time and is now timely – one must give in to fantasy, and an imagination gone wild.

This revival’s success definitely rests on the shoulders of the talented group of actors who explore their way in finding the characters they are portraying, and are adept at telling Wilder’s story. The Antrobus Family is made up of James Vincent Meredith as Mr. Antrobus, Roslyn Ruff as Mrs. Antrobus, Paige Gilbert as Gladys Antrobus, and Julian Robertson as Henry Antrobus – and then there is Sabina, superbly played by Gabby Beans, who often steals the show with her disruptive and reality show comments as the Antrobus Family’s maid. In a small but not unimportant role is Priscilla Lopez as the Fortune Teller, who in a monologue, foretells the future for mankind in both words and the physicality of a dancer.

Adam Rigg must be credited for the scenery designs providing these actors with a visually-striking playground to play in.

The Lincoln Center Theater’s revival of Thornton Wilder’s The Skin of Our Teeth may be a once-in-lifetime opportunity to see this imaginative, poignant, and fanciful play – and also providing some moments of escapism and entertainment.

How I Learned To Drive

Samuel Friedman Theatre

April 20, 2022

By Mark Kappel

The Manhattan Theatre Club is offering a unique theatrical event in its revival of Paula Vogel’s How I Learned To Drive which is currently being presented at the Samuel Friedman Theatre.

How I Learned To Drive was premiered at the Vineyard Theatre in 1997, and won the Pulitzer Prize for Drama the following year. At that time Mary-Louise Parker and David Morse starred in the play and they are repeating those roles in the Manhattan Theatre Club’s revival which has been directed by its original director, Mark Brokaw.

Taking its place as a Broadway theatre production How I Learned To Drive has put together an A-List creative team to take a look back – and forward – at Vogel’s provocative and intensely relevant play.

How I Learned To Drive is structured as a non-linear memory play in which Li’l Bit (played by Mary-Louise Parker) comes to terms with her unhealthy and complicated relationship with an uncle and father figure, Uncle Peck (played by David Morse). Through the course of the play it is revealed that Uncle Peck has had an impact on Li’l Bit’s past and present, and presumed future life.

The beginnings of How I Learned To Drive take place in suburban Maryland in the 1960’s and 1970’s, and Vogel used the driving lessons that are given by Uncle Peck as a metaphor for how he establishes his relationship with Li’l Bit – with overtones that revolve around power, control, manipulation, and sexual abuse.

This abusive relationship with Li’l Bit’s alcoholic Uncle is enabled through the generations of Li’l Bit’s family – and she develops problems with alcohol herself. Going back and forth through time clues are planted that explain how Uncle Peck established a rapport with Li’l Bit which evolved into a bond between them – a connection that developed with deliberate speed, and in fits and starts.

Often Uncle Peck rationalizes his abusive relationship with Li’l Bit, and putting into simple terms that his drinking problem was being perpetuated by a “fire in his heart”. As their attachment becomes increasingly uncomfortable for Li’l Bit, she ultimately rejects Uncle Peck, and as he deals with his own demons, he drinks himself to death.

How I Learned To Drive chronicles Li’l Bit’s abusive involvement with Uncle Peck, her maternal aunt’s husband from age 11 to her college years – revealing Uncle Peck’s behavior as a predator and manipulator – but then again Li’l Bit has also been a participant in this relationship somewhat as a manipulator herself.

How I Learned To Drive is both haunting and disturbing as the play reveals how destructive sexual abuse is.

In what are acting tour de forces, Mary-Louise Parker and David Morse delineate their characters with detail – and at times understatement – in depicting how complicated the emotional connections are between Lil’ Bit and Uncle Peck. The story-telling is also enhanced by a Greek chorus including Johanna Day, Alyssa May Gold, and Chris Myers who play multiple roles, and also comment on the action.

This is an excellent revival of a deliberately disturbing, powerful, and perplexing play that was relevant when it premiered in 1997, and is even more so today.

Waitress

State Theatre, New Brunswick, New Jersey

April 16, 2022

By Mark Kappel

As part of its Broadway series, the State Theatre in New Brunswick, New Jersey presented the national touring company of Waitress from April 14-16, 2022.

Waitress, The Musical, is based on the 2007 independent film of the same name which follows the life of a conflicted waitress at a diner – and her skills at pie-making – but not equally skilled in life.

Waitress was adapted into a musical by composer Sara Bareilles with a book by Jessie Nelson, and was premiered on Broadway in 2016. This touring production recreates the original direction by Diane Paulus, and the choreography by Lorin Latarro. In particular Paulus’s direction is a major contribution to the success of Waitress.

Waitress is the story of Jenna, who is a waitress at Joe’s Pie Diner and is an expert pie maker. Pies, and the ingredients to make them, are metaphors for her life. She is mired in the life of a small town in the American South, and a loveless and abusive marriage with her husband Earl.

A series of life events, including an unexpected pregnancy, gives Jenna the freedom to have an affair with a married man – her doctor, Dr. Jim Pomatter – which counterbalances her ups and down with her husband. Supported by her fellow waitresses, Jenna has her baby, leaves her husband, benefits from winning a county pie-making contest – and upon the passing of the diner’s owner, Jenna now becomes the owner of Joe’s Pie Diner, renaming it Lulu’s Diner after her daughter.

Jenna’s life is conveyed to the audience in a comparable balance of music and dialogue as vignettes – some with stylized movement -- which makes those life changing moments more comprehensible and understandable than they might have been otherwise.

Jenna, played by Jisel Soleil Ayon, is a citizen in a community of an eccentric group of characters. The awkward Dr. Pomatter, played by David Socolar, is an inexperienced philanderer with a wife of his own. Jenna’s husband Earl played by Shawn W. Smith, is the stereotypical abusive husband.

And then there is Ogie, played by Brian Lundy, as the even more awkward and introverted love interest of the equally introverted and quirky Dawn, one of Jenna’s co-workers at the diner (played by Gabriella Marzetta), becoming an oddly matched pair. Another one of Jenna’s co-workers, Becky (played by Dominique Kent) has her entanglements as well. There is also Joe, the diner’s owner, played by Michael R. Douglas, who can be sour but underneath is a softy, and it is Joe that supplies one of the big surprises and reveals in this musical.

All of these superb singers and comic actors brought these characters to life and made them relatable with humor, and expert physical comic timing.Bareilles’ score, as Waitress’ heart, embraces a variety of musical styles, character descriptions, and inner monologues – surprising and unconventional – but for a modern-day Broadway musical it works.

Uppermost Waitress is sentimental. and that is reflected in the eleven o’clock number, “She Used To Be Mine” sung in a heartbreaking fashion by Ayon as Jenna.

If life was as simple as making a pie -- as in Waitress it seems so – it would be a more sensible and caring world that we could live in. And also a more joyful one. In all, Waitress was an entertaining theatrical experience.

Compania Nacional de Danza

Joyce Theater

April 13, 2022

By Mark Kappel

Making its Joyce Theater debut, on April 13, 2022, the Compania Nacional de Danza from Spain is performing a week-long engagement of a full-length dance piece, Carmen, choreographed and reimagined by Swedish choreographer, Johan Inger. Inger created his version of Carmen for the Compania Nacional de Danza in 2015.

The Compania Nacional de Danza was founded in 1979, and has been directed by former New York City Ballet principal dancer Joaquin de Luz since 2019. The company dances a repertoire including a range of choreographic styles. However the repertoire leans towards the contemporary and modern dance direction.

In his version of Carmen, Inger has stripped down the narrative to its primary sources and frames the story to be seen through the eyes of a child – through contemporary eyes – and also using plot elements from Prosper Merimee’s novel. The second act takes place in Don Jose’s head elucidating his pent-up emotions as he plans to take his revenge against Carmen – who, in this version, is a woman of power and freedom. This Carmen is choreographed to the often-used arrangement of Georges Bizet’s familiar music from his opera, Carmen, by Rodion Shchedrin, with additional original music by Marc Alvarez.

The atmosphere is an open stage with lighting images creating the time and place – at first a tobacco factory in Seville, and then on to other locations where the plot takes Inger’s interpretation of Carmen. There is also the use of concrete, a mirror, and black materials that also set the scene – with the story, at its end, erupting into violence.

Inger’s approach to Carmen is a psychological examination – culling the plot elements from the familiar 19th century story and transporting those elements to the 21st century. Certainly the constant observation of this dance piece’s action by the boy/child is a striking difference from other dance pieces inspired by Carmen. In addition there is the boy/child’s fantasy that there could be a family unit of himself, Carmen and Don Jose, and watches that dream and illusion dissolve against the striking background of passion and violence.

This Carmen is obsessed with power and control – and ultimately whatever relationships she enters into is dominated by her self-interest. Passions escalate as Don Jose realizes his own relationship with Carmen is never going to succeed – and the frustration of his own jealousy in observing Carmen’s behavior in initiating relationships with other men. Also in the background are ghosts and shadows who are haunting all of the characters – a Greek chorus of sorts – who foresee the tragedy yet to come.

Inger’s choreographic vocabulary derives from many dance styles -- from modern dance to postmodern, and simple organic movement – and unexpected symmetry.He also creates effective stage pictures.

However what brings Inger’s Carmen to life is the Compania Nacional de Danza’s dancers. In particular Kayoko Everthart in the title role, Alessandro Riga as Don Jose, Shani Peretz as the Boy, Isaac Montllor as Escamillo, and Toby William Mallitt as Zuniga. Inger’s Carmen is a showcase for the company’s dancers making for an intriguing and welcome Joyce Theater debut for the Compania Nacional de Danza.

Harmony

Safra Hall Theatre – Museum of Jewish Heritage

April 10, 2022

By Mark Kappel

The National Yiddish Theatre Folksbiene, at the Museum of Jewish Heritage’s Safra Hall Theatre, is presenting a long-awaited musical, Harmony: A New Musical, which has been written by the creative team of composer Barry Manilow, and Bruce Sussman, as both lyricist and book writer.

Long-awaited because this musical has had buzz for some years and now it is finally making its New York debut for what is a limited engagement through May 8th.

Harmony is the story of the Comedian Harmonists, a group of six young comedy performers, some Jewish, some of Jewish descent, and also Gentile, who achieved success in Germany first, then in Europe and the United States between 1928-1934 – being one of the most successful musical groups in Europe – with repertoire including folk and classical songs as well as popular songs of the era. They also appeared in more than 20 films.
Harmony opens with the American debut of Comedian Harmonists in 1933 at Carnegie Hall – presented by Sol Hurok – and then the story begins with how the Comedian Harmonists came to be.

Chip Zien plays Rabbi, one of the Comedian Harmonists, looking back on the origins of this extremely talented group of performers – and the individuals who auditioned for and formed the group. Six in all, among them a rabbi, a doctor, a bordello pianist, and opera singers – and not all Germans – and not all Jewish. They sing, they dance, they play instruments, and become known for their keen musicianship and their comic timing.

Comedian Harmonists became famous the world over. They were described as “hot as horse radish”. However they were caught up in the changing political climate that culminated in the emergence of Nazism in Germany, and making the fatal decision to return to Germany after touring abroad. The Nazi regime in Germany prohibited the Comedian Harmonists from performing in public and the group had no choice but to break up. They were not all able to escape Nazi oppression by immigrating to the United States. Some were deported to the countries they came from before their success in Germany. Somehow their story had been lost or forgotten, and now lives again in Harmony.

The older character of Rabbi wrestles with what could have been if he had persuaded the Comedian Harmonists to remain outside of Germany – and as the last survivor of the group and living in the United States he does come to terms with that fatal decision. This all combines to make the story of Harmony both comic – and heartbreaking – and in its own way, a profound backstage musical.

Manilow and Sussman provide Harmony with a solid score including the title song, “This Is Our Time”, “Stars in the Night”, and “Where You Go” all stirring, and emotionally wrenching when required, and broadening and painting the picture of all of the principal characters – and also creating the oppressive atmosphere that hangs over the story of the Comedian Harmonists.

Wonderful and clever dance numbers have been created by Warren Carlyle as choreographer, and pinpoint coming timing and heart as Harmony’s director.

Although Chip Zien as the older Rabbi anchors Harmony, Harmony is enriched by the performances of Blake Roman as Chopin, , Steven Telsey as Lesh, Zal Owen as Harry, Danny Cornfeld as Young Rabbi, and Eric Peters as Erich, and Sean Bell as Bobby, portraying the Comedian Harmonists as well as the heartfelt and well-sung performances of Sierra Boggess as Mary (Young Rabbi’s wife), and Jessie Davidson as Ruth (Chopin’s wife).

Harmony speaks of and to the horrors of the past, and that hopefully, the world will learn from those horrors -- and they won’t come back to haunt us in the present and the future. It makes Harmony a provocative musical with a compelling story to tell that will make you laugh and cry at the same time. And will also entertain you.

The Little Prince

Broadway Theatre

April 7, 2022

By Mark Kappel

Antoine de Saint-Exupery’s novella, The Little Prince, tells a story that has been embraced by children and adults all over the world. It had been adapted into an unsuccessful Broadway musical back in 1982, but recently opened on Broadway is a production of The Little Prince, premiered in Paris, which presents this story in a “spectacle” form with dance, acrobatics, gymnastics, video technology – also a hint of the circus -- which tells the story in a unique fashion. This version of The Little Prince is now being performed at the Broadway Theatre from March 29 through August 14, 2022.

The creative team for this imaginative interpretation of The Little Prince is director and choreographer Anne Tournie, and co-director and librettist Chris Mouron, who also appears in this production as The Narrator.

In her biography Tournie states that contemporary dance is based on energy and emotion – and those elements are in abundance in her choreography for The Little Prince. Her work integrates aerial choreography along with dance, gymnastics, acrobatics – and dance theatre.

Antoine de Saint-Exupery, an exiled French author and aviator, wrote and illustrated The Little Prince in 1942 while living in Manhattan and also at the Delater-Bevin Mansion in Long Island. He arrived in New York City just before Europe was on the verge of World War II – and this classic novella was published in the United States in 1943.

The heart of this story is a friendship that is formed between an aviator, who crashes his plane in the desert, and The Little Prince, who is in the midst of exploring the world. The Little Prince (portrayed by Lionel Zalachas) appears in his bare feet and sporting blond hair – walking on a large rubber ball -- after travelling from his miniscule asteroid where he tends to a rose that he is enraptured by. He is now exploring the world and his travels take him to his adventures in meeting with an arrogant king, a questionable businessman, and other assorted characters before arriving on Earth. But it is the bond between The Little Prince and the aviator that teaches us about friendship and trust.

Before The Little Prince leaves his asteroid, the relationship between himself and his Rose is represented in a child-like yet rapturous farewell duet which is grounded at times and other times, in the air. The Little Prince also encounters a businessman who is caught up with following the stock market, a lamplighter, a switchman – with a visual design of a busy train station to enhance the dancing and the story on the stage. Then there is The Little Prince’s encounter with the snake – temptation and fear – and perhaps a child-like lack of fear.

When The Little Prince meets the Aviator, he requests that he draw him a picture of sheep – and then they appear. And so the friendship blossoms.

The story is told in choreographic vignettes with decorative details in song and word by the Narrator, Chris Mouron.

Choreography in many different styles is tailored to each unique character in this story, and overall the intent is to create a spell and challenge the audience’s imagination. Composer Terry Truck is noted for promoting chanson and cabaret songs and the score for The Little Prince emphasizes that influence in many of the songs sung by Chris Mouron. Also the video designs by Marie Jumelin and the lighting design by Stephane Fritsch are feasts for the eyes.

The story comes to life through the artistry of this wonderful company of dancer/actors. Besides aforementioned Lionel Zalachas as The Little Prince, also outstanding were Aurelian Bednarek as the Aviator, Laurisse Sulty as the Rose, Adrien Picaut as the Businessman, Marcin Janiak as the Lamplighter, Srilata Ray as the sensuous Snake, Dylan Barone as the cute Fox, and William John Banks as the Switchman.

Yet to enjoy this production of The Little Prince one must suspend adult cynicism and appreciate it all through a child’s eyes in what is a unique and entrancing theatrical adventure.

The Wanderer – A New Musical

Paper Mill Playhouse

April 9, 2022

By Mark Kappel

The Paper Mill Playhouse in Millburn, New Jersey is more than halfway through its current season – fully re-opened with vaccination protocols – but re-opened after nearly two years. From March 24-April 24, 2022, the Paper Mill Playhouse is presenting a new musical, The Wanderer, which had been postponed from previous seasons due to the pandemic. And The Wanderer may have pretensions to move on to Broadway in the future.

The Wanderer is a song made famous by one of the significant singing groups that emerged during the 1950’s and 1960’s, Dion & the Belmonts – Dion being Dion DiMucci, Bronx-born, who became a teenage heart-throb during the height of his stardom. He defied the odds and he also had staying power.

This account of Dion’s life is told through songs made famous by Dion and also by his contemporaries in a workman-like and engaging book by Charles Messina, which tells Dion’s story in a frank and no holds barred manner.

The Wanderer focuses on the period from 1958 through 1968 – a decade of political and social change in America – noting that Dion’s musical tastes were very different from those of his family and friends. In fact his biggest musical influence was country singer, Hank Williams.

Dion formed the Belmonts singing group with himself as the lead singer in the late 1950’s and was known for several hit records including The Wanderer, Runaround Sue, Where or When, and A Teenager in Love. In 1960 he began his solo career, and in 1968, he recorded the song he is most remembered for, Abraham Martin & John, which was an emotional response to the changing moods for social change in the 1960’s, and appropriately was the final musical number of The Wanderer.

The story begins reflecting on the essence of Dion’s life growing up under the influence of his parents – his father wanting stardom for his son, and his involvement in managing his son’s career in music – and his private life. However Dion has striking differences with both his father and his manager as to what he wants from his career and the trajectory of his career. Then there is the mysterious and rather ghostly figure of Johnny (played by Joey McIntyre) who exerts both good and bad influences over Dion regarding his personal life and his professional life.

One of Dion’s pivotal ideas was to form a singing group with a few of his neighborhood friends which became Dion and the Belmonts – choosing the name of the Belmonts after Belmont Avenue in the Bronx neighborhood where Dion and his friends lived.

As Dion’s recording career flourished, he had to cope with the problems of what seemed to be instant stardom – and then the major problem of drug addiction – a problem that is exacerbated when Dion doesn’t board a chartered plane with his tour mates, Buddy Holly, Richie Valens, and the Big Bopper, who were lost in a fateful plane crash.

Dion also initiates a relationship with a neighborhood girl, Susan (played by Cristy Altomare) and there is a host of other friends who try to influence Dion’s musical career and also help him get over his drug habit. The tragic event of the plane crash haunted Dion for many years after which made his drug habit more difficult to control. Although Dion marries his beloved and understanding Susan, it takes his whole family to support him through his recovery from his drug habit in the end.

In The Wanderer Dion defies the odds and achieves star status – a combination of bad choices, fate, and his persistence to survive.

Director Kenneth Ferrone has fashioned The Wanderer not merely as a jukebox musical relying on nostalgia. The Wander is a biographical musical – about Dion – that is kept in context. Sarah O’Gleby’s choreography is also attuned in style to the times when the story takes place. With Dion’s story set in the Bronx, scenic designer Beowulf Boritt effectively recreated urban life as a living painting.

The aforementioned Christy Altomare and Joey McIntyre give star performances in their roles along with other members of this versatile cast. However Mike Wartella, in particular, gives a masterful and virtuoso performance as Dion.

The Wanderer is both entertaining and engaging, and how wonderful it is to hear the music of the 1950’s and 1960’s performed live in front of an audience – and performed so well by this terrific cast. I trust that if its goal is to make it to Broadway that a few fixes are made to make The Wanderer more than it already is.

Dance Theatre of Harlem

City Center

April 8, 2022

By Mark Kappel

During this current dance season there have been many reunions between dance companies and their audiences – embracing them like long lost friends. And it was so with the Dance Theatre of Harlem’s engagement at the City Center – in particular the performance on April 8, 2022, which featured three New York premieres.

Opening the program with an explosion of energy, and spirited music, was the New York premiere of Higher Ground, choreographed by the Dance Theatre of Harlem’s resident choreographer, Robert Garland, which was choreographed to songs made famous by Stevie Wonder – composed by him in collaboration with Gary Byrd, Michael Sembello, and Syretta Wright. Higher Ground was not a nostalgia trip but drawing in the mood of the music that Wonder made famous, and how it is relevant today.

The concept was a search with the energy revving up to the song, HigherGround, which is a celebration. The energy and spirit came from the ensemble cast of Amanda Smith, Daphne Lee, Alexandra Hutchinson, Anthony Santos, Micah Bullard, and Kouadio Davis danced, in this dance piece which had its premiere earlier this year.

Claudia Schreier’s Passage, featuring live music by Jessie Montgomery, was the second of the New York premieres. This work had been commissioned by the Virginia Arts Festival in 2019 and has finally been given its New York premiere. Passage has been influenced and inspired by the enforced travels of African slaves across the Atlantic to the New World in the 17th century. Although there isn’t any narrative in this contemporary ballet piece, the message is very clear.

The patterns in Schreier’s choreography reflect restrictions, ritual and an ultimate celebration. It is only in the final moments of Passage that you do see the symbolic leap to freedom.

The message was convincingly communicated by the cast of Anthony Santos, Derek Brockington, Amanda, Smith, Ingrid Silva, Crystal Serrano, Kamala Saara, Yinet Fernandez, Delaney Washington, Christopher Charles McDaniel, Kuadio Davis, Keenan English, and David Wright.

One of the three weeks on this program was partially familiar as it was an extended version of Annabelle Lopez Ochoa’s Balamouk, which originally had its premiere at one of the City Center Fall for Dance Festival in 2018. This extended version, which premiered in 2019, featured live accompaniment by The Klezmatics playing the music of Rene Aubry, Lisa Gerrard, and Les Yeux Noirs.

Similar to the other dance pieces on the program, Balamouk, is an ensemble piece emphasizing recurring stylized movement but is also celebratory. Balamouk’s momentum was boosted by the performances of the cast of Ingrid Silva, Yinet Fernandez, Crystal Serrano, Daphne Lee, Lindsey Donnell, Dylan Brockington, Keenan English, David Wright, and Christopher Charles McDaniel.

All of the three pieces presented on the Dance Theatre of Harlem’s program reflected positivity and Dance Theatre of Harlem’s statement that it is back – and it’s great that they are back.

York Theatre Company – Penelope

Theatre At St. Jean’s

April 3, 2022

By Mark Kappel

The York Theatre Company is presenting a world premiere musical this spring, Penelope or How The Odyssey Was Really Written, at the Theatre at St. Jean’s from April 2-24, 2022.

Taking place on the Greek island of Ithaca in the Ionian Sea in 1174 BC, Penelope is loosely based on the Greek myth, The Odyssey, and the story is reinterpreted from Penelope’s point of view with a 21st century boldness, and with a bit of a wink and a nod.

The Royals are Penelope (played by Britney Nicole Simpson) who is married to Odysseus (played by Ben Jacoby), the King of Ithaca. Odysseus left Ithaca – and Penelope – to pursue fighting the Trojan Wars. The years have tested Penelope as she has taken on the affairs of state and the government bureaucracy in addition to motherhood, and the wait had been twenty years.

On the assumption that Odysseus will not be returning to his kingdom, suitors have sought Penelope’s hand and have gathered at the palace hoping to marry her and to rule over the kingdom. However Penelope chooses the strategy of not making a decision about her choice of a suitor she wishes to marry. Her deception is that she writes letters to herself pretending they are from Odysseus – the letters are filled with mythical adventures and battles – and in spite of these delays in his return to Ithaca, the letters always declare Odysseus’ wish to make his way home to Penelope soon.

The pretense is that Penelope’s letters are creating the story of The Odyssey – an explanation that is a departure from the source of this Greek myth. The self-involved suitors, who are patiently waiting for Penelope’s decision to accept their proposals, have little else to do but enjoy the amenities at the palace -- eating, drinking, enjoying the beach – and they even form an acapella group taking full advantage of the acoustics in the palace’s Great Hall.

Then Telemachus (played by Philippe Aroyo), the King’s and Queen’s son, is beginning to find and assert himself as a future ruler. He becomes enraptured with a farm girl, Daphne (played by Maria Wirries) – who succeeds in supporting Telemachus’ search for his self-esteem and also resolving his fear of blood – a fear no soldier should have.

The suitors Antinous (played by Cooper Howell), Mileter (played by David LaMarr), Bassanio (played by Jacob Alexander Simon), Haius (played by George Slotin), and Barius (played by Sean Thompson) enter into fights among themselves as they become rivals for Penelope’s hand in marriage and also uncover Penelope’s deceit about the mysterious letters. Penelope’s solution to assuaging the suitors, while continuing to put them off, is inventing a contest. The suitor who wins the contest would also win her hand in marriage. This contest is interrupted by Odysseus’ surprise reappearance on the shores of Ithaca. Odysseus and his son Telemachus conceive a scheme to use as a clever deception and their bravery with swords to kill all of the suitors.

Also trying to keep a lid on the hysteria, and deception is Eurycleia, Penelope’s reliable retainer and servant who is a Greek chorus unto herself, and an adept comedienne as played by Leah Hocking, who is trying to explain the ins and outs, and surprises of the schemes as they progress.

There is also a sentimental and conflicting reconciliation between Penelope and Odysseus at the end of Penelope or How The Odyssey Was Really Written. The theme of that reconciliation is that change can sometimes be good.

Peter Kellogg, writing both book and lyrics, and Stephen Weiner composer of the music provide humor and wit in the score (in many musical styles including a bit of Gilbert & Sullivan), and dialogue – with the belief that many authors contributed to The Odyssey. Those liberties are taken in Penelope Or How The Odyssey Was Really Written, and Emily Maltby as director and choreographer enhances it all with physical humor.

All of the cast members are experts at comic timing and in glorious voice –making Penelope an entertainment filled with fun, comedy and wit an appropriate way to bring in the spring!

Paradise Square

Ethel Barrymore Theatre

March 31, 2022

By Mark Kappel

The creative team for the new Broadway musical, Paradise Square, is an exceptional one. Moises Kaufman is at the directorial helm, choreography is by Bill T. Jones (with additional choreographic contributions of Irish and Hammerstep dancing by Garrett Coleman and Jason Oremus), musical staging by Alex Sanchez – conception by Larry Kirwan -- with a book by Christina Anderson, Craig Lucas, and Larry Kirwan, music composed by Jason Howland – with additional music by Larry Kirwan inspired in part by the songs of Stephen Foster – and lyrics by Nathan Tysen and Masi Asare -- all together collaborating on a provocative new musical being presented at the Ethel Barrymore Theatre.

Paradise Square’s central focus is that of an historical event which is depicted in this thought-provoking and ambitious musical. The time and place is New York City in 1863 while the American Civil War was still raging. The co-existence of Irish Immigrants, who fled Ireland due to the Great Famine, and free-born Black Americans and those who escaped from slavery – arriving by means of the Underground Railroad -- co-exist in the Lower Manhattan slum tenement houses of Five Points. The families intermarried, and were described as Amalgamationists.

In uniting the cultures of these communities there were dance contests that took place in bars and dance halls. However racial disharmony evolved in Five Points – pitting the Irish immigrants against the Black population -- when the first Federal Draft for the Union Army was implemented fomenting the deadly New York Draft Riots of 1863.

Paradise Square premiered at the Berkeley Rep in 2019 and undoubtedly there have been many revisions made by many hands after that initial engagement. Perhaps that is the reason why this earnest and sprawling musical proves to be as complicated as it is with many sub-plots – enhanced by epic music – and with a story that should be told, but perhaps needed to be more concise and centered.

The heart of Paradise Square’s story is Nelly O’Brien (played by Joaquina Kalukango), who is the owner of the local saloon, Paradise Square, and who is married to an Irish immigrant, Willie O’Brien (played by Matt Bogart) who is fighting on the Union side in the American Civil War. Nelly O’Brien is the matriarch and problem-solver for many of the inhabitants of Five Points.

Also there is the feisty Annie Lewis (played by Kennedy Caughell), who is Nelly O’Brien’s Irish-Catholic sister-in-law, and her Black minister husband, Reverend Samuel Jacob Lewis (played by Nathaniel Stampley) who is a stationmaster for the Underground Railroad. Integral to the sub-plots is the character of Owen Duignan (played by A.J. Shively) a newly-arrived Irish immigrant and nephew of Annie Lewis, and Washington Henry (Sidney DuPont), a runaway slave who has been accused of murdering a plantation owner. The nemesis for all of these characters is Frederic Tiggens (played by John Dossett) who is the local political boss, and then there is Milton Moore (played by Jacob Fishel), a pianist with an ambiguous past, who insinuates himself into being engaged as a pianist at Paradise Square. Moore uses this experience to absorb the music of the regulars at the saloon – whose reveal is pivotal in how these characters’ lives are intertwined.

As the plot of Paradise Square unravels there are moving moments, and educates one about a story of the American past that is even haunting today. Unfortunately our past may be our future.

These thoughts and emotions are expressed in Paradise Square’s score which reflect that when you can’t use words, you must sing. Particularly in Kalukango’s stunning performance of “Let It Burn”.

Unity in Five Points is exemplified in the dance contests between the Irish immigrants and the Black residents in the local watering holes. Bill T. Jones has mixed Hammerstep Irish dancing with African Juba – with the Hammerstep Irish dance choreography contributed by Garrett Coleman and Jason Oremus – communicating the emotions and aspirations of these two ethnic groups in lively and entertaining dance numbers.

Paradise Square is a musical with an important story to tell created by a team of artists which supports the story-telling in word and song – and is performed by a superlative cast. But Paradise Square could use judicious trimming to emphasize what is already a fulfilling and entertaining evening in the theater to make it an even better one.

La Nijinska

By Mark Kappel

La Nijinska – Choreographer of the Modern by Lynn Garafola, published by Oxford University, is an extensive and detailed study of the life and work of the pioneering choreographer, Bronislava Nijinska. A first-time biography of a dancer, dance educator, and choreographer whose artistic legacy has not been lauded as much as it should be.

Bronislava Nijinska had an illustrious career breaking the glass ceiling as a female choreographer, and how she confronted sexism among the decision-makers of dance companies of the early and mid-20th century.

She also lived in the shadow of her legendary brother, Vaslav Nijinsky. As described by Garafola, there was a strong sibling rivalry between Vaslav and Bronislava, and to a degree a rivalry of cruelty, jealousy, and harshness.

Born in Minsk (in Belarus) in 1890, it was when her father left his family in 1897 to pursue a relationship with another woman when Nijinska’s life had its major change. By that time her family was living in St. Petersburg, and both Vaslav and Bronislava began studying at the Imperial Ballet School.

Nijinska joined the Mariinsky Ballet’s corps de ballet in 1908, and in 1911 she joined Serge Diaghilev’s Ballets Russes as a full-time member. In 1912 she married her first husband, Alexander Kochetovsky, a fellow dancer, who had many of the attributes of Nijinska’s father in that he was a womanizer. After dancing in the works of Mikhail Fokine and her brother’s works, she returned to St. Petersburg in 1914 where she began making dance pieces – and in 1919 she established her own school in Kiev.

Working in the “provinces” Nijinska made her living dancing in and also restaging the Ballets Russes repertoire – and upon pursuing her career in Moscow many opportunities abroad were lost as the Bolshevik Revolution took hold – to the point that she was unable to join her brother in Western Europe. Even upon returning to Kiev she decried the dance establishment in Russia as she searched for new movement forms that were evolving in the avant garde. Her husband accepted an engagement in Odessa while Nijinska adapted to the political changes made by the Soviets.

Ultimately when her school in Kiev was destroyed, she and her immediate family members decided to flee from the Soviet Union making their way to Warsaw.

In 1921 Nijinska returned to the Ballets Russes as a dancer and choreographer in the hope that she could help her brother though his battle with mental illness.

Her first assignment with the Ballets Russes was a revival of The Sleeping Beauty, rechristened The Sleeping Princess, for which Nicholas Sergeyev was engaged to stage –however his expertise and musicianship was questioned, and Diaghilev felt that the production needed to be adapted to appeal to a modern audience with he, himself, editing the score and production. Nijinska’s contributions were in some of the Act III divertissements, the Hunting Dances in Act II, Aurora’s variation in the Vision Scene and the Prologue Fairy/”Finger Variation” which was ultimately taught to Ninette de Valois in 1923, and was included in one of de Valois’ productions of The Sleeping Beauty for the Royal Ballet. Nijinska danced the Lilac Fairy among other roles in The Sleeping Beauty. The Sleeping Princess premiered in London and later it was performed in an abridged version in Paris under the title Aurora’s Wedding. Through Nijinska’s career she restaged Aurora’s Wedding on a regular basis.

This time period was also of consequence as Nijinska’s husband Kochetovsky joined the Ballets Russes for The Sleeping Princess, and Kochetovsky and Nijinska agreed to divorce. Nijinska’s second husband was Nicholas Singaevsky, a pupil of hers from Kiev who danced with the Ballets Russes in 1919, the 1920-21 season in Poznan, and then rejoining the Ballets Russes in 1921 – and he and Nijinska were married in 1924.

It was in this creative period, in 1923, that Nijinska created her best-known work, Les Noces, choreographed to Igor Stravinsky’s music, and in 1924, she created Les Biches. Garafola has devoted individual chapters to these major works – with the works described as theater of action. In Les Noces, which was inspired by Russian folk traditions, and Garafola noted that the power is in the choreography rather than in the scenario – as Nijinska ignored Stravinsky’s song text. Les Noces and Les Biches are detailed in these chapters from their birth, working with the composers, delays in getting them produced, and how Diaghilev brought together the collaborators.

When Nijinska contemplated resigning from the Ballets Russes – and eventually did – one of the main reasons was the heated company politics as Diaghilev played favorites with the male dancers, and as he did with her brother, Vaslav, they were offered choreography projects and her authority was undermined. With George Balanchine, Leonide Massine, and Serge Lifar ready to take over choreographic projects for the Ballets Russes, Nijinska’s opportunities were reduced.

After resigning from the Ballet Russes, she pursued a career as a freelance choreographer and also established her Theatre Choreographique employing dancers from various companies and toured Europe. Diaghilev didn’t appreciate the competition that this company represented and compromised those Ballets Russes’ dancers’ visas if they participated. However Nijinska was invited back to choreograph a short version of Romeo and Juliet for the Ballets Russes.

Because she didn’t get along with her sister-in-law, Romola Nijinsky, it was ironic that Romola became her agent with the pitch being not only being a choreographer but that she was also able to restage Vaslav’s ballets. However that did enable Nijinska to work with some of the major opera houses in Europe.

Nijinska was engaged for two seasons in 1926 and 1927 as choreographic director for the Teatro Colon in Buenos Argentina to which Garafola credits Nijinska for bringing European modernism, new Ballets Russes works, and works of her own to the company’s repertoire, and also employing her talents as an administrator to bring a higher standard of dancing and production to the Teatro Colon.

Just as interesting was Nijinska’s engagement as artistic director of Les Ballets de Madame Ida Rubenstein, the vanity project of Ida Rubenstein with whom Nijinska worked with at the Ballets Russes. Although the company lasted only 15 months due to Rubenstein’s lack of management skills, Nijinska created several dance pieces including Bolero and La Valse which were not only notable for their choreography but also her collaboration with new and noted composers.

From 1930-33 Nijinsky was engaged as the overall director of the Vienna State Opera Ballet with the portfolio of modernizing both the company and the school. Although there were disagreements between herself and the company’s management over intellectual property issues and her juggling many engagements at the same time, she did fulfill a year’s worth of the obligation where she reproduced Ballets Russes ballets and her dance pieces of her own for the company. At the same time she also was engaged by the Opera Russe which was based in Paris, and also juggled a return engagement with Ida Rubenstein.

And in 1934 she returned to Monte Carlo – and attempted to establish Les Ballets Russe de Bronislava Nijinska for which she created her version of Hamlet – a company that was short-lived due to financial problems.

Also in 1934 Nijinska traveled to the United States for the first time, ultimately travelling to Hollywood to choreograph the dance sequences in Max Reinhardt’s screen version of A Midsummer Night’s Dream. Also confirmed was a contract with Hurok Concerts for an 8-week American tour the Nijinska Ballet during the 1935-36 season and was also engaged for a commission, Les Cent Baisers, by de Basil’s Ballets Russes.

In 1936 Nijinska headed back to the Teatro Colon to curate a Stravinsky Festival, and in 1937 she was engaged by the Markova-Dolin Ballet to restage her ballets and coached the 19th century classics -- and then on to Poland to establish a national ballet company to perform in Poland and tour Europe.

In spite of the many commitments Nijinska had in Europe, the continent was in the midst of war and Nijinska decided that she and her family must leave Europe seeking refuge in New York City.

Upon arrival in the United States, she was engaged to stage La Fille Mal Gardee – with music by Peter Hertel based on Lev Ivanov’s choreography – for Ballet Theatre in 1940. It was well received but debt caused the company to suspend operations, and Nijinska headed out to Hollywood to teach. Among her students were Cyd Charisse, and Maria and Marjorie Tallchief. Upon returning to New York she worked with Ballet Theatre, took on local teaching positions – among them teaching at Jacob’s Pillow.

For the 1942-43 season, Nijinsky created The Snow Maiden for the Ballet Russe de Monte Carlo. In 1943 Nijinska attached herself to Ballet International Marquis de Cuevas, and also choreographed for other companies as engagements came up after World War II.

Nijinska returned to the Grand Ballet du Marquis de Cuevas in 1947, at which time Nijinska restaged two of her works and initiated an up and down relationship that lasted through 1960. Nijinska was unwilling to tour with the company, and there were debts to her which were not resolved until after the company had disbanded.

Nijinska returned to Ballet Theatre in 1951, and created a new work and restaged others – and was also engaged to direct the Ballet Theatre School – a relationship which didn’t last long.

Moving to the 1960’s Nijinska came into conflict with the ambitions of a nemesis from the past, George Balanchine. With the support from the Ford Foundation there were plans formulated to establish professional ballet companies in major American cities. The mechanics of doing so was for Balanchine to bring to these cities teachers, choreographers, dancers, and even technicians – and his ballets. The consensus was that Balanchine’s centralized plans seemed to demean local dance organizations – and in reference to founding a ballet company in Los Angeles – Nijinska described this whole plan as a ”monopolistic dictatorship.”

In a major breakthrough in her career, in 1964 , Frederick Ashton invited her to restage Les Biches and Les Noces for the Royal Ballet which resulted in offers from other European ballet companies to acquire her ballets.

In 1968 she formed an association with the Kathleen Crofton’s Ballet Center of Buffalo (New York) for which she staged her own ballets and Aurora’s Wedding – after getting much attention if not the best reviews, the company was abandoned in 1970 when its patron withdrew financial support.

Nijinska died in 1972 from a heart attack and although her ballets lived beyond her life, they are rarely performed.

It is fortunate that this titan of the ballet world has been remembered and her artistic legacy is chronicled in Garafola’s well researched, well-referenced, and readable book. Bronislava Nijinska deserves an important place in dance history, and La Nijinska confirms that place in dance history.

City Center Encores – The Life

City Center

March 19, 2022

By Mark Kappel

The City Center Encores’ second presentation of this season, performed from March 16-20, 2022, was a concert adaptation and reinterpretation of the musical, The Life. City Center Encores’ mission has been radically changed with the new prism being reimagining neglected Broadway musicals in the hope that they might be more relevant to 21st century audiences. The message is primary and the music is secondary.

Premiered on Broadway in 1997, The Life focuses on the lives of prostitutes, drug dealers, drug addicts, and other inhabitants of the Times Square theatre district in the 1980’s before Times Square was redeveloped and rehabilitated – devolved into Disneyfication. This was the seedy side of New York at the time and The Life, with music by Cy Coleman, lyrics by Ira Gasman with a book by David Newman, Gasman and Coleman, depicted this time and place in an effective and self-deprecating manner that is still relevant today.

In engaging Billy Porter as director and adapter, The Life has been given a fusion of contemporary relevance and an effort to see the lives of the characters through a less critical lens, with the plot points that were hinted at in the original production, are now more developed. In a talk back after the performance I attended Porter revealed his association with The Life as an actor who auditioned for the original production – but was not given a role –yet was invited to participate in backers’ auditions. His heartfelt feeling was that the truth of the lives of the people who were depicted in The Life was not presented with dignity and acceptance in the original version of The Life – as well as concerns about social issues which are also concerns of today.

With these apprehensions in mind there were many revisions in The Life from changes in story lines, lyrics, positioning and cutting of songs, adding speeches about social issues, and current political and social references. And there was also the channeling of Bertolt Brecht in transforming The Life from a musical comedy to a musical drama. A point made was that the humor was taken out of The Life as part of the surgical procedure in revising this musical – even a reorchestration of Cy Coleman’s music to reflect the musical styles of the time.

These elements were revealed in the Prologue in which the Older JoJo (played by Destan Owens), as narrator, looks back on his life after having left New York for Los Angeles where he is a press agent in Hollywood. His younger self (played by Mykal Kilgore) is an opportunist who meddles in the lives of pimps and prostitutes for profit -- making it a dangerous world to live in.

A drug addicted military veteran Fleetwood (played by Ken Robinson) is trying to make it as a pimp and only has Queen (played by Alexandra Grey) in his stable. He then targets a blonde newcomer to New York City, Mary (played by Erika Olson), to make money – it turns out Mary is not as innocent as she seems to be – and Queen leaves him when she finds out that Fleetwood’s involvement with Mary is not merely business. Then there is Memphis (played by Antwayn Hooper), the controlling pimp who recruits Queen displacing his main squeeze Sonja (played by Ledisi). All of the characters are survivors and also have aspirations to leave this life that they are leading, and as the plot evolves -- emotions are high and out of control -- it is not going to be a happy ending for them.

Cy Coleman’s score for The Life was his last one for Broadway and was composed with a big band era style. In this reorchestrated version Coleman’s music is more than just obscured, it is overwhelmed – and that’s even with some of the excellent vocal performances given by the cast members.

The showstopper of the performance was Ledisi’s performance of “The Oldest Profession”, which has been moved to the second act. But all of the cast members give well-intentioned and committed performances.

Unfortunately this City Center Encores production of The Life gets bogged down into a nearly 3-hour long piece that is filled with many ideas that are not fulfilled. One can only evaluate this production of The Life as to whether The Life needed to be re-interpreted in this way or not – or if Porter’s intentions might have been better expressed and served in an entirely new musical work.

Unfortunately the net result of the City Center Encores production of The Life is well-intentioned, but baffling.

Royal Winnipeg Ballet – The Sleeping Beauty

February 26, 2022

By Mark Kappel

The Royal Winnipeg Ballet has been facing hurdles in terms of dancing live performances and curtailing its touring due to Covid-19 restrictions. Fortunately the company is presenting a digital presentation of its production of The Sleeping Beauty from February 25 – March 13, 2022 which is accessible to all audiences.

The Royal Winnipeg Ballet, currently directed by Andre Lewis, has performed its production of The Sleeping Beauty since 2002. It had been staged by Galina Yordanova with additional contributions by Anna-Marie Holmes using Marius Petipa’s blueprint for this classic 19th century ballet.

Choreographed to Tchaikovsky’s ballet score, considered to be the best ballet score composed, the Royal Winnipeg Ballet’s production of The Sleeping Beauty is rooted in the Russian traditions of this ballet.

The Royal Winnipeg Ballet’s The Sleeping Beauty is not a reconstruction or deconstruction, and does not stray from the original fairy tale story. At birth, Princess Aurora, is cursed by the evil fairy Carabosse to sleep for 100 hundred years until a stalwart and brave Prince seeks her out with the assistance and magic of the Lilac Fairy. There are adventures and visions, and many familiar fairy tale characters who are participants in this story.And there is lots of classical ballet and character dancing.

In this production of The Sleeping Beauty the corner stone is the story-telling which is enhanced by the scenery designs by Michael Egan, and the costume designs by Shannon Lovelace and Anne Armit. There is a unity of style in the dancing, and the mime is delivered with the same speed and intensity of real conversations.

Elizabeth Lamont elegantly rules this fairy-tale kingdom as the Lilac Fairy, and Stephan Azulay is suitably evil as Carabosse – this is the battle of good over evil. Alanna McAdie as Aurora and Yue Shi as Desire dance with confidence, and charm. Also notable were Emilie Lewis and Yosuke Mino in the Bluebird Pas de Deux.

The Royal Winnipeg Ballet’s production of The Sleeping Beauty is danced with spirit – also with clarity. This is the way this ballet should be danced and produced with a little understatement in the designs, and focusing on the dancing and the story.

Intimate Apparel – A New American Opera

Mitzi E. Newhouse Theater

February 11, 2022

By Mark Kappel

One of the Lincoln Center Theater’s presentations, that had been postponed because of the pandemic shutdown of New York City theatres, is not a theatre piece but an opera, Intimate Apparel. This new and involving opera, being performed at the Mitzi E. Newhouse Theater, is based on Lynn Nottage’s play (which premiered in 2003). Intimate Apparel is the first opera that has been produced through a collaboration between Lincoln Center Theater and the Metropolitan Opera as part of the Met/LCT New Works Program – dedicated to developing new opera and music theater works.

Lynn Nottage’s play, Intimate Apparel, is inspired by the life of Nottage’s great grandmother, and in this opera adaptation, with a score by Ricky Ian Gordon and libretto by Lynn Nottage, this opera version of the play has a new life as a chamber opera focusing on a slice of New York City life at the beginning of the 20th century which reveals the story of beautifully drawn characters.

Set in 1905 – in New York City – Intimate Apparel tells the story of Esther, a hard-working, lonely and single African-American woman who has earned her reputation for her sewing skills – for making corsets and ladies’ undergarments.

She is surrounded by the upper crust and the ugly elements of New York City society, and through her hard work she is saving her money to open her own beauty salon where she hopes to serve black women on an equal status with her mostly white clientele.

Esther also aspires to a bit of love and romance for herself, although the options that are presented to her are not practical. One of them, the Jewish owner of a fabric store, Mr. Marks, seems like a dream match but for the issues of race and religion getting in the way.

Esther’s landlady, Mrs. Dickson, who has been successful in making matches for her gals, wishes to take on the role of a matchmaker on Esther’s behalf.

Esther receives encouraging letters from George Armstrong, a Barbados-born suitor who is a laborer on the Panama Canal. Armstrong describes himself as a friend of the church deacon’s son.

Being illiterate Esther seeks the help of two of her customers Mrs. Van Buren, a lonely member of New York City society, and Mayme, a prostitute and best friend in reading and interpreting Armstrong’s letters and responding to Armstrong’s letters in a proper manner. Both ladies, who are involved in unhappy relationships of their own, live vicariously through the letters they are writing to Armstrong on Esther’s behalf. And ultimately not only was Esther misrepresenting herself in these letters but Armstrong was doing the same as he had a friend who was “ghost writing” his letters.

Armstrong suggests marriage to Esther, sight unseen, and travels to New York to marry Esther. To Armstrong’s credit, perhaps with some good motives, Armstrong enters into this surprising marriage. However Armstrong gambles away Esther’s savings, and has his affairs. Ultimately this leaves Esther alone when she returns to her life at the boarding house – complicated by her pregnancy.

Ricky Ian Gordon’s music is easily accessible with the inclusion of many musical styles among them syncopated ragtime and other musical forms fashionable and trendy in New York City in the early 20th century. Nottage’s libretto is filled with beautiful poetry and conveys the story coherently.

Director Bartlett Sher focuses in on Intimate Apparel’s dramatic point plots in this opera adaptation which is presented simply on a turntable set which also includes video projections and photos of New York at the turn of the century. The story is told in an intimate manner with only two pianos playing Gordon’s score.

The cast of singers in Intimate Apparel represents this production of the opera’s greatest asset.

Kearstin Piper Brown gives a compelling performance as Esther – expressed with great nobility, dignity, resilience and you feel she is strong enough – in spite of her disappointments – that she will be okay – even though she has been betrayed by all.

Justin Austin gives a formidable performance as Esther’s suitor, George Armstrong – not a likable character in this opera – but his performance portrays well his dramatic arc being a kindhearted suitor to a man who decides to and succeeds in gambling away his future.

The role of Mayme, one of Esther’s best friends, is that of a prostitute, but is a role that has a range from the comic to despair, which proved to be a vehicle for yet another compelling performance. This one coming from Krysty Swann who heightens both the comic moments and dramatic moments in her singing and acting displaying her versatility.

Sympathetic was Arnold Livingston Geis as the Jewish fabric seller Mr. Marks, and the performance of the motherly and experienced landlady Mrs. Dickson by Adrienne Danrich.

Another featured performance of note was that of Naomi Louisa O’Connell as socialite Mrs. Van Buren, another one of Esther’s allies in her search for love, who successfully portrays another indifferent character in a benevolent manner.

Intimate Apparel is a noble effort and for opera lovers and theater lovers it is essential to experience. It is a new American opera with a great story to tell which is told well in this opera’s music, libretto, and its production by the Lincoln Center Theater.

City Center Encores – The Tap Dance Kid

City Center

February 3, 2022

By Mark Kappel

It’s back! After two years of hibernation due to Covid-19 lockdown and cancellations, City Center Encores opened its 2022 season with the first of its offerings which had been postponed from a previous season. The opening production is The Tap Dance Kid, a musical that premiered on Broadway in 1983, and is being presented in an energized and highly entertaining concert version from February 2-6, 2022.

The Tap Dance Kid came to be noticed not only because of its Tony nominations but also because several young actors – Alfonso Ribiero and Savion Glover among them – appeared in the role of the young Willie during its Broadway engagement – and many of them have achieved stardom in the entertainment field.

The creative team for The Tap Dance Kid is composer Henry Krieger, lyric writer Robert Lorick with a book by Charles Blackwell based on Louise Fitzhugh’s novel Nobody’s Family Is Going To Change. For this City Center Encores presentation this concert version was adapted by Lydia R. Diamond with new choreography by Jared Grimes and all under the direction of Kenny Leon.

The story takes place in the 1950’s and focuses on Willie (played by Alexander Bello) who wants to become a professional tap dancer like his uncle, Dipsey (played by Trevor Jackson) and his grandfather, Daddy Bates (played by DeWitt Fleming Jr.) who all before him were part of the family legacy. However Willie’s father, William (played by Joshua Henry), a lawyer and civil rights activist, has different plans for his son.

With both William and his wife, Ginnie (played by Adrienne Walker) having to struggle through poverty, William getting his education and succeeding as a lawyer, they didn’t want their children to have that same struggle. This upper middle class black family had its own journey, and in particular, William as an authoritarian father, has specific ideas about how his children will take their places in society. Besides young Willie’s dreams and ambitions, there is also William’s daughter Emma (played by Shahadi Wright Joseph) who finds herself ignored by her father yet she has ambitions to be a lawyer herself following in her father’s footsteps.

The Tap Dance Kid has many thematic threads including racism, a coming-of-age story, how people follow their dreams – and also a highly-charged family drama. The story is told effectively through the Henry Krieger/Robert Lorick score, and the choreography by Jared Grimes which takes the audience through a history of the art of tap dancing.

Every member of the talented cast on stage offers a major contribution to the success of this concert version of The Tap Dance Kid. But, in particular, Alexander Bello as Willie and DeWitt Fleming Jr. as Daddy Bates – Willie’s grandfather – in “Tap Tap”, Trevor Jackson as Dipsey in “Something Better” and “Fabulous Feet”, and Joshua Henry as William in his reading and performance of “William’s Song” in which William comes to terms with not fulfilling his own dreams and his goals for his family – and allows his son, Willie, to shine his own light to pursue his dream of being a professional dancer.

There is also much to say about hearing Harold Wheeler original orchestrations played by the Encores! Orchestra under the guidance of guest music director and conductor, Joseph Joubert, and Kenny Leon’s focused direction.

At the show’s end you can feel the love between the cast and the audience – and although The Tap Dance Kid is not a diamond that has been revealed in this concert version, it is a Broadway musical that deserves attention.

Prayer for the French Republic

Manhattan Theatre Club – Stage I

January 28, 2022

By Mark Kappel

Here we are in 2022 and we are still discussing how the world has not evolved over decades – politically and socially – and Joshua Harmon’s play, Prayer for the French Republic is the thought-provoking play that our times call for. Now being presented by the Manhattan Theatre Club through February 27, 2022, Harmon’s play is truly a saga – as well as an historical survey-- which reflects how much has changed but more so how little has changed.

Prayer for the French Republic begins its story-telling in 1944, in France, where a Jewish couple – the Salomon family -- anticipates news about their family’s fate. The Nazis are occupying France and the Vichy French Government is weak and powerless, and after that occupation has ended refugees have been scattered all over Europe who are trying to reconnect with family and friends and don’t know where to turn. All that they can hang to is the speculation, fantasizing about good news, and hoping for the best for their children, grandchildren, sisters, brothers, cousins, and parents. A challenging time when so many people’s lives were irrevocably changed by events not in one’s control.

This couple was able to remain in Paris during the occupation by pure luck and were the scions of a family business – making and selling pianos – pianos which were in the homes of families all over France. The wife, a prize-winning pianist, supports her husband in the family business. And the safety of their children and grandchildren are constantly on their minds.

Jumping forward from the past, Prayer for the French Republic picks up again 70 years later when this Jewish couple’s great grandchildren – the Benhamou Family -- are facing the same question as to how they fit into French society of the present. At a point in time when being confronted by terrorist and antisemitic acts which are resurfacing in Europe and making it an uncomfortable place to live for ethnic and religious minorities. Where or how do they turn in determining their future life in France.

Harmon takes up this topic in Prayer for the French Republic in family debates in both eras and depicting a similar atmosphere in which these decisions were made and were being debated – with the ghost of past family members haunting present members as they confront the issues of whether they are safe or need to leave for a safe haven in Israel.

Harmon depicts, expresses, and explains both sides of these complicated debates and predicaments for those who have to make life-changing decisions – some in comic dialogues and monologues, and also in similar dialogues and monologues of anxiety and concern. And these debates continue on into eternity.

There are moments that Harmon gets a little preachy – and sometimes the debates become too complicated to comprehend in this nearly three-hour play. However, director David Cromer has skillfully honed and drawn the pictures created by the families in each era, and highlight the inner anxieties of the members of each family.

It is Richard Topol as Patrick Salomon who narrates this compelling story and also often acts as a devil’s advocate and as an advocate for his loyalties to his homeland, France. Topol is part of an excellent and sensitive ensemble of actors, which also includes Betsy Aidem as Marcelle Benhamou, Jeff Seymour as Charles Benhamou, Francis Benhamou as Elodie Benhamou, Yair Ben-Dor as Daniel Benhamou, Pierre Epstein as Pierre Salomon, Nancy Robinette as Irma Salomon, Kenneth Tigar as Adolphe Salomon, Ari Brandt as Lucien Salomon, Peyton Lusk as the Younger Pierre Solomon – and Molly Ranson as Molly, a distant American cousin who acts as a catalyst in the debates focused on by the Benhamou Family.

Sadly, history repeats itself – the question is whether we learn from history or not. That is the crux of Harmon’s Prayer for the French Republic – which is applicable in these times that have been described as chaotic. Prayer for the French Republic is a provocative play that is engaging and timely – it is an absorbing and involving theatrical experience not to be missed for all who are seeking answers to these terrifying and thought-provoking questions.

Everything Is Choreography – The Musical Theater of Tommy Tune

By Mark Kappel

Kevin Winkler has written a monograph which is about everything that is Tommy Tune in Everything Is Choreography – The Musical Theater of Tommy Tune, which has been published by Oxford University Press.

Born in Texas, and growing up to be six feet six tall Tune was in a category of his own. At the age of 26 Tune was a seasoned and well-known Broadway performer having won a Tony Award as a Featured Actor in a musical for Seesaw in 1973 -- for which he also created choreography.

Preceding that Broadway success, Tune landed the first job he got in New York after auditioning for a summer stock tour of Irma La Douce, and in 1965 he made his Broadway debut in the musical, Baker Street. He then transitioned to be co-director and co-choreographer in 1978 for his first Broadway outing in those roles, The Best Little Whorehouse in Texas.

Tune had dual careers as a performer and director/choreographer and also in different mediums. As a performer Tune appeared in two major films, Hello, Dolly, and The Boyfriend, and thereafter television variety shows. Tune also directed two plays off-Broadway, Eve Merriam’s The Club, and Caryl Churchill’s Cloud Nine. He also appeared in a successful national tour of Bye Bye Birdie.

What followed was a string of Broadway successes including Grand Hotel, My One and Only (which he also performed in), A Day In Hollywood/A Night in the Ukraine, and The Will Rogers Follies.

In addition he also earned a reputation as a show doctor salvaging Broadway musicals that were in trouble.

Winkler describes Tune’s lineage following that of Jerome Robbins, Gower Champion, Bob Fosse and Michael Bennett as a director/choreographer. Winkler believes that Tune went a step beyond focusing on spectacle by employing state of the art stage technology with seamless staging effects to accomplish that spectacle – and Tune is still influencing current Broadway director/choreographers. In fact Winkler describes Tune as of the last of the great director/choreographers.

Notable that Tune made the remark that every show he had ever directed had been, in his creative mind, a ballet.

Winkler describes in detail the evolution and development of Tune’s major Broadway successes including The Best Little Whorehouse in Texas, Nine, My One and Only, and The Will Rogers Follies.

Most interesting to me were the details of the development of My One And Only, based on the Gershwins’ Funny Face, and pioneering the form of a jukebox musical using songs from the Gershwins’ catalogue.

My One and Only evolved originally under the guidance of director Peter Sellars, known for his avant garde and experimental theatre and opera productions – and conflicts began early between creators Sellars and Craig Smith (a frequent Sellars’ collaborator who became a team member to adapt the songs taken from the Gershwins’ catalogue) – being described as the forces of Brecht – and Tune and the forces of The Pajama Game. Sellars was fired before the first public performances of My One And Only at which point Tune was asked to take over the show while starring in it, and it was his vision that was chosen over Sellars’ vision. Tune called in some of his notable theatrical friends including Mike Nichols, and Peter Stone to provide him with help on this musical’s book – and later Michael Bennett was also brought in to make further changes but was fired after making those changes.

My One and Only focused on the relationship of champion swimmer Edith Herbert, played by Twiggy, and aviator Billy Buck Chandler, played by Tune dancing through the Gershwins’ musical catalogue.

I remember seeing a preview of My One And Only and Tune’s pre-performance curtain speech in which he apologized for the fact that newly-built scenery had not yet arrived at the St. James and the performance would be played with what was at hand. In many respects Tune saved the show, made a performance commitment to it, and also appeared in the show on tour – a commitment of nearly five years.

How The Will Rogers Follies evolved seemed to be similar to My One and Only. A collaboration of a familiar team of people and the delegation of aspects of the production to them. The Will Rogers Follies started out with John Denver as its star. Denver was also engaged to compose the score only for him to withdraw from the project. Alternative stars being considered were Gary Busey, Treat Williams, Mac Davis, and Bill Irwin before Keith Carradine was chosen to play Will Rogers. The Will Rogers Follies evolved into a financial success after a successful Broadway run and made back its investment due to its financially lucrative national tour.

Winkler’s detailed analysis of My One and Only and The Will Rogers Follies emphasized how many of Tune’s successful musicals were true collaborations.

However there was a period of time when Tune found himself associated with less successful projects. The sequel to the Best Little Whorehouse in Texas – entitled The Best Little Whorehouse Goes Public – which proved to be misguided and hampered by the fact that Tune had made a commitment to supervising a revival of Grease at around the same time period -- which was no better received on Broadway than The Best Little Whorehouse Goes Public, but became a financial success on Broadway and on a national tour.

Tune participated as a performer in a new musical that was headed to Broadway, which had many titles, but which will be referred to here as Busker Alley, a musical adaptation of the film, St. Martin’s Lane, written by the Sherman Brothers. Initially this musical was to be directed and choreographed by Jeff Calhoun with Tune making contributions. But during a financially unsuccessful out of town tour, which included revisions and changes, Tune broke his foot on tour and Busker Alley’s road to Broadway had ended.

Another ill-fated project was a stage musical of the film, Easter Parade, which Tune was to co-star in with Sandy Duncan , which wound up in development hell due to withdrawals of funding and the stars taking on other projects. Soon after Tune took over revising a stage adaptation of Dr. Doolittle which he also starred in but did not develop to the point where it could be presented on Broadway. It was unfortunate that Tune was involved in a myriad of projects which seemed ill-chosen and mis-directed at this point in his career.

In recent years Tune has returned to performing in cabaret shows and one-man touring shows.

Winkler traces the genealogy of director/choreographers who followed Tune to Broadway and how much they owed to him. Not quite clear if Tune missed Broadway or whether Tune felt that musicals he wished to create were not what Broadway audiences wanted to see.

However Winkler’s book gathers the details of Tune’s many careers in one place and is an absorbing read.

Vienna State Opera Ballet – Liebeslieder

January 15, 2022

By Mark Kappel

During this current season the Vienna State Opera Ballet has had few cancelled performances due to the ongoing pandemic and has continued to present not only live performances but also streamed performances to reach a wider audience. The most recent of these streamed performances was a triple bill of dance pieces with the overall title of Liebeslieder.

This program included a company premiere and revivals which resulted in a varied and entertaining program of dance.

Opening the program was of Jerome Robbins’ Other Dances which premiered in 1976 as a vehicle for Natalia Makarova and Mikhail Baryshnikov – one of several Robbins’ ballets choreographed to music by Frederic Chopin. This was a quiet and auspicious beginning for this program as it was elegantly danced by Hyo-Jung Kang and Davide Dato fully filling the stage space and capturing the folk elements in the choreography – with nuance and speed.

In a contrasting style was the company premiere of Concerto, a ten-minute piece choreographed by an American modernist, Lucinda Childs, and choreographed to music composed by Henryk Gorecki. In spite of the modernist and contemporary choreographic vocabulary, Concerto was conceived with symmetry rather than dissonance or disunity. Included was sharp and delineated angular movement – and to the point.

The ensemble cast of Marie Breuilles, Natalya Butchko, Laura Cislaghi, Sveva Gargiulo, Francois-Eloi Lavignac, Duccio Tariello and Daniel Vizcayo executed Childs’ choreography with exactness and precision.

The third and closing work on this program was a revival of George Balanchine’s Liebeslieder Walzer, a work that the Vienna State Opera Ballet has been dancing since 1977 yet a ballet rarely danced around the world.

A salon entertainment is set in a room in an elegant home with Johannes Brahms’ lieder sung by a quartet of singers accompanied by two pianists. The choreographic signature is variations on the waltz and it feels as if one is eavesdropping on each couple’s intimate moments throughout this dance piece.

Liebeslieder Walzer is divided into two parts with the ladies changing from regular shoes to point shoes for the second half – with the second half being somewhat dream-like as the couples are left to their own thoughts as they are listening and interpretating the music.

The cast of Claudine Schoch, Roman Lazik, Elena Bottaro, Denys Cherevychko, Liudmila Konovalova, Zsolt Torok, Maria Yakovleva and Masayu Kimoto gave animated and poetic performances in this ballet’s principal roles.

The Vienna State Opera Ballet’s Liebeslieder, offered a well-balanced and involving program of dance.

Flying Over Sunset

Vivian Beaumont Theater

January 11, 2022

By Mark Kappel

All new musicals that open on Broadway are much anticipated because one, or every one, of them could be an historic moment for the musical theater. One of the new musicals rescheduled for this season, after being postponed due to Covid-19 lockdowns, was the Lincoln Center Theater’s Flying Over Sunset which premiered back in December at the Vivian Beaumont Theater.

The creative team has a great track record of past achievements with James Lapine as both director and book writer, and Tom Kitt and Michael Korie writing the score. Then there is the story that is being told.

The audience is transported to Hollywood in the 1950’s where four people are depicted searching through their lives and trying to find answers to questions focusing on political and social issues to problems in their personal lives. Ultimately all of them meet together at a beach house overlooking the Pacific Ocean to experiment with the hallucinatory drug of choice, LSD.

The participants in this fictional meeting are well-known film star Cary Grant, novelist Aldous Huxley (an English writer and philosopher who is best known for Brave New World, a rather scary philosophical tome about the world’s future and the people who live in it), playwright, U.S. Ambassador and politician Clare Booth Luce, who espoused conservative political leanings and would be known to the theatre community for writing the Broadway play, The Women, and Gerald Heard, a British-born American historian and philosopher, who acts as a guide and mentor to them all.

In the 1950’s psychedelic drugs were tools of psychotherapy and a trendy bit of amusement for many in Hollywood.

The stories about these participants are represented in the first act of Flying Over Sunset which primarily is that of exposition. For Huxley, who is going blind, the experience allows him to see colors. For Luce she relives memories about her late daughter and her late mother. And for Cary Grant it is reconciling his experiences as a child, coping with poverty, and his unconventional parents.

At Luce’s invitation, there is a gathering of Huxley, Grant, Heard and herself at her Malibu home where they experiment using LSD – during which memories and emotions are triggered.

There are moments throughout Flying Over Sunset that makes one question if it is a musical or a play with music. But it is definitely an intriguing piece of musical theater.

In Flying Over Sunset you have an example of an enigma wrapped in an enigma as to whether the creative team and the cast achieved the alchemy to make an interesting and involving musical. Some of the alchemy works and some of it doesn’t.

In an exhibition of Michelle Dorrance’s unique approach to tap dancing, and perhaps the most compelling and entertaining moment in Flying Over Sunset, is the scene in a California psychiatrist’s office in Act I when Tony Yazbek as Cary Grant sings and dances with his younger self, Atticus Ware, in “I Have It All” and “Funny Money”. It is a showstopper.

And giving equally compelling performances are Carmen Cusack as Clare Booth Luce, Harry Hadden-Paton as Aldous Huxley, and Robert Sella as Gerald Heard.

Beowulf Boritt’s minimalist scenery design employing video and projections is atmospheric and fills the Vivian Beaumont Theater’s unique stage well.

James Lapine, along with his collaborators Tom Kitt and Michael Korie, has brought to the stage a provocative and hypnotic piece of musical theater, and I would give it a tentative yes in terms of Flying Over Sunset being worth a viewing.

La Scala Ballet – La Bayadere

January 6, 2022

By Mark Kappel

With continuing corona virus surges, cancellations of performances are rampant throughout the world and in Italy there have been no exceptions. A company premiere of Rudolf Nureyev’s production of La Bayadere was to have taken place in December – but only one performance was filmed – and the remaining performances are to take place later in January if restrictions are lifted.

Fortunately the filmed performance of La Bayadere was streamed to enable audiences in Italy and other parts of the world to view it for themselves. This was seen on January 6th, 2022 with Manuel Legris, formerly of the Paris Opera Ballet and now director of La Scala Ballet, and Florence Clerc staging Rudolf Nureyev’s production of La Bayadere.

Nureyev’s staging of La Bayadere is not much different from productions being danced by many Russian ballet companies. Its roots come from the 19th century in which the ballet’s creators imagined about what life might have been like in India without having visited the country. Marius Petipa, and composer Ludwig Minkus created a style and atmosphere that was a pastiche and imagining of what they thought was how people lived in India.

The tale is that of Solor, an Indian Warrior, who is engaged to marry the Rajah’s daughter, Gamzatti, but his affections are directed towards Nikiya, one of the temple dancers. The Brahmin informs the Rajah that Solor and Nikiya have been meeting in secret – which Gamzatti overhears – and efforts are made to persuade Nikiya to release Solor from his commitment to her. Nikiya refuses to do so, and a plot is put into action for Nikiya to be bitten by a poisonous snake in the course of her dancing turn in celebration of the marriage of Gamzatti and Solor. Even though the Brahmin offers an antidote to the poison, Nikiya refuses and her spirit haunts Solor thereafter. What follows is the famous Shades Act in which Nikiya’s spirit appears to Solor and offers most of the dancing in the ballet, and also resolves that although Solor still has a life to lead after Nikiya’s death, he feels remorse about what has transpired.

What makes Nureyev’s production of La Bayadere distinctive is its opulence and grandness which is enhanced by the colorful and extravagant designs by Luisa Spinatelli. These designs emphasize the inherent sense of the spectacular in this production.

Nicoletta Manni dancing the role of Nikiya, Timofej Andrijashenko dancing the role of Solor, and Maria Celeste Losa dancing the role of Gamzatti, all rose to the occasion in their performances along with the formidable performance of La Scala’s corps de ballet in the Shades Act.

Fortunate to have had the opportunity to see La Scala Ballet dance Rudolf Nureyev’s production of La Bayadere and to see how the company put its own stamp on this ballet.

Joburg Ballet – The Nutcracker

December 26, 2021

By Mark Kappel

Streaming technology has now made it possible to view dance and theater performances from all over the world and in the comfort of one’s home. It creates opportunities to see performances that you might not be able to see otherwise.

From December 22, 2021 through January 5, 2022, the Joburg Ballet (based in Johannesburg, South Africa) is presenting video on demand performances of the company’s production of The Nutcracker which had been filmed at the Joburg Theatre on October 13, 2021.

The Joburg Ballet’s production of The Nutcracker was produced and choreographed by the company’s artistic director, Iain MacDonald with the assistance of ballet mistress Lauren Slade, and Nicole Ferreira-Dill, Bruno Miranda, and Thabang Mabaso, who choreographed a sections of the production. The essence of this production of The Nutcracker is less is more, simple in its presentation, and not only includes the company’s dancers but also children from the Joburg Ballet School.

The story, as presented, is traditional with a few minor changes and twists. The audience is able to peak into the Stahlbaum household for its Christmas Eve Party, and Drosselmeyer brings his Columbine and Harlequin mechanical dolls to amuse the children and the party guests. He gives Clara the gift of a Nutcracker and when she falls asleep her dream begins. The slight twist is that Clara also has fallen in love with Drosselmeyer’s son, Karl, and Clara is played by an adult dancer.

In Clara’s dream the Nutcracker defeats the Mouse King and his army of mice, and Drosselmeyer takes Clara on her journey into the Land of Snow where a Snow Cavalier waits to escort her and dance through the Dance of the Snowflakes, and then on to the Sugar Plum Fairy’s Kingdom. The Nutcracker is transformed into the Sugar Plum Fairy’s Cavalier and although the Waltz of the Flowers is not included in this production, many other Act II divertissements are including the Chinese, Spanish, and Arabian Dances – and the Grand Pas de Deux danced by the Sugar Plum Fairy and her Cavalier.

Gabriel Fernandes portrayed Drosselmeyer with the required charisma, Chloe Blair as Clara portrayed Clara’s journey and coming of age experience in both in her acting and dancing, and Raun Galdino was a supportive Snow Cavalier. Nicole Ferreira-Dill as the Sugar Plum Fairy and Armando Barros as Her Cavalier danced the Grand Pas de Deux with assurance and propriety.

Fortunately the Joburg Ballet is presenting hybrid performances both live and streamed, and to gain further support and enlarging its audience, it is important for the company to continue to present its performances in both formats in the future.

Nashville Ballet – The Nutcracker

December 25, 2021

By Mark Kappel

The Nashville Ballet, founded in 1986 and currently directed by Paul Vasterling, has, along with several other American ballet companies, presented a readily available streamed version of The Nutcracker for the holiday season. On December 25, 2021, Vasterling’s production of The Nutcracker was presented through local Nashville television auspices in a made for television version.

The Nashville Ballet’s production of The Nutcracker, which premiered in 2008, was inspired by the Tennessee Centennial Exposition which in 1897 celebrated the 100th anniversary of the founding of the state of Tennessee.

Employing this jumping off point Vasterling used moments in Nashville’s history to be highlighted in his production of The Nutcracker. A concept that was enhanced by Campbell Baird’s costumes and Shigera Yaji’s scenery designs.

In keeping with tradition Act I takes place in the Stahlbaum’s family home but prior to the guests arrival, there is a Prologue during which Clara is introduced to the many participants in the exhibitions at the Exposition by Drosselmeyer. These meetings are recorded in sepia still photographs. Among the party guests were the founder of Vanderbilt University, a Hollywood actress, and notable Nashville business men.

Drosselmeyer brings a dancing bear and also a toy doll to the party. But most important he brings Clara the gift of The Nutcracker. In Clara’s dream The Nutcracker comes alive to fight the Mouse King and his mice army, then accompanies Clara through a forest of snow, and then on to the Kingdom of the Sugar Plum Fairy. However before arriving in that Kingdom, Clara and the Nutcracker arrive at Nashville’s Parthenon Gardens to participate in the Waltz of the Flowers, and ultimately arrive in the Kingdom to be the audience for the traditional Nutcracker divertissements in Act II of this ballet.

Notably both the Sugar Plum Fairy and Her Cavalier dance their variations early in Act II and return at the end of Act II to dance the Adagio and Coda – leading the finale of the ballet.

For this season’s performance, Clara is danced by an adult dancer, Molly Sansone, and the Nutcracker was danced by Noah Miller. Because of their experience, their participation in the Waltz of the Flowers heightened the effect. Lily Saito as the Sugar Plum Fairy and Nicholas Scheuer as Her Cavalier danced the variations, adagio, and coda of the Grand Pas de Deux with aplomb. Drosselmeyer, played by Jon Upleger, provided the magic in this production of The Nutcracker with the unique use of colored lights to make that magic.

Fortunate that the Nashville Ballet was not only able to offer live performances of The Nutcracker this year but also presented this made for television version which allowed a larger audience to see it.

New Jersey Ballet – The Nutcracker

December 22, 2021

By Mark Kappel

Although many arts organizations are back to presenting live performances and not relying on stream technology, there are just as many arts organizations that are presenting both live performances and streamed performances for the convenience of its audience and also to make it possible for a wider audience to see their performances. The New Jersey Ballet is one of the ballet companies in the United States that is presenting both live and streamed performances during the current season, and made one of its performances of its production of The Nutcracker available through stream technology.

This streamed performance was hosted by the Mayo Performing Arts Center in Morristown, New Jersey, which is one of the New Jersey Ballet’s performing venues. The company is based in Florham Park, New Jersey and has recently announced the appointment of Maria Kowroski, former principal dancer of the New York City Ballet, to be its Acting Artistic Director. This streamed performance of The Nutcracker was presented on December 22, 2021 with the New Jersey Symphony Orchestra providing the wonderful live music.

The New Jersey Ballet has been performing The Nutcracker since 1971 and its current production includes choreographic elements by Joseph Carow, George Tomal, and David Tamaki.

The New Jersey Ballet’s production of The Nutcracker begins with a Christmas Party in the home of the Mayor and his family, with one of the guests being Herr Drosselmeyer, who is accompanied by his nephew. Drosselmeyer brings with him a porcelain doll and a soldier doll to entertain the children, and gives Clara the special gift a Nutcracker doll. Unfortunately Clara’s brother, Fritz, grabs the doll and breaks it. However Drosselmeyer’s nephew and Clara manage to save the doll, and tuck the Nutcracker into Clara’s doll bed.

Clara falls asleep and her dream begins with mice appearing as the Christmas tree grows, and the Nutcracker leads the toy soldiers in defeating the Mouse King and his army of mice. The Nutcracker is then transformed into a Prince, and he and Clara travel through the forest where they come upon the King and Queen of Snowflakes, and then on to the Land of Sweets where they are entertained by the kingdom’s inhabitants. The divertissements culminate in the Grand Pas de Deux danced by the Sugar Plum Fairy and Her Cavalier – and upon conclusion of the festivities, Clara is transported home in a swan boat.

Notably the New Jersey Ballet dancers create a sense of community in the Act I Christmas Party, and Paul McRae as Drosselmeyer provides an animated and naturalistic interpretation of this odd man who brings magic into Clara’s young life.

The Grand Pas de Deux was stunningly danced by Se Hun Jin as the Sugar Plum Fairy, and guest artist Brooklyn Mack as her Cavalier – dancing with elegance and virtuosity. Also in command of the stage were Risa Mochizuki as the Snow Queen and Yuuki Yamamoto as the Snow King. Charming were Yuiko Honda as Clara, and Jacopo Sensoli as the Nutcracker Prince.

This was a welcome return of the New Jersey Ballet’s live performances of The Nutcracker but also providing the rare opportunity to view a performance in one’s living room -- if that is what you prefer -- to bring in the holiday season.

Valentina Kozlova’s

Dance Conservatory of New York

– Nutcracker Suite

Symphony Space

December 18, 2021

By Mark Kappel

This year after nearly two years’ absence, Valentina Kozlova’s Dance Conservatory of New York, was back on the Symphony Space’s stage to present its annual performances of Kozlova’s staging of Nutcracker Suite.

Presented on December 18, 2021, the Dance Conservatory of New York’s students collaborated to perform Nutcracker Suite, which in its one-hour length, included variations and ensembles from The Nutcracker among them all of the Act II divertissements, and other solos carved out of the score for the Conservatory’s students.

The performance featured students who have studied at Kozlova’s ballet school in Norwalk, Connecticut, with Kozlova’s staging based on the choreography of the Russian masters including Vassily Vainonen.

The Nutcracker Suite opened with the dance of the Angels from the second act of The Nutcracker with the students in a procession holding candles in the darkness – certainly giving the impression that the candle light was guiding our way to the light and also representing absent friends that have been lost. The audience is then transported to see snow in the forest and to the Land of the Sweets.

The students exemplified style and musicality from Katherine St. Jean as the Sugar Plum Fairy, Shae McGraw as Clara, and Solenne Barclay as the Christmas Star, and the ensemble dancing the Waltz of the Flowers.

This was an occasion to welcome back the students of the Dance Conservatory of New York to the Symphony Space stage, their determination to do so, and that they will continue their training and artistic growth through more performances to come.

State Ballet Theatre of Ukraine –

The Nutcracker

New Jersey Performing Arts Center

December 11, 2021

By Mark Kappel

Our performance-attending experiences changed when a lockdown and restrictions were put into effect in 2020. We are now in the process of such restrictions being revised or removed. That has allowed for performances to take place – in particular dance performances – and in particular of the annual holiday performances of The Nutcracker.

On December 11, 2021, the New Jersey Performing Arts Center in Newark, New Jersey presented the State Ballet Theatre of Ukraine in a new production of The Nutcracker, danced to Tchaikovsky’s familiar score, that was staged and adapted by the company’s artistic director Andrey Litvinov. This new production had its premiere in Dnipro, Ukraine in December 2020.

Adapted by Litvinov from E.T.A. Hoffmann’s story, The Nutcracker and the Mouse King, Litvinov has incorporated choreography by Marius Petipa, Lev Ivanov, Alexander Gorsky, Vasili Vainonen, and Anatoly Yemelyanov into the State Ballet Theatre of Ukraine’s production as well. In spite of the numerous choreographic contributions to this production of The Nutcracker it is quite traditional in its presentation – including a Christmas tree that grows – and was performed to recorded music.

The libretto still focuses on the toymaker Drosselmeyer (portrayed by Eygenii Kuchvar) who brings his creations to the Silberhaus Family’s home to celebrate Christmas Eve – offering his Columbine and Harlequin mechanical dolls. As in other productions of The Nutcracker Drosselmeyer presents a Nutcracker doll to the Silberhaus’ daughter, Marie, and after falling asleep in an armchair, Marie’s dream begins.

The Mouse King sneaks into the Silberhaus home and lies in waiting for the Nutcracker while Drosselmeyer makes his magic while the Christmas tree grows. Ultimately the Nutcracker defends himself against the Mouse King and his army of mice with the help of the intervention of both Marie and Drosselmeyer.

The Nutcracker is transformed into a Prince and he accompanies Marie in her journey first to a snow-covered land where the Prince and Marie dance a romantic pas de deux to be followed by the dance of the snowflakes – and then on to viewing a series of divertissements from many lands which is hosted by Drosselmeyer. The culminating divertissement is the Grand Pas de Deux danced by Marie and her Prince.

However in the end Marie wakes up from her dream – noting her Nutcracker doll beside her.

This production was notable for having adult dancers dancing the roles of the children at the Silberhaus Family’s Christmas Party, and a young, handsome and energetic dancer portraying the role of Drosselmeyer – with a great deal of charm and flair. The Arabian Dance, which was danced by Iona Baetler and Alexey Churich, had choreography that was infused with gymnastics and acrobatics which tested the dancers’ athletic skills, and the Spanish Dance, danced by Luminita Bivol and Dmitry Sitkevich, had all of the virtuosity of a performance of Don Quixote Pas de Deux. Both were clearly meant to rouse the audience which they did.

The role of Marie was danced by Alina Veretina, and The Nutcracker – transformed into a Prince – was danced by Sergei Zdansky. They both danced the Grand Pas de Deux with classical elegance and finesse.

What is most important is that the State Ballet Theatre of Ukraine’s The Nutcracker brought back the joys and of the holiday season which have been missed.

Mrs. Doubtfire – The Musical

Stephen Sondheim Theatre

December 10, 2021

By Mark Kappel

Among the musicals whose openings were put into doubt when New York’s lockdown took place was the musical version of the film, Mrs. Doubtfire. Fortunately Mrs. Doubtfire has survived and re-opened at the Stephen Sondheim Theatre to be part of Broadway’s new season – at last. And it has added a great deal to this Broadway theatre season with a bit of hilarity, heart, and pure family entertainment.

Based on the 1993 film that starred Robin Williams, Mrs. Doubtfire follows the path of Daniel Hillard, an out-of-work actor who loses custody of his three children in a messy divorce. In an effort to remain in his children’s lives he has created an alter ego, Euphegnia Doubtfire, a Scottish nanny, a character which takes on a life of its own and in so doing Hillard becomes the nanny to his own children. Mrs. Doubtfire helps Hillard to re-discover the life he had lost with his family, to take charge of his directionless career as an actor, and most importantly appreciating the children that he loves.

With a score by Wayne and Karey Kirkpatrick, and book by Karey Kirkpatrick and John O’Farrell, Mrs. Doubtfire comes to life in song capturing the essence of the film while creating new dimensions of the characters as well. This is the same creative team that gave us, Something Rotten, a very different slant on life on the Renaissance and William Shakespeare as a celebrity of the time.

Mrs. Doubtfire’s opening number, “What’s Wrong With This Picture” sets up the image of the Hillard Family as a family in crisis – dysfunctional and chaotic – with Miranda (played by Jenn Gambatese) and Daniel Hillard (played by Rob McClure) butting heads blow by blow with their three children, Natalie (played by Avery Sell), Christopher (played by Sam Middleton), and Lydia (played by Maria Dalanno) feeling that they are outsiders. The only alternative for some peace in the family is for the Hillards to divorce, and as a consequence Daniel is only given limited visitation with his children.

However when Miranda decides to hire a nanny Daniel’s brother Frank (played by Brad Oscar) and his significant other Andre Mayem (played by J. Harrison Ghee) transform Daniel into “Mrs. Doubtfire” in “Make Me A Woman”, a hilarious take on the disco era and magically styles Daniel into being a Mrs. Doubtfire modeled after Julia Child, Margaret Thatcher, and Eleanor Roosevelt – as compared to Cher, Jackie O or Princess Diana. And Mrs. Doubtfire gets the job of the nanny!

During the course of Mrs. Doubtfire, the musical, Daniel learns how to appreciate his children, enjoys them, becomes a better parent – and respects his ex-wife Miranda for all she has contributed to the family. Then there is the big reveal which is executed with the precision of a French farce, in “He Lied To Me” a lament sung by a Flamenco Singer (played with suitable style and comic timing by Alexandra Matteo), and throughout are the inclusions of witty and satiric observations from book writers Karen Kirkpatrick and John O’Farrell.

The score also includes witty lyrics and musical numbers that represent a new definition of variety in styles to enhance the comic moments and farce in Mrs. Doubtfire.

Arguably one can say why create a stage musical of Mrs. Doubtfire that wouldn’t include Robin Williams who created the title role in the beloved movie. However in the hands of Rob McClure, in the dual role of Daniel and Mrs. Doubtfire, he gives a tour de force performance, and he has put a personal stamp of his own on this dual role which is enhanced by his own comic talents and those as a singer and dancer. You also feel his transformation and emotions as he realizes how important his children are in his life.

Jenn Gambatese infuses the character of Miranda with emotion – which makes Miranda a more sympathetic character – in “Let Go”.

Also notable are Brad Oscar as Frank, J. Harrison Ghee as Andre, Mark Evans as Stuart Dunmire (Miranda’s new love interest), and even in his brief cameo moments, Peter Bartlett often stops the show as Mr. Jolly.

Recognizing and appreciating new and different relationships as families bring Mrs. Doubtfire to a poignant conclusion with “As Long As There Is Love”.

Jerry Zaks, who is a master of musical comedy and farce, helps to bring this story to life – with lots of humor, and a tug at the heartstrings.

The score itself is a series of numbers and dance sequences which also include a great deal of satire and hilarity made so in the hands of choreographer Lorin Latarro.

Broadway has managed to survive after a very difficult time and as often is the case when audience members are going through difficult times, Broadway comes through with a musical that boosts the spirits as well as being entertaining. Mrs. Doubtfire is that musical!

Anastasia - The Musical

State Theatre

December 4, 2021

By Mark Kappel

Theaters have not only re-opened on Broadway but also in New Jersey. The State Theatre in New Brunswick, New Jersey is once again offering its Broadway series with the State Theatre adhering to Covid-19 protocols.

Among the State Theatre’s many offerings is the national touring company production of Anastasia which is based on the 1997 animated film of the same name. This musical opened on Broadway in a stage version in 2017, and created by the exemplary team of Lynn Ahrens as the writer of the lyrics, Stephen Flaherty as the composer of the music, with a book written by Terrence McNally.

Anastasia focuses on the premise that the Grand Duchess Anastasia of Russia, one of the Czar of Russia’s daughters, escaped execution during the chaos of the Bolshevik Revolution. Years later Anya, an orphan who is suffering from amnesia, wishes to reconnect with her family and friends in a pilgrimage that has taken her to St. Petersburg. Rumors abound in St. Petersburg about the Duchess’ survival and two con men, who discover Anya’s likeness to be that of the Grand Duchess Anastasia, persuade Anya to become part of their ruse to obtain a reward for the Duchess’ recovery.

The story begins in 1906 in St. Petersburg where Anastasia is upset about the departure of her grandmother, the Empress, who is leaving for Paris. Eleven years later the Romanovs, the ruling monarchs of Russia, are captured and executed by the Bolsheviks. It was noted by Russians that the common people in Russia experienced the same conditions before and after the Bolshevik Revolution. Yet the ghosts of the Romanov Family haunt the Russian people.

About ten years later two con men, Dmitry and Vlad hear rumors that the Grand Duchess Anastasia may have survived and plan to groom Anya, the orphan they come upon, to impersonate Anastasia in order to extort money from the Dowager Empress.

The villain of the piece, Gleb, a Bolshevik revolutionary intends to arrest Anya for impersonating Anastasia, motivating Anya, Dimitri and Vlad to flee St. Petersburg and escape to Paris.

Adventures in Paris lead to reunions -- Vlad with the Dowager’s Lady in Waiting, Countess Lily among them -- and the plot moves forward in persuading the Dowager to meet Anya and recognize her as the Grand Duchess Anastasia. Anya’s impression from the Dowager seems like that the Dowager would recognize her as the Grand Duchess. But rather than facing the notoriety and chaos that comes with Anya being recognized as the lost Grand Duchess, Anya decides to give up her quest and realizes that her destiny is with Dmitry.

The score, which tells this story, includes soaring music and comic turns. Highlights are “Once Upon A December” and “Journey To The Past” sung by Anya, the comic turn of “The Countess and The Common Man, sung by Countess Lily and Vlad, and the “Quartet At The Ballet” (which includes excerpts from the ballet, Sawn Lake).

Kyla Stone gave a virtuoso performance as the young Anya displaying her vulnerability, her persistence, and someone in control of her wits.

Also outstanding were Sam McLellan as Dmitry, Bryan Seastrom as Vlad, Madeline Raube in an over the top performance as Countess Lily, and Gerri Weagraff as the regal and noble, Dowager Empress. Brandon Delgado played Gleb, the villain of the piece, with a dramatic arc in which he redeemed himself in the end, and offered his soaring voice in several musical sequences and songs in Anastasia.

Giving the audience the illusion of Anastasia being a theatrical spectacle was the amalgamation of the scenery designs by Alexander Dodge, the costume designs by Linda Cho, and the lighting design by Donald Holder – and projection designs by Aaron Rhyne.

Anastasia is certainly a Cinderella story of sorts -- it is a fairy tale that gets its unique spin -- but here Anya, an endearing heroine, is able to make her own choices about her future life – and puts her happiness ahead of wealth and power. The story is told in an imaginative and involving way – and what is important is that Anastasia is an uplifting entertainment for the audience.

York Theatre Company Presents Cheek to Cheek: Irving Berlin in Hollywood

The Theatre at St. Jean’s

November 28, 2021

By Mark Kappel

Performing at its temporary home, The Theatre at Jean’s, the York Theatre Company is presenting the world premiere of Cheek to Cheek: Irving Berlin in Hollywood, a celebration of Irving Berlin’s music from Hollywood films, in a limited engagement from November 24, 2021 through January 2, 2022.

With music and lyrics by Irving Berlin, a book by Barry Kleinbort, with direction and choreography by Randy Skinner, Cheek to Cheek is not only a celebration of Berlin’s music but particularly Berlin’s penchant for composing danceable music which contributed to memorable dance sequences in such well-known Hollywood films as Top Hat, Alexander’s Ragtime Band, Holiday Inn, Easter Parade, and White Christmas. Also not surprising was that Berlin’s music was influenced by the dance crazes of the day.

During Berlin’s 60-year career as a songwriter he wrote about 1500 songs among them included in scores for 20 Broadway musicals and 15 Hollywood films – and for his songs, Berlin was nominated for eight Academy Awards.

With Randy Skinner at the helm of Cheek to Cheek as choreographer and director there were many numbers in the show that were choreographed for tap but as Berlin was a composer whose songs were not only meant to be sung but were also utilized as backdrops for dancing in many films, Berlin’s music was appropriate for many dance styles. Skinner showed his ingenuity appropriately in choreographing in a diversity of styles matching Berlin’s musical sensibilities.

As Berlin’s music was composed with singing and dancing in mind Skinner skillfully employed both of those elements in Cheek to Cheek which was also enhanced by Kleinbort’s informative narrative. One gets to know a lot more about Berlin’s personal life than one could have known before.

If Cheek to Cheek has a point of view and focus it was to re-discover the elements of singing and dancing in Berlin’s songs, for his Academy Award nominated songs to be sung, and also to include a few songs that were less well known but worth singing out of the 1500 songs that Berlin composed during his lifetime. The sense of humor and optimism was evident in the way these songs were performed – both sung and danced – and were also left in the hands and feet of a versatile cast. They not only performed the songs but also interpreted them, and danced to them, illuminating Berlin’s intent.

Setting the tone Cheek to Cheek opens with newsreel film of Al Jolson singing Berlin’s Blue Skies in what was among the first musical movies – and then on to the opening number of Let Yourself Go from Follow The Feet performed by the entire cast -- and you know you are in for a lively, optimistic, and entertaining performance.

Participants in this celebration are the singer/actor/dancers Phillip Attmore, Jeremy Benton, Victoria Byrd, Kaitlyn Davidson, Joseph Medeiros, Melanie Moore who contributed greatly individually and as an ensemble in Cheek to Cheek.

There were notable ensemble and individual performances of Berlin songs in Cheek to Cheek by this cast. Among them was that of “I Used To Play It By Ear” – circa 1965 – which was re-discovered from Berlin’s last movie musical that never happened – given a wonderful performance by Kaitlyn Davidson and Joseph Medeiros. Also there was Davidson’s moving performance of “Be Careful, It’s My Heart” from Holiday Inn, and the ensemble performance of “I Poured My Heart Into A Song” from Second Fiddle performed by Davidson, Jeremy Benton, Phillip Attmore, and Melanie Moore.

From White Christmas’ score was “Count Your Blessings” (sung and performed by Medeiros and Victoria Byrd), “The Best Things Happen While You’re Dancing” (featuring Benton and Moore), and Davidson singing “Love You Didn’t Do Right By Me”. Also Attmore, Benton and Medeiros lent their personalities and dancing skills to “Drum Crazy” from Easter Parade.

Berlin wrote for the actors who would be performing them – customized and tailored to their talents – and Skinner cleverly chose which cast members would be most suited to the Berlin songs presented in Cheek to Cheek.

And all is performed in a jam-packed 80 minutes with energy and charm – an antidote for the winter blues if you have them.

Twyla Now

City Center

November 20, 2021

By Mark Kappel

From November 17-21, 2021 the City Center is celebrating the 50th anniversary of Twyla Tharp’s choreographic debut on the on the City Center stage. This series of performances is entitled Twyla Now, a significant artistic statement that Tharp remains an important choreographic and artistic voice.

This program of dance included two familiar Tharp pieces, and two world premieres which were danced by members of the New York City Ballet, American Ballet Theatre, and the Alvin Ailey American Dance Theater, and all of these pieces exhibiting Tharp’s signature on them. The overall artistic character of this program was Tharp reaching into the past and also choreographing new works for the future – and also dancers for the future as she has recruited a group of young dancers to appear as part of one of the world premieres. But most of all it states that Tharp is not only a significant contributor to the art of dance – in the past and present – but she plans to be an active contributor to the art of dance in the future.

The performance also had the added enhancement of live music which was very welcome.

The program was dominated by three duets which represented a survey of Tharp’s work – but also included a world premiere.

Opening the program was Cornbread, danced to music by Carolina Chocolate Drops, and danced by Tiler Peck and Roman Mejia of the New York City Ballet.

The music set the tone of the piece as it was a little bit of country and a little bit of western with banjo instrumentation and vocals – representing different moods – but happy and positive predominating. The intricate choreography which included intricate partnering filled the stage with expansive and playful dancing.

Peck and Mejia danced Cornbread with a bit of swagger and assertiveness, and their performances jumped past the footlights to the audience.

The first of two world premieres was Second Duet which was choreographed to music by Thomas Larcher and Aztec Camera, and was danced by Cassandra Trenary and Aran Bell of American Ballet Theatre. Performed to live music – Stephen Gosling playing a prepared piano and Gabriel Cabezas playing cello – this was modern and post-modern choreography progressing in an erratic manner ranging from comic to despondent – clingy – and often exhausting to watch.

Primarily Bell’s function was to lift and carry Trenary throughout the piece executing pretzel-like shapes wrapping around each other – and a little bit eerie. One has to admire a different direction in Tharp’s choreography and also how the dancers successfully interpreted Tharp’s choreographic thoughts.

The third duet, Pergolesi, was choreographed to music composed by Giovanni Pergolesi, and danced by Sara Mearns of the New York City Ballet, and Robbie Fairchild, formerly of the New York City Ballet.

Tharp choreographed Pergolesi for Mikhail Baryshnikov and herself, and in this version the roles were gender switched -- Mearns danced Baryshnikov’s role and Fairchild danced Tharp’s role. In switching these roles Pergolesi was effectively transformed with the humor portrayed with a wink and a nod. The piece is filled with self-deprecating humor and is a conversation in dance. The added sense of intrigue is that the dancers never touch each other.

In this Tharp environment both Mearns and Fairchild brought their personalities into these roles and as Peck and Mejia did in Cornbread, projected their performances beyond the stage’s footlights.

The largest piece on the program – in terms of participating dancers – was the world premiere of All In. Choreographed to music by Johannes Brahms for clarinet and piano, in this dance piece Fairchild, Bell, Mearns, Mejia, Trenary and Peck were joined by Jacquelin Harris and James Gilmer, and Tharp’s six young recruits, Brady Farrar, Savannah Kristich, Zoe Leibold, J’Var Martin, Gabrielle Rembert, and William Woodward.

All In came across as a predictable piece of choreography with the mature dancers co-mingling with the young aspirants, who were primarily used in counterpoint to the other dancers on stage. They quickly emerged as being out of place but also reflected the random nature of Tharp’s choreography not only for these young aspirants but also for all of the cast members.

Whether you are a fan of Tharp’s choreographic voice or not, Twyla Now, fills what has been a dance vacuum that has been created by the ongoing pandemic. It’s important to know that Tharp’s work can be appreciated looking back on past creations, and also that she is looking forward into the future.

Baby

Theatrelab

November 13, 2021

By Mark Kappel

In 2019 Out of the Box Theatrics had presented a unique revival of Baby, a musical which had its premiere on Broadway in 1983. After this revival’s success there were plans to re-open this revival of Baby in 2020. But that revival had to be postponed indefinitely until after the pandemic lockdown. The hiatus caused by the pandemic lockdown has made it possible for Out of the Box Theatrics to work with Baby’s creative team to update this musical to the present. Fortunately Out of the Box Theatrics’ new revival has been re-opened at Theatrelab -- from November 5 through December 12, 2021 -- giving a wider audience the opportunity to see this revision of Baby and enjoy its story – and relevance to today.

Baby’s book by Sybille Pearson, and the music by David Shire and lyrics by Richard Maltby, Jr. shares the experiences of three couples on a university campus coping with the emotions, conflicts, and rewards of planning to be, wishing to be, and what it is like to be parents. One of the couples is struggling to have children. Another, a young couple, who are coping with an unexpected pregnancy, and a third couple also having to make the choice about having a baby late in life after having raised four children already.

This revival offers the unique perspectives of a what is now a same sex couple, and a younger couple in which the partnership is that of a man with a hearing disability – whose passion is music – and a legally blind woman, which presents a very different slant on how the stories are told.

These couples are now modern couples – based on the lives that couples live in 2021 rather than in 1983 -- and their journeys are that much more relevant as presented in this intimate and immediate production which has been skillfully and imaginatively directed by Out of the Box Theatrics’ Associate Artistic Director Ethan Paulini.

Lizzie (played by Elizabeth Flemming) and Danny (played by Danny Link) represent the youngest of the couples with Lizzie having a sight disability, and Danny having a hearing disability, and how they cope in this unconventional relationship with their concerns about parenthood, and having their baby.

Pam (played by Danielle Summons) and Nicki (played by Jamila Sabares-Klemm) are the same-sex couple who have been experimenting with invitro and other methods of having a baby, and after the emotional hills and valleys of going through this process ultimately decide to continue with their efforts to bring a baby into their lives.

Arlene (played by Julia Murney) and Alan (played by Robert H. Fowler) make up the mature couple who had four children during their 20’s, and now this unexpected pregnancy – which unfortunately results in a miscarriage.This emotional tragedy triggers questions that both Arlene and Allan have about the health of their marriage.

David Shire and Richard Maltby, Jr. have provided a wonderful score as the foundation for Baby which moves the story forward and also provides insightful thoughts about how each individual character is feeling about what they are living through, and how they are navigating through their emotions during these difficult time periods.

The cast is made of excellent actor/singers and they all give notable and moving performances of every song in Baby’s score. But one must single out the performances of “Patterns” sung by Julia Murney as Arlene, “The Story Goes On” sung by Elizabeth Flemming as Lizzie, “And What If We Had Loved Like That” sung by Murney, and Robert H. Fowler as Alan, and “Fatherhood Blues” sung by the fathers to be.

Baby could be a musical that may only be described as charming and somewhat innocent. However in this version it is also poignant and more involving for the audience. This is especially so in this production that Paulini has directed, and in the intimate theatrical space it is being performed in where every audience member is experiencing what these three couples are feeling and living through their journeys on every emotional level.

Even if you don’t have a child or haven’t thought about parenthood there is much to enjoy in this revival/revisal of Baby.

Trevor: The Musical

Stage 42

November 6, 2021

By Mark Kappel

Based on the Academy Award-winning film, Trevor, Trevor: The Musical has opened off-Broadway at Stage 42 and has come at a time when audiences are searching for entertainment and a story that tries to help us cope and explain our complicated lives. And there is lots to enjoy here as the story told is about the obstacles inherent in the process of coming of age, rites of passage, and other familiar challenges of being an outlier and trying to fit in.

With book and lyrics by Dan Collins and music by Julianne Wick Davis, Trevor: The Musical tells the story of a 13-year-old teen who has an expansive imagination and has the lofty ambition of making it in show business. Along the way he deals with the changes in life that come when aging into a teenager, fitting into the world around him, and negotiating a truce between himself and his parents.

Portrayed by Holden William Hagelberger, Trevor finds himself in American suburbia in the early 1980’s. He is stage struck, reflects in his own aura, and also has an obsession for Diana Ross – and most importantly -- pursuing a career in show business. His hopes are dashed when he is not chosen to participate in Lakeview Junior High School’s talent show, and Trevor comes up with a scheme to get involved which is persuading Pinkie Farraday, the hero athlete at Lakeview, and his football teammates to appear in a song and dance number in the talent show – staged and conceived by Trevor – with the end result to improve his own reputation at school, and fitting in. But the effort is sabotaged by Lakeview’s version of the mean girls.

Trevor’s rite of passage is unique, and he is publicly embarrassed and ridiculed when he is betrayed by Farraday and his teammates, and his charm doesn’t save him. The most serious aspect of Trevor: The Musical is that Trevor attempts suicide because he cannot cope with how he has been victimized by those around him. However in the end his friends, classmates, and his parents accept him, he accepts himself, and he defines for himself a path for his own future.

The score wonderfully reflects Trevor’s ups and downs, and successfully and poignantly reveals Trevor’s inner self – as well as the stories of his friends and classmates. The score also comingles new songs with bits and pieces of Diana Ross’s greatest hits.

The core of Trevor’s success as a musical is not only the compelling story which is so well told, but also the energy level of the young cast.

Newcomer Holden William Hagelberger gives a star performance in the title role as do Sammy Dell as Pinki Faraday – who is Trevor’s crush – Aryan Simihadri as Trevor’s best friend Walter, Isabel Medina as Frannie, who betrays Trevor in order to retain her place in the middle school’s popularity hierarchy, Sally Wilfert as Trevor’s Mom who is obsessed with the attempted assassination of President Ronald Reagan, and Jarrod Zimmerman as Trevor’s perplexed Dad.

Also much credit must be given to director Marc Bruni who has a fix on telling Trevor’s chronicle of his own life – and fairy tale -- and choreographer Josh Prince who ups Trevor’s energy level.

What is enjoyable is to take the journey that Trevor is taking – both as a charmer, idealist, and coping with the confusing world around him – and Trevor: The Musical has heart. Not all of the questions are answered, but Trevor provokes us to think about the world the way it is, and what it could be.

Dance Theatre of Harlem – A History

By Mark Kappel

Dance Theatre of Harlem by Judy Tyrus and Paul Novosel, published by Kensington Publishing, has a significant subtitle: A History A Movement A Celebration. That subtitle represents the point of view of this book written by Tyrus, a former principal dancer of the Dance Theatre of Harlem, and Novosel, as the Dance Theatre of Harlem’s assistant archivist.

From the moment that the Dance Theatre of Harlem was established in 1969, with Arthur Mitchell and Karel Shook as co-artistic directors -- at the height of the American civil rights movement -- this was an historic moment. It was also inspired and it was a movement unto itself.

This book provides an all-inclusive history of how Dance Theatre of Harlem was established, the people who planted the seeds for the company initially, and how the company has reinvented itself over the years in order to overcome economic and artistic struggles.

Among those details include those about Mitchell’s career with the New York City Ballet and other companies he danced with – and his dance training – and biographical background about Karel Shook, and his mutual relationships he had with Mitchell before they began their co-artistic directorship of the Dance Theatre of Harlem.

An important aspect of the Dance Theatre of Harlem’s story is about how the company’s repertoire evolved. Works by George Balanchine, Geoffrey Holder, Glen Tetley were among those acquired by the company in its early days, and then adding John Taras’ Firebird, Valerie Bettis’ A Streetcar Named Desire, and Agnes de Mille’s Fall River Legend – and its own version of Giselle staged by Frederic Franklin which revised the ballet’s libretto and set the story in Louisiana. Franklin also staged other 19th century classics for the company and other additions to the company’s repertoire included Mikhail Fokine’s Scheherazade.

One of the more interesting anecdotes in the book was about Arthur Mitchell’s – and the Dance Theatre of Harlem’s – dilemma in acquiring ballets choreographed by George Balanchine after Balanchine’s death. At that time the Dance Theatre of Harlem then needed to negotiate with each ballet’s heir about performing rights – which could be more expensive than anticipated – and also the requirement of engaging a stager to re-stage the work at intervals. After Balanchine’s death when a stager might be restaging a work that Mitchell created a role in, he found himself intervening in regard to the staging when it came to the original choreography which could have put him on the wrong side of whoever was the rights holder for that ballet.

Also important in the company’s history were domestic and international touring engagements – a particularly important international tour was a tour of South Africa but there were many other breakthrough tours to the Soviet Union and China. And of course there were the times of ups and downs when it came to the Dance Theatre of Harlem’s finances which on a few occasions required the company to suspend operations.

The Dance Theatre of Harlem’s most significant hiatus was from 2004 which lasted for six years. In one of the few instances in the book, the authors questioned Arthur Mitchell’s leadership ability before this hiatus and during the hiatus with the focus on a solution being that there had to be a rethinking of how the company was led, its finances, and its general operations in order for the company to return to dancing. The authors contend that what wasn’t thought about was retrenchment, rethinking, and recognizing the changes taking place in the dance world.

When the Dance Theatre of Harlem restored operations in 2011 it was without Arthur Mitchell as the artistic director. Virginia Johnson, one of the Dance Theatre of Harlem’s leading principal dancers, succeeded Mitchell as artistic director. With the company performing again there was a strong sense of survival, and the need to move forward – and constant reinvention and evolving.

In this book the Dance Theatre of Harlem’s history is told with photos, backstage stories, portraits of dancers and staff tracing the important movers and shakers who influenced the company’s visibility and its artistic legacy – and it is all encompassing. Also this story is told in the context of the social and political issues facing Americans during the company’s formative years and beyond.

Written in easy to read prose and thorough in highlighting biographies of artists who influenced Mitchell and Shook, also included are comments by dance critics observing the company’s development.

This book on the birth of the Dance Theatre of Harlem is a guide for establishing and building any arts organization, literally from the ground up.

Boston Ballet – reSTART

November 1, 2021

By Mark Kappel

The Boston Ballet had an online presence last season producing a series of streamed performances which allowed balletomanes all over the world to view the company’s performances. For the 2021-2022 season, the Boston Ballet is presenting a hybrid season of live and streamed performances.

The first of the streamed performances is entitled reSTART being presented from October 28 – November 7, 2021 which is a hybrid unto itself with one work created for the film medium, and other works -- new and familiar -- that were videoed in versions supervised by Ernesto Galan.

The filmed work is Yin Yue’s A Common Movement which was choreographed to music by Bobby Timmons, Lee Morgan and Alice Coltrane, and filmed in outdoor locations in Boston Common in the city of Boston.

Divided into five sections – with the first section danced by a full group of dancers – and following were the sections of Bridge Dancers (danced by Maria Alvarez, Louise Hautfeuille, Lauren Herfindahl, Sangmin Lee, Ao Wang, and Patrick Yocum), Willow Trees (danced by Ji Young Chae, Tyson Clark, Haley Schwan, My’kal Stromile) Bandstand (a large ensemble section), and Swing Pas de Deux Couples (danced by Paul Craig, Sage Humphries, Abigail Merlis, Gearoid Solan, Nikolia Mamalakis, and Schuyler Wijsen).

Seen throughout A Common Movement were groups of dancers on green lawns celebrating the reduction of restrictions, and stating clearly that the Boston Ballet was back.

Following was the Balcony Scene from Romeo and Juliet danced by Soo-Bin Lee and Seokjoo Kim, two Korean dancers now members of the Boston Ballet. This was a balcony scene without a balcony but not lacking in heightened dramatic tension and the dancers reflecting the love between these two characters. Although the choreography was credited as traditional there was the expected ebb and flow in the choreography that was in Prokofiev’s music.

As a preview was an excerpt from Jorma Elo’s Ruth’s Dance, choreographed to Bach’s Widerstehe doch der Sunde as transcribed by Vikingur Olafsson, which was danced by Lasha Khozashvili and Addie Tapp. Piano provided the musical backdrop for Elo’s choreography – an uncomplicated response to Bach’s uncomplicated music and expressed well by the two dancers.

In a staging by Sandra Jennings, the Boston Ballet presented George Balanchine’s Apollo which had been premiered by Serge Diaghilev’s Ballets Russes in 1928 – and was the first major collaboration between Balanchine and Igor Stravinsky. This ballet has also had an important role in Boston Ballet’s history with a company premiere in 1965. Presented in this streamed performance was Balanchine’s revised version from 1979 without the Birth Scene and the new ending.

In Apollo, the Greek God of Music (danced by Paulo Arrais) interacts with his muses, Terpsichore (danced by Lia Cirio), Calliope (danced by Viktorina Kapitonova), and Polyhymnia (danced by Chyrstyn Fentroy). Through the years of Balanchine’s life, Balanchine made revisions in his choreography for Apollo and also simplified the designs. In this revised version the pure essence of Balanchine’s choreography remains and in this streamed platform, the ballet is presented in an intimate setting which highlights Balanchine’s artistic intention. The spare modernism is emphasized as well as the dignity of Apollo and his muses which were exemplified in the solid performances by the dancers.

This streamed presentation ended with a full company Grand Defile danced to the finale movement of Tchaikovsky’s Symphony No. 5.

reSTART has ushered in a new beginning for the Boston Ballet and its audiences – both in live performances in Boston, and streamed performances that can be seen all over the world.

American Ballet Theatre’s Triple Bill

David Koch Theater

October 29, 2021

By Mark Kappel

During the second week of American Ballet Theatre’s fall season at the David Koch Theater the company has been presenting triple bills including a world premiere ballet, and ballets and dance pieces that American Ballet Theatre presented during its online streaming seasons while the company was on hiatus from live performances.

On October 29, 2021 American Ballet Theatre performed what was truly a mixed-bill program which included ballets and dance pieces in different styles but also vintage and new.

Opening the program was Lauren Lovette’s La Follia Variations which had been danced by the ABT Studio Company and seen during American Ballet Theatre’s online streaming season.

Choreographed to music by Francesco Geminiani, and for eight dancers, this piece’s choreography reflected allusions to Balanchine’s ballets, a repertoire that Lovette would be familiar with during her time as principal dancer with the New York City Ballet, and also with added influences from Twyla Tharp and William Forsythe. But the predominant style was that of neo-classicism with a twist.

With the men costumed in red and the women in multi-colored costumes La Follia Variations was a bit of a confection. Throughout the piece Lovette responds choreographically to Geminiani’s music and serves as a showcase for its cast members including Kiely Groenewegen, Carlos Gonzalez, Lauren Bonfiglio, Tyler Maloney, Abbey Marrison, Joao Menegussi, Chloe Misseldine, and Jose Sebastian taken from the younger ranks of the company.

The vintage work on this program was Antony Tudor’s Pillar of Fire, a dance play, which tells the story of Hagar (danced by Devon Teuscher) as she discovers relationships with two different men, A Friend of the Family (danced by Thomas Forster), and the Man From The House Opposite (danced by James Whiteside).

Facing what she believes might be the life of a spinster like her sister, and having experienced her straight-laced and Puritan upbringing, Hagar appears awkward and unsure as she must decide between idolized love and love that she might be fearful of. This story of sexual tension is choreographed to Arnold Schoenberg’s enigmatic music, Transfigured Night, and still has a dramatic punch since its world premiere in 1942.

Serving Tudor’s objective was Teuscher’s intense performance as Hagar in which she also emphasized the dramatic details in the choreography in drawing her character, as well as Thomas Forster’s empathetic performance as the Family Friend, and James Whiteside’s subtle yet macho performance as the Man From the House Opposite.

Closing the program was a world premiere, Jessica Lang’s Zig Zag, a piece choreographed to the recordings of Tony Bennett (with a duet with Lady Gaga) buoyed by Derek McLane’s designs inspired by Bennett’s artwork – paying tribute to Bennett’s own interest in black and white line drawings which included a panorama of New York City landmarks, and portraits of musicians in Bennett’s band – with an overall Broadway inspiration.

Zig Zag, a work for 14 dancers, is very much an ensemble piece inspired by Tony Bennett’s interpretation of song standards and songs from the American Song Book. Although Lang’s Twyla Tharp’s influenced choreography does not always connect with Bennett’s unique renditions of the songs that were chosen, she has used the dancers she has chosen well, and Zig Zag is clearly entertaining – entertaining in a good way.

The large cast was led by Isabella Boylston, Aran Bell, Katherine Williams, Blaine Hoven, Erica Lall, and Calvin Royal III who all had their moments to shine.

These pieces chosen for this triple emphasized variety in choreographic styles and proved to be an excellent display of the dancers dancing in them.

City Center Fall for Dance Festival – Program 5

City Center

October 24, 2021

By Mark Kappel

Program 5 of the City Center Fall for Dance Festival included both world and New York premieres choreographed in diverse dance styles and focusing on the talents of particular dancers. Also two of the pieces were given their premieres at the Vail International Dance Festival.

Opening the program was Alexei Ratmansky’s solo Fandango, which was danced by Roman Mejia of the New York City Ballet. Ratmansky choreographed his original version of Fandango as a vehicle for Wendy Whelan while this version was adapted for a performance by a male dancer.

Choreographed to music composed by Luigi Boccherini, there was a romantic feeling reflected in this piece but only a tinge of Spanish dance. However Fandango is a perfect vehicle for a virtuoso dancer – and Mejia is certainly that.

Mejia interacted with the wonderful musicians that were on the stage with him, and exhibited his showmanship and stage presence – and a bit of virtuosity and his performance personality.

Tiler Peck of the New York City Ballet and Herman Cornejo of American Ballet Theatre teamed to dance the New York premiere of Justin Peck’s Bloom. Bloom is choreographed to a commissioned score by Caroline Shaw, and its artistic and choreographic inspiration is George Balanchine’s Tschaikovsky Pas de Deux. In fact you can hear a bit of Tchaikovsky’s music in the solo variations of this pas de deux which is constructed similar to a 19th century classical pas de deux – adagio, variations, and coda.

Also with the musicians on the stage, and the dancers interacting with them, Peck’s choreographic approach was Jerome Robbins-like – breezy and freeing – and virtuoso – and drawing on the best of both dancers.

To close the program was a City Center commission and world premiere, Where We Dwell, choreographed and performed by virtuoso tap dancer, Ayodele Casel, with the amazing cast of Jared Alexander, Amanda Castro, Kurt Csolak, Naomi Funaki, Quynn Johnson, John Manzari, and Dre Torres in support.

Where We Dwell was choreographed to music composed by Crystal Monee Hall – although there were a few familiar tunes by Gershwin among them that could be identified – and with Torya Beard credited for direction and staging.
Casel’s unique approach to tapping was evident in this piece – not only a showcase for her dancing but also of the incredible tappers that surrounded her.

I have used the adjective of virtuoso in describing the dancers participating in this program and it is for emphasis rather than being redundant. This was a fitting final program for this year’s City Center Fall for Dance Festival – creating a feeling of normalcy.

American Ballet Theatre Dances Giselle

David Koch Theater

October 23, 2021

By Mark Kappel

Fall in New York has made it possible for audiences to have reunions with their favorite dance companies which have not been able to set foot on the stages of theatres for the first time in 18 months. We can think about what has been lost or gained – but the conventional description and greeting would be, “Welcome Home!”, after what has been an overly long absence.

American Ballet Theatre opened its fall season at the David Koch Theater performing a full-length 19th century classic that has held a special place in the company’s repertoire, Giselle. A ballet that premiered in Paris in 1841, staged for American Ballet Theatre by Anton Dolin in 1940, and a ballet that American Ballet Theatre has danced in several different productions over the decades since the company’s founding. This was also the first time in decades since American Ballet Theatre performed a full-length ballet at the David Koch Theater.

American Ballet Theatre’s current production of Giselle is credited to Kevin McKenzie, American Ballet Theatre’s current artistic director, and is traditional in nearly every aspect. The story is told clearly, the choreography is familiar, and also the interpretations of the principal roles are traditional and familiar. However there has been additional interest in these performances as there have been many debuts by American Ballet Theatre dancers in Giselle.

Giselle’s story is that of a jilted peasant girl who is taken in by a cad of an aristocrat – Count Albrecht – who has disguised himself as a peasant villager in order to court her. This story of young love falls to pieces as another one of Giselle’s admirers, Hilarion, reveals Albrecht for what he is. This revelation results in Giselle’s death due to a broken heart. In the second half of the story, Albrecht mourns the loss of Giselle and imagines her spirit – that spirit rescues Albrecht from being danced to death by the Wilis who are the spirits of jilted lovers of the past. Although the story does not end well, there is the feeling that Albrechthas shown remorse in how he had treated Giselle.

Also important in any production of Giselle is capturing the romantic style inherent in the ballet’s choreography for the ballerina dancing Giselle – as a human and a spirit – to inhabit both aspects of Giselle as she forgives Albrecht for what he has done to her. There is also a bit of virtuoso dancing but the challenge for the dancers dancing this ballet is that of the adagio dancing in the ballet, and their abilities as actors to tell the story.

For the evening performance of April 23, 2021, American Ballet Theatre presented the debut of Christine Shevchenko in the title role and the New York debut of Aran Bell as Albrecht – with Devon Teuscher dancing the role of Queen of the Wilis.

Shevchenko successfully portrayed Giselle as the delicate and innocent young girl that she is, and was also successful in bifurcating the human Giselle and the spirit of Giselle as a Wili. Aran Bell played Albrecht as the disdainful seducer that he is. He is without shame in betraying Giselle.

Shevchenko and Bell were moving in their dancing and both are excellent dance-actors threading the needle to clarify some of the disparate narrative in this production of Giselle.

Teuscher was suitably imperious and commanding as Myrta, and Betsy McBride and Carlos Gonzalez gave fresh performances in their energetic and classically superb performance in the Peasant Pas de Deux.

An enthusiastic audience welcomed back American Ballet Theatre at this performance – and one looks forward to the remainder of American Ballet Theatre’s fall season.

City Center Fall for Dance Festival – Program 4

City Center

October 22, 2021

By Mark Kappel

Although a short program – even with a last minute addition – the City Center Fall for Dance Festival’s Program 4 was another presentation that emphasized different styles of dance and different styles in performing dance.

Opening the program was Philadelphia’s Ballet X with the New York premiere of Matthew Neenan’s Mapping Out A Sky. Neenan, one of the principal choreographers of Ballet X, choreographed this piece to instrumental arrangements of recorded songs from Stephen Sondheim’s Sweeney Todd and Sunday in the Park in George by Nico Muhly, Steve Reich, Duncan Sheik, Thomas Newman, and Wynton Marsalis as played by pianist Anthony De Mare. The arrangements of Sondheim’s music reflected more about the arrangers than Sondheim as a composer and the melodies were obscured in the process. Often Sondheim’s music was transformed into pulsing rhythms more to suit Neenan’s contemporary ballet approach to the music.

Premiered earlier this year, Neenan interpreted these songs in a quirky manner which was not a fluid connection between music and choreography. But Neenan’s choreography was well interpreted by the ensemble cast of Shawn Cusseaux, Jonah Delgado, Francesca Forcella, Blake Krapels, Skyler Lubin, Alexandra Policaro, Ashley Simpson, Erik Trope, Pete Leo Walker, and Andrea Yorita.

Lil Buck returned to the City Center stage with his unique approach to dance and dance movement in the New York premiere of his solo piece, 38109, choreographed to music composed by Caroline Shaw and given its world premiere at the Vail International Dance Festival in 2018.

In this short solo Lil Buck was costumed in his signature white sneakers dancing to spoken word, music and sound – climbing and Lil Buck’s signature “walking choreography” as he effortlessly filled the stage space.

The City Center has commissioned several works for this year’s Fall for Dance Festival and on Program 4 of the Festival, the Lar Lubovitch Dance Company presented the world premiere of Lar Lubovitch’s Each In His Own Time, which was danced by Adrian Danchig-Waring and Joseph Gordon of the New York City Ballet.

In this Jerome Robbins-like duet for two male dancers choreographed to piano music composed by Johannes Brahms and played by pianist Susan Walters, Lubovitch matched the rambling and romantic nature of Brahms’ music creating a mood of calm. This was truly a collaboration of a choreographer with the two dancers and the pianist.

An addition to the program was Caleb Teicher & Company dancing an excerpt from Caleb Teicher’s and Nathan Bugh’s Meet Ella – and both Teicher and Bugh were members of the cast along with Evita Arce and Macy Sullivan.

Choreographed to a recording of Ella Fitzgerald’s How High The Moon – an improvisation until itself – this excerpt from Meet Ella was equally an improvisation of choreography, comic movement, and the goal of entertaining the audience. The work not only celebrated the genius of Ella Fitzgerald but also her wit and humor – an unexpected surprise to end this performance.

City Center Fall for Dance Festival – Program 3

City Center

October 20, 2021

By Mark Kappel

The City Center Fall for Dance Festival Program 3 was another program included in this year’s festival that reflected diversity – not only in terms of dance styles but also in the manner that the choreographers intended their voices to be heard.

Program 3 included a major American ballet company – the newly renamed Philadelphia Ballet -- which danced the New York premiere of Juliano Nunes’ Connection. Choreographed to music by Ezio Bosso and premiering in 2019, Nunes’ choreography focused on fluid movement in response to Bosso’s music – sometimes channeling the styles of Jiri Kylian and Glen Tetley. With heavy partnering elements, manipulation, and constant movement, Connection had a continuous ebb and flow.

Connection was well danced by the cast of Thays Golz, Ashton Roxander, Zecheng Liang, Yuka Iseda, Arian Molina Soca, Lucia Erickson, Nayara Lopes, Jack Thomas, So Jung Shin, and Russell Ducker.

Micaela Taylor’s The TL Collective danced Micaela Taylor’s Drift, choreographed to a mish mash of music by various artists and spoken word, presented at the Festival as its New York premiere. Taylor’s choreographic and movement vocabulary is evocative and highly charged, and enhanced by the dancers often lip-synching the lyrics of the music pieces that Taylor interprets choreographically and in full body movement.

With a cast including Jennifer Lacy, Kaia Makihara, Jessie Lee Thorne, Gianna Todisco, and Taylor herself, these dancers articulated Taylor’s concept and choreography with great intensity.

Step Afrika! was founded by C. Brian Williams in 1994 and is the first professional company dedicated to the tradition of the dance form, stepping – a hybrid of choreography and dance that has been synthesized with many different percussive dance styles. There is also an emphasis on teamwork which was on display in the world premiere of Conrad Kelly II’s The Movement.

In his dance piece Kelly infuses a strong and passionate reaction to racial incidents and issues in the United States with the dance evolving from silence, words from speeches, and the projections of the names of victims.

The Movement never stops and was a high power closer for this program.

Kathryn Posin Dance Company

Gene Frankel Theater

October 19, 2021

By Mark Kappel

Returning to live performances, on October 19, 2021, the Kathryn Posin Dance Company performed at the Gene Frankel Theater in New York City. Making this performance possible was a a City Artist Corps Grant with such grants assisting New York City’s performance arts organizations to continue their operations under the cloud of the Covid-19 pandemic.

In a pre-performance curtain speech Posin viewed the purpose of this performance as an opportunity to showcase talent of the current generation of dancers and choreographers, and in that spirit there was much to experience in this less than 1-hour performance that was received by an enthusiastic audience. Like many other New York dance companies, it is great to have them back.

The program opened with Daniel White dancing Gerald Arpino’s solo piece, Touch Me, which Arpino created in 1977 for then Joffrey Ballet principal dancer, Christian Holder. Inspired by the gospel music of James Cleveland and the Charles Fold Singers, Arpino exposed a different dimension in his own choreography at the time he created Touch Me.

Daniel White seemed to be channeling Holder in his energetic and powerful performance – particularly in the manner of how he filled the Gene Frankel Theater’s small stage.

New choreography was showcased in Through You…, a duet that was a collaborative effort by Claire Mazza and Alejandro Ulloa as both choreographers and dancers. Choreographed to the music of Claire Valentine Silvestrov, Dustin O’Halloran, and Ernesto Lecuona, this piece delineated how a relationship can evolve from distant to romantic featuring strong partnering by Ulloa throughout the piece.

Posin’s new, fascinating and enigmatic choreographic contribution to this one-night-only performance, Postlude, was choreographed as a world premiere prelude to an excerpt from her Triple Sextet. Postlude’s choreography clearly depicted the restrictions caused by the pandemic as the dancers attempted to walk up the theatre walls – tools of coping – duly noting White dancing like a strutting peacock – one of many coping mechanisms during these unique times.

From there the dancers, White, Mazza, Ulloa, and Camila Rodrigues, transitioned to the Third Movement from Posin’s Triple Sextet, choreographed to Steve Reich’s rhythmic music, which was joyous – as if to say we made it through this difficult time as a high-note of this performance.

City Center Fall for Dance Festival – Program 2

City Center

October 15, 2021

By Mark Kappel

Diversity, again, was the theme for the City Center Fall for Dance Festival’s Program 2 presenting modern dance works and contemporary ballet as components of its performance. Also there was the sense of newness and its entertainment value that inspired the energy of this performance.

Opening the program was the Stephen Petronio Company dancing Petronio’s American Landscapes which had premiered in 2009. Choreographed to the music of Jim Jarmusch and Jozeg Van Wissem, American Landscapes grapples with the innate conflicts regarding political and social issues in the United States. Such problems as climate change, and American symbols were portrayed in striking slide images by Robert Longo which enhanced the debate.

Petronio’s choreography depicted sadness as well as resiliency – but little conflict -- with the dancers costumed in neutral colors. This ensemble piece was well danced and articulated by the cast of Larissa Asebedo, Jaqi Medlock, Tess Montoya, Ryan Pliss, Nicholas Sciscione, Mac Twining, Brandon Collwes, Kris Lee, and Tiffany Ogburn.

In contrast was the simple ballet classicism in Stanton Welch’s Sons De L’Ame in its New York premiere. Choreographed to piano pieces composed by Frederic Chopin, the work was given its premiere by the Houston Ballet in Paris in 2013.

Welch’s choreography reflected not only his classicism and fluidity, but an understated response to Chopin’s music in two pas de deux which were excerpts from this longer piece. The two pas de deux were danced with polish and emotion by Houston Ballet principal dancers, Karina Gonzalez and Connor Walsh.

Closing the program was Ephrat Asherie Dance in Ephrat Asherie’s ODEON: Redux, a work that premiered in 2018 and was choreographed to the music of Ernesto Nazareth.

Asherie’s vim and verve dance played to the audience with street smart, and humorous and clever choreography – with the dancers dancing in sneakers and responding to the Latin rhythms of the music – resulting in an entertaining and high-spirited dance piece that stayed with one after one had left the City Center.

Contributing to the high energy was the cast of dancers, Ephrat “Bounce” Asherie, Manon Bal, Teena Marie Custer, Valerie, “Ms. Vee” Ho, Matthew West, and Omari Wiles.

City Center Fall for Dance Festival – Program 1

City Center

October 14, 2021

By Mark Kappel

The City Center Fall for Dance Festival has shown its resiliency in returning to live performances this year. This season’s Festival is focused on domestic performing companies and presentations rather than being inclusive of international dance troupes. It hasn’t prevented the Festival from programming dance presentations that represent its mission as each program will include a variety of dance styles and dance troupes. Besides the announced Covid-19 protocols, the performances are taking place without intermissions.

Program 1, seen on October 14, 2021, opened with the Streb Extreme Action presenting three pieces choreographed by the company’s founder and choreographer, Elizabeth Streb.

Works performed included Molinette, Add/Pole Vaults, and Air – with the music for Air composed by Freshbeatz.

On display was Streb’s signature movement – suspended and unsuspended – featuring dancers working with a horizontal pole (two women and one man turning on the bar in unison, alternating, out of sequence, primarily with their feet firmly attached to the bar) and a trampoline (with the dancer/athletes jumping and diving off in ever-changing dives on to a mat). Apparatus and equipment transformations were presided over by Emcee, Felix Hess, providing suitable banter encouraging the audience’s enthusiasm and audience participation.

In all, this was an entertaining display of athleticism, strength and daring – and no wonder that the dancers’ signature was that of Action Heroes – and those heroes were Cassandre Joseph, Jackie Carlson, Daniel Rysak, Tyler Duboys, Justin Ross, Brigitte Manga, Luciany German, and Loganne Bond.

Also on the program was A.I.M by Kyle Abraham which presented the New York premiere of Kyle Abraham’s Our Indigo: If I Were a Love Song, choreographed to six songs sung by Nina Simone. Abraham’s choreography expressed the raw emotions in these Simone interpretations of familiar and standard songs – good love and love gone wrong – in which Abraham exploited the best of the dancers, Tamisha Guy, Keerati Jinakunwiphat, Claude “CJ” Johnson, Catherine Kirk, Jae Neal, Donovan Reed, and Gianna Theodore, in solos and duets in what was an unchanged and subdued mood throughout the piece.

The closing piece on the program was unveiled under the title of The Verdon Fosse Legacy presenting a City Center commission, Sweet Gwen Suite. This was a world premiere trio of dances originally performed by Gwen Verdon on television – linked together – and was meant to give credit that is due of Verdon being a co-choreographer – with Bob Fosse. These dances were directed and reconstructed by Linda Haberman, who also provided additional choreography.

The first and third trios, and solo in between, were danced to Mexican Shuffle and Cool Hand Luke/Mexican Breakfast, with the dancers reflecting the style of the music wearing sombreros, smoking cigarettes, and a bit of macho. The Fosse signature was obvious in the choreography and these dances were representative of what was seen on television variety series in the 1960’s. The Sweet Gwen Suite was notably danced by Georgina Pazcoguin with Zachary Downer and Tyler Eisenreich.

The City Center Fall for Dance Festival’s Program 1 got the Festival off to a good start.

Six

Brooks Atkinson Theatre

October 7, 2021

By Mark Kappel

Long awaited the new Broadway season opened for me with the Broadway premiere of the new British musical, Six, which I “experienced” at the Brooks Atkinson Theatre on October 7, 2021. And what a burst of energy to open the season!

Six originated at the Edinburgh Fringe Festival and its Broadway opening was cancelled when Broadway’s bright lights were turned off in March 2020. But after much anticipation and persistence Six has now opened on Broadway at an energy level that would keep the power on all over New York City.

Written by Toby Marlow and Lucy Moss, and directed collaboratively by Lucy Moss and Jamie Armitage, Six tells the story of Henry VIII’s tragic wives, and in this instance these ex-wives compete to determine whose life was the most tragic. This parable is told in nine songs in the form of a concert, and in 80 minutes Six is a very concise and contentious rivalry among these wives with this 16th century story presented through the prism of the 21st century. Just think of The Real Housewives of Hampton Court Palace presented in a rollicking concert performance.

I, myself, felt I had lived with these intriguing ladies during my university undergraduate and graduate days researching their lives and their stories – viewing their portraits at the National Portrait Gallery in London to the point of them almost coming alive again – and their confrontations with Henry VIII and how they influenced the social, religious and political climate of 16th century England. However as Six relates, there was more to tell.

Divorced.Beheaded.Died.Divorced.Beheaded. Survived. put the lives of Henry VIII’s wives in perspective and each presented their defense in the music of styles of different ages – and do they tell them with sass, style, determination, and woman power. Rather than “history” this was “herstory”.

In “No Way” Adrianna Hicks as Catherine of Aragon tells her story about how Henry VIII persuaded her to get a divorce and turned England’s religious and political world upside down. In “Don’t Lose Ur Head”, Andrea Macasaet as Anne Boleyn bemoans her tragedy in not producing a male heir and losing her head. Mallory Maedke as Jane Seymour describes her suffering as she was Henry VIII’s true love but lost her life in producing Henry VIII’s much wanted male heir in “Heart of Stone”, and Brittney Mack as Anna of Cleves comes to terms that her life wasn’t that bad in “Get Down”. Courtney Mack as Katherine Howard confesses her youthful mistakes in “All You Wanna Do”, and Anna Uzele as Catherine Parr pleads that she didn’t need Henry VIII’s love in “I Don’t Need Your Love” – describing her suffering as she was politically sacrificed in having to marry Henry VIII and giving her up her love match after a life of widowhood.

But in the end these diva Queens realize that their identities are primarily linked to their marriages to the same man rather than the achievements in their own right. This is “herstory”.

Besides singing their hearts out, these ladies also move about the stage with equal energy which is due to the excellent and exuberant and well-crafted choreography by Carrie-Anne Ingrouille.

It would be impossible to single out any of these talented ladies who played these distinct royals only to marvel at their talents. It isn’t an overstatement that Six is an entertaining theatre evening with its witty tongue and cheek humor, depicting these tough ladies, and these actress’ stature as entertainers. What a great way for the new Broadway theatre season to open!

Denishawn: Dances By

Ruth St. Denis and Ted Shawn

The Theatre at St. Jeans

September 30, 2021

By Mark Kappel

Produced by Audrey Ross, Denishawn: Dances By Ruth St. Denis and Ted Shawn, is a program of rarely seen works choreographed by two of the pioneers of American modern dance, Ruth St. Denis and Ted Shawn.

Described as the mother and father of American modern dance, St. Denis and Shawn were innovators in regard to both choreography and the performance of choreography drawing from their own life experiences and dance history.

This program was inspired by Ross’ association with the Denishawn Repertory Dancers as a publicist and also to note the passing of Jane Sherman in 2010, at 100 years-old, the last living member of the original Denishawn Company. This was a program of dance that was meant to showcase these important historical works to a present-day audience and to appreciate how much St. Denis and Shawn contributed to how American dance evolved.

Assembled was a cast of notable dancers for their interpretation of dance pieces – from the modern dance and ballet worlds – and also representing the dancers of tomorrow with the participation of Limon2.

Opening the program was Ted Shawn’s Floor Plastique, which had its original premiere in 1916, and was choreographed for students at the Denishawn School in Los Angeles, California.

Appropriately this performance of Floor Plastique was danced by Lihong Chan, Erin Hollamon, Madison Marshall, Tess McCharen, Nicole Miera, Sabrina Olivieri, and Ellie Swainhart, who are members of Limon2 – here staged and coached by Henning Rubsam. This dance is an example of less is more as these young dancers simply danced Shawn’s choreography to great effect.

Valentina Kozlova, former principal dancer of the Bolshoi Ballet and the New York City Ballet, performed one of Ruth St. Denis’ early works, Incense, which had its premiere in 1906. Based upon a Hindu ritual the sense of ritual and spirituality was beautifully danced, interpreted, and projected by Kozlova.

Bradley Shelver, a principal of the Metropolitan Opera Ballet, performed Shawn’s Japanese Spear Dance, which was inspired by Japanese dance tradition and was premiered in 1919. In this piece Shelver portrays a warrior with great strength and fortitude – an exacting piece of choreography.

The trio from Ted Shawn’s Choeur Danse, was imagined as figures from a Grecian vase coming to life. Choeur Danse, which had its original premiere in 1926, was here taught and coached by Francesca Todesco. The performance of this dance had the ingredients of youth and spring as expressed by the cast of Rosy Gentle, Erika Langmeyer, and Kathleen Caragine.

Nina Jirka, a member of the Vanaver Caravan, performed Ruth St. Denis’ The Legend of the Peacock, which was staged by Jane Sherman and Livia Vanaver and inspired by St. Denis’ original choreography – and had been originally premiered in 1914. In this dance an admired and attractive woman is transformed into a peacock to punish her for her vanity. Jirka expresses regality, and in contrast, yearning and desperation, in this piece.

Arthur Aviles, former member of Bill T. Jones/Arnie Zane Dance, performed Ted Shawn’s Danse Americaine, which was originally premiered in 1923. Aviles draws the character of a street dude who charms every one he meets – and danced by Aviles with wit and charm.

Ruth St. Denis’ A Javanese Court Dancer, had been premiered in 1926, and was created as an American expression of serimpi – a ritualized dance of Java associated with royal palaces. Pei-Ju Chien-Pott, former principal dancer of the Martha Graham Dance Company, presented an image of regality and femineity in this piece enhanced with the fluttering of her hands.

Ted Shawn’s The Cosmic Dance of Siva, which premiered in 1926, is described as a celebratory Hindu dance in honor of Siva. The ritualized dance and its theme of celebration was well expressed by Antonio Fini, a former member of the Martha Graham Dance Company.

The closing piece on the program was Ruth St. Denis’ Waltz/Liebestraum, choreographed to Brahms’ Waltz in A Flat Major and Liszt’s Liebestraum. Premiered in 1922, the dance’s origination was inspired by the moment when St. Denis began dancing at a party. The choreography captures the mood, airiness, and the poetry of the music, and was danced with great inspiration by Christine Dakin, former artistic director and principal dancer of the Martha Graham Dance Company.

The dances presented on this program were, for the most part, choreographed and danced by Ruth St. Denis and Ted Shawn in their premieres which reflected their artistic aesthetic. Their solos tell a story – precise, concise – and to the point. In the hands of such wonderful artists, these works came to life again for another generation to experience and enjoy.

Anna Held - The Birth of Ziegfeld's Broadway

By Mark Kappel

Published by the University of Kentucky Press, and written by Eve Golden, Anna Held and the Birth of Ziegfeld’s Broadway, is a look back at what Broadway was before World War I – a very different Broadway from what it is today.

That history, represented in Golden’s book, is about Anna Held, a theater superstar during this period of time. Anna Held and the Birth of Ziegfeld’s Broadway looks back on Held’s life from her theatrical roots in Europe and then upon her immigrating to the United States and her relationship with Florenz Ziegfeld Jr., her husband, mentor, and notable producer, and their many theatrical enterprises.

Born in Poland, Held was the only child in her family to survive. To avoid Czar Alexander III’s efforts to punish Jews in all countries under Russia’s control, the Held family left for Paris in 1881. Held worked in Paris’ garment industry, and struggled like other immigrants and the poor in Paris. But she became a self-styled Parisienne taking on all sorts of jobs in order to make a living.

Around 1884, after her father had passed on, her family sought out a relative in London only to find that relative didn’t live at the address they had. But they took advantage of contacts within the Jewish immigrant community living in London. Held joined Yisrol Gardner’s theater company as an actress. After her mother’s death, Jacob Adler stole her away to join his Smith’s Theater. In 1887 when Adler’s theatre was lost to a fire Held returned to Paris where she appeared with Yiddish theater companies, and also turned to Paris’ music halls to pursue her stage career.

She met her first husband, Maximo Carrera, in 1893 -- he was known as a notorious playboy – perhaps marrying him because she was pregnant with her daughter. Held converted to Catholicism and spun stories of a Christian life and memories in what was a hostile environment for Jews. Not believing in divorce, when Held and Carrera drifted apart, they didn’t divorce.

On the other side of the Atlantic, Ziegfeld, growing up with producing skills, traveled to Europe to search for acts for his productions in the United States, and during this search he crossed paths with Held.

It was in 1896 that Ziegfeld bought out Held’s contract with the Folies Bergères in Paris and contracted Held for an engagement in a revival of A Parlor Match in New York – which was also eventually toured in the United States. When Held arrived in New York for this engagement Ziegfeld initiated press promotions to enable Held to beat out her competition of the day – promoting her with the aid of a press agent, creating stunts including her infamous milk baths, and endorsing products.

Held and Ziegfeld developed a romantic relationship and taking advantage of New York State’s common law marriage laws, Held, didn’t have to divorce her husband – and Held and Ziegfeld were recognized as being legally married after 7 years.

Held returned to Broadway in La Poupe, an English version of a French farce and then on to vaudeville touring in a private railway car previously owned by Lillie Langtry. She also appeared in another English version of a French play, The French Maid, and spent her summers in Europe.

One of Held’s great triumphs was Papa’s Wife, which was created as a vehicle for her, and was a major test for her personal and professional life. Papa’s Wife received raves in its out of town tryout and opened in New York in 1899 as a smash hit – helped a great deal by Held’s recognition as a Broadway star and lots of chorus girls. Held’s next vehicle was Little Duchess which opened in New York in 1901 which was also followed by a successful national tour. As in the instance of Little Duchess Held’s vehicles were also known for its costumes, hers designed by Mme. Landoff of Paris.

The next Held/Ziegfeld extravaganza was Mam’selle Napoleon – based on a French play about Napoleon Bonaparte’s favorite actress. Presented in three acts taking place in different locations in Europe, there were 44 speaking parts, 100 chorus girls and the cost was a record at its time in 1903 of $100,000. Critics panned the show – an experiment in Held taking on a serious role which was not a success – Ziegfeld lost a boat load of money on this project.

In 1904 Held and Ziegfeld moved into a luxury apartment in the newly-built Ansonia on New York’s Upper West Side. Shortly thereafter Ziegfeld teamed with producer Joe Weber to present in one of Weber’s satires, Higgledy-Piggledy, which was not a success for Held, and also brought to its conclusion the producing team of Ziegfeld and Weber.

In preparation for these projects Held was unmasked as being born in Warsaw and Jewish which created a scandal – which was also duplicated when it was revealed that Held had a daughter with Held stage managing it all in a way that further estranged herself from her daughter.

In the meantime two warring groups of theater owners dictated Ziegfeld’s fortunes as he played one group against the other. In producing The Parisian Model – play that Held was to appear in – Ziegfeld went back to a successful formula of depending upon past success that emphasized the risqué and costume designs by the leading Paris fashion houses. Unlike the Weber/Ziegfeld theatrical enterprise, The Parisian Model opened in New York in 1906 and received good notices.

The Parisian Model proved to be the biggest financial success of any musical record in theatre history.

Also, Ziegfeld began developing what became his signature contribution to theatre history ---The Follies of 1907, an idea attributed to Held, which evolved into a variety show with chorus girls – branded as the Anna Held girls – and renting the rooftop garden of the New York Theater (renamed the Jardin de Paris), the Follies’ home for the first five of its seasons.

Another change in Held’s life was the death of her first husband, Maximo Carrera, in 1908 and Held assuming full custody of her estranged daughter Liane.

Held’s next project was another racy musical, Miss Innocence, and after opening in New York in 1908 it was another big hit that also had a national tour. Miss Innocence proved to be the last Held/Ziegfeld collaboration. Ziegfeld had an open relationship with one of his mistresses, Lillian Lorraine, which resulted in Held’s confrontation with Ziegfeld and his mistress. Being publicly humiliated Held left for Paris, splitting with Ziegfeld, making international headlines, and rumors about retirement.

In 1910 Held returned to Europe to appear in a variety act in London and then an American tour of Miss Innocence – and a reconciliation of sorts with Ziegfeld – and also regular trips between Europe and the United States resulting in an engagement at the Folies Bergères in Paris. But Held finally divorced Ziegfeld.

Held pursued her career with the guidance of a new manager, John Cort, which resulted in Held appearing in a vaudeville show, Anna Held’s All-Star Variety Jubilee – which had a 5-month tour – which was not all that successful and after touring opened earlier in New York that had been planned.

However, another important event in Held’s life was coming to terms that a reconciliation with Ziegfeld would not be possible when the news was announced that Ziegfeld had married Billie Burke in 1914.

When Held returned to Europe for the last time to spend time in France, she also had plans to perform in Bucharest when the events leading up to World War I impacted her plans. The theatrical community did what they could to support the war effort and were among the war casualties as well. Held, herself, wired President Woodrow Wilson requesting him to involve the United States in the war effort in Europe – but did not receive a reply. However Held assembled a troupe of entertainers, equipped cars for the purpose and without government approval set off to entertain the troops, lend assistance at field hospitals, and put their lives at risk.

Held returned to the United States and returned to her vaudeville roots and engagements, and her first feature film, Madame la Presidente, which was shot in Los Angeles and released in 1916. Held then signed a contract with the Shuberts and was to appear in a show entitled Follow Me, for which she was also a prominent investor. Although Follow Me was a great success and Held’s last success, the Shuberts did not want to sponsor a tour. Held then took over that responsibility while also still supporting the war effort, when in 1917, the United States entered World War I.

Unfortunately, the extensive touring and war activities effected Held’s health preventing her from performing during the tour of Follow Me. Her daughter, Liane, stepped into the lead role for those tour dates. But Held’s health issues were so severe that the tour was disbanded, and ultimately she was diagnosed with a form of cancer which contributed to her death in 1918. Her memory was served at the time with appropriate arrangements made by her friend, Lillian Russell.

Golden has also provided numerous details about Held’s stage career and personal life that could not be covered in a review of Golden’s book.

Anna Held’s name has passed into memory although she was among the theater’s greatest stars – in fact, legend, and myth. Thanks to Eve Golden’s book, Anna Held and the Birth of Ziegfeld’s Broadway, one can now get to know her, her fame, and her contribution to theatre history.

Irish Repertory Theatre Presents

Angela’s Ashes The Musical

September 9, 2021

By Mark Kappel

The Irish Repertory Theatre is presenting a unique and special streamed event as part of its 2021-22 season. Being streamed on demand is Angela’s Ashes – The Musical, from Dublin’s Olympia Theatre, which began its presentations on September 9th and will continue until September 22, 2021.

Angela’s Ashes is Frank McCourt’s memoir of his early life in America and in Limerick, Ireland suffering through a life of poverty and facing the consequences being raised by an alcoholic father. As stated by the young Frank he survived his Irish Catholic childhood.

This compelling musical adaption of McCourt’s Pulitzer Prize winning memoir has been written by the creative team of Adam Howell, writing the music and lyrics, and Paul Hurt, writing the book.

McCourt’s experiences includes being surrounded by characters out of Victorian novel – and after those haunting, and challenging years, he ultimately decides to pursue a new life in America. McCourt’s story is seen from his perspective as a young boy and then into early adulthood.

Frank looks back on his childhood and young adult life through flashbacks describing the marriage of his father, Malachy, and his mother Angela, how they managed through poverty after immigrating to America and returning to Ireland, and losing some of their children to illness. The focus of Angela’s Ashes is Malachy’s battle with alcohol and how he failed in his fatherly responsibilities by not holding down a steady job, not contributing to the family’s well-being nor any money to survive on – and even though he left the family to find work in England, he reverted to his old ways when he returned to Ireland.

Frank, born in America, sees his life in Ireland as an outsider. Being teased by his peers and having difficulty in conforming to Irish Catholic life at a time of economic and political change. Benefitting from what education he had and also his talent, Frank parlays what he had financially and leaves his family behind to seek his fortune in America. Years lately the family is able to unite and the family also fulfills Frank’s mother’s request to have her ashes returned to Ireland.

Frank’s impressions are told and enhanced by Angela’s Ashes’ score which is filled with the rhythms and instrumentation of Irish traditional music that is familiar, and sentimental. The score is memorable not only for how it draws the characters in this musical but also how it sets the atmospherics that color Frank’s story.

Particularly notable were the performances of Jacinta Whyte as the long-suffering Angela, and Eoin Cannon as the young and adult Frank. Although the character of Malachi, Frank’s father, is not particularly empathetic, Marty McGuire brings realism to this role.

Thom Southerland, as the director of this production of Angela’s Ashes, guides this story with Irish charm as well as wit.

This musical version of Angela’s Ashes was premiered at the Lime Tree Theatre in Limerick in 2017, and these streamed performances of the Olympia Theatre production of Angela’s Ashes, sponsored by the Irish Repertory Theatre, make it possible for Angela’s Ashes to be seen in its North American premiere.

Angela’s Ashes is a story worth telling and is enhanced in this stage musical version with passion and empathy -- with the addition of music.

A Star On Her Door – June Bronhill

By Mark Kappel

A Star On Her Door, by Richard Davis, and published by Wakefield Press, examines the life of Australian opera and musical stage star, June Bronhill. Her name not be familiar in many parts of the world, but she played an important role in Australia’s musical theater history.

For four decades beginning the 1950’s June Bronhill earned recognition as an opera star in the United Kingdom and Australia singing roles in operas composed by Mozart, Donizetti and Verdi – and in operettas by Lehar and Offenbach – part of a varied career on stage including operas and operettas, Broadway musicals, as well as in straight plays, television and cabaret.

She was born in Broken Hill, Australia in 1929 – her name then – June Mary Gough – known later to the world as June Bronhill.

Her father emigrated from the United Kingdom to Australia taking on different career opportunities, and ultimately he became known as a unionist and was well respected in Broken Hill. Notably he courted and married Maria Isabella Daisy Hall. He also changed professions from working in the mines to an administrative position at the local hospital.

June was the youngest in the family – two of her sisters did not survive into adulthood. Her talent for singing was discovered when she was five years old. She got to display her singing talent locally, in fundraising concerts, at a local radio station and as a soloist with the local choir, and subsequently began her musical studies.

In 1949 she competed in the Sun Aria vocal competition placing third – the winner was Joan Sutherland – but the following year she came back and won first prize. In 1951 she married aspiring opera producer, Brian Martin, and they set off for the United Kingdom in 1952 to allow Bronhill to pursue her vocal studies and her career, and for Martin to pursue a career as an opera producer.

In London Bronhill studied with Italian tenor Dino Borgioli, and was offered a contract as a principal soprano at the Sadler’s Wells Opera joining other Australians on the roster – making her Sadler’s Wells debut as Barbarina in The Marriage of Figaro.

Bronhill was invited to be an understudy for Covent Garden’s production of Lucia di Lammermoor by Franco Zeffirelli – and then was asked to sing the role on tour.
In 1960 Bronhill returned to Australia to sing the title role in The Merry Widow with the Sadler’s Wells Opera – and the same commercial producer, Garnet Carroll, who produced the tour, engaged Bronhill to appear in the Australian production of The Sound of Music. Bronhill appeared opposite American actor Peter Graves (of Mission Impossible fame) as Captain Von Trapp.

During this time period Bronhill’s marriage ended in divorce with her husband to return to living in Australia, and she met and married her second husband, Richard Finny. During the Sydney engagement of The Sound of Music, Bronhill realized she was pregnant and after the birth of her daughter, she went back to performing – an Australian tour of The Merry Widow and Orpheus in the Underworld.

London called again for Bronhill to create a starring role in a new musical, Robert and Elizabeth, based on Rudolf Besier’s play, The Barretts of Wimple Street. With a score composed by Australian Ron Grainer and playing opposite Australian actor, Keith Michell, Robert and Elizabeth premiered in London in 1964 – then touring in this musical in Australia opposite English actor Denis Quilley. Although a Broadway engagement of Robert and Elizabeth was abruptly cancelled, Bronhill toured with this musical in South Africa.

Bronhill’s opera career continued with an engagement by the Elizabethan Trust Opera company to tour Australia in Don Pasquale and Die Fledermaus, and in 1968 she was off to London to appear in a revival of Ivor Novello’s The Dancing Years touring in the United Kingdom and a London engagement. She also appeared in a UK tour of Noel Coward’s Bittersweet.

In 1971 Bronhill divorced her husband Richard Finny – however her performing did not stop. She also toured with Tommy Steele and appeared in two more Ivor Novello musicals.

She also appeared a prodigious number of opera performances with the Sadler’s Wells Opera in The Merry Widow and La Rondine, and with the Australian Opera in Rigoletto, The Barber of Seville, Maria Stuarda, and Gilbert & Sullivan operettas.

Bronhill appeared in the role of Desiree Armfeldt in an Australian production of Stephen Sondheim’s A Little Night Music – in 1972, in Paris, she had unsuccessfully auditioned for the same role in the Broadway production – and she also appeared in Joan Littlewood’s Oh, What A Lovely War! Bronhill also starred in the Australian version of the BBC sit-com, Are You Being Served?

In 1981 Bronhill was invited to play the role of the Mother Abbess in the first British professional revival of The Sound of Music with Petula Clark as Maria. And I was honored to have seen and heard her in this role in London myself. This revival was successful enough to run for nearly a year in London’s West End.

Bronhill’s last major role was that of Ruth in the Australian production of the Broadway version of The Pirates of Penzance in 1984. Other roles included Mrs. Pearce in the Victorian State Opera’s production of My Fair Lady, Nunsense, Arsenic and Old Lace, and her farewell musical stage appearance in 1993 as Miss Jones in How To Succeed in Business Without Really Trying – her actual farewell appearance was in the comedy Straight and Narrow.

In her later years Bronhill chose her projects with visibility and a paycheck in mind, and also in those years, she was losing her hearing, and was suffering from dementia and other medical conditions. But she did her write her own autobiography, The Merry Bronhill, before passing away in 2005.

Although most of Bronhill’s career was in Australia, she did become known in the United Kingdom and re-invented herself to make it possible for to appear in a wide range of entertainment media.

Mr. Davis’ biography includes an exacting number of notes for each chapter – which are of interest in their own right – a list of Bronhill’s appearances in opera and on stage, and also a discography – and it is worthwhile reading, A Star On Her Door, if only to discover a unique opera star, musical stage star, and entertainer.

Pick A Pocket Or Two

By Mark Kappel

In his book, Pick A Pocket Or Two – A History of British Musical Theatre, published by Oxford University Press, Ethan Mordden traces the roots of British Musical Theatre – parallel to the development of the same genre in the United States.

Mordden defines American musicals as focusing on fulfilling ambition in comparison to British musicals which outline social boundaries and a person’s place in their individual world. Also British musicals were distinguished by their charm.

Mordden begins his story focusing on the roots of the British musical going back to John Gay’s The Beggar’s Opera -- in 1728 – to the present day. Mordden explains that The Beggar’s Opera was not only an entertainment of its era but is also considered by Mordden to be stage worthy even today. Gay injected his own lyrics into well-known traditional ballads, and the story is about the criminal classes of the day which could apply to any historical era. Gay’s The Beggar’s Opera inspired The Threepenny Opera by Kurt Weill and Bertolt Brecht which had its world premiere in 1928.

Gilbert and Sullivan’s operettas paralleled Offenbach’s operettas – all of which included social and political satire. The partnership of Gilbert and Sullivan was initiated in 1871 and lasted until 1896. Their works were political satires – spoofing the landed gentry and powerful – social commentary set in familiar settings, and foreign and exotic places – which could be described as comic operas and mastered the form of patter songs.

In his book Mordden described Sullivan as a romantic and Gilbert as the satirist.

Moving on from Gilbert and Sullivan, Mordden explores the influence of George Edwards, manager of London’s Gaiety Theatre, who “invented” what is known as the modern musical comedy during the Gaiety Era – from around the 1890s to 1915 – marking a different approach from Gilbert and Sullivan – with modern settings, emphasizing star personalities, and uplifting content in songs.

The term “musical comedy” first appeared in the billing of Cinderella At School in 1881 – used in American first – and an important example of this new form, Shop Girl opened in London in 1894 – focusing on a typical young woman of the time.

During the years from 1910 to 1920 this was an era during which productions were influenced by American styles and music – along with imported musicals by Irving Berlin and George Gershwin.

However an important success during that era was Frederic Norton’s Chu Chin Chow in 1916 with lyrics and book by Oscar Asche which had an engaging and involving plot.

Just as significant or more so was Mister Cinders in 1929, a male version of Cinderella, written by Clifford Grey and Greatrex Newman in its original version with songs by Richard Myers. During its 4-month out of town tryouts the creative teams and principal actors were changed and owed its international success to composer Vivian Ellis.

Ivor Novello, another major contributor to British musicals was known as a matinee idol and movie star, and authored the dialogue in MGM’s Tarzan & the Ape Man.

In his early work he used music quotations from known composers – songs for revues – and one of his best-known, “And Her Mother Came Too!” was composed during his early years.

However he was best known for his operettas, inventing plots for them, with Christopher Hassall contributing the lyrics for them. Novello wrote the scripts, composed the songs, played the leads – and supervised each production. His operettas were dominated by long book scenes and short scores which were added to by reprises. His works dominated the years from 1935 through 1949.

Mordden describes the years between the 1920’s and the 1950’s as a conservative period in British musical presentations. He states that the British musicals lacked ambition during this time – a time when both revues and book musicals were presented and produced by Charles Cochran and Andre Charlot.

Among the standout book musicals during that period were Ever Green with a score by Richard Rodgers and Lorenz Hart starring Jessie Matthews, and Cole Porter’s Nymph Errant starring Gertrude Lawrence.

Having a unique impact on the British theatre scene in 1937 was Me and My Girl with Lupino Lane playing Bill Snibson, a cockney, who is confused as he is informed that he comes from a posh family and must give up his girlfriend – having to give up his individuality for the sake of fitting in with British upper crust society. Composer Noel Gay, and Arthur Rose and Douglas Farber writing the book and lyrics, profited when Me and My Girl had a second life when this musical was revived in 1984 and was even more successful than the original production in the 1930’s.

Also during this period was Vivian Ellis’ the Water Gipsies and Bless The Bride, both of which Ellis wrote with A.P. Herbert.

From 1923 onwards Noel Coward wrote plays, revues, musicals, and popular songs – and he also acted in his own creations. Self-educated and demonized at times, and revered at other times. During his career he created eccentric characters in complicated relationships and his plays have been in and out of fashion, but have survived, and have been regularly revived.

Among Coward’s musicals or plays with music were Words & Music, Sight No More, Bittersweet (starring Peggy Wood), Conversation Piece, Pacific (produced in London and starred Mary Martin), Sail Away (starring Elaine Stritch), and The Girl Who Came To Supper taking Coward through his career up to 1963.

In the 1950’s among the imported American musicals was My Fair Lady – and there were the continued American influences on British musicals as many American actors recreated roles in the London productions of Broadway musicals. However a British musical that was very influenced by American musicals was Grab Me A Gondola, which opened in London in 1956, and Harold Fielding presented stage versions of American musicals written for television – Rodgers & Hammerstein’s Cinderella and Cole Porter’s Aladdin.

In 1959, Lock Up Your Daughters – based on Henry Fielding’s Rape Upon Rape – was given its London premiere notable for the creative team which included Bernard Miles, Laurie Johnson and Lionel Bart. And there were also notable musicals from the British colonies including Golden City, in 1950, which premiered in London but was written by John Tori of Rhodesia. Golden City was set in South Africa during the Gold Rush days. And in 1958 Lola Montez came from Australia, and from South Africa – and in 1958 – Lola Montez from Australia.

In 1958 Expresso Bongo made a deep impression as it employed music from the pop world, and in that same year imported from France but Anglicized – and revised version for Broadway, was Irma La Douce.

But it was in 1960 that Lionel Bart’s Oliver! premiered in London, based on Charles Dickens’ novel Oliver Twist, which became an international hit. Mordden also examined Bart’s later musicals, Blitz (about life in London during the Blitz), and Maggie May – and the unsuccessful Twang! a satire of Robin Hood. Although Bart had only one major success during his career there is no doubt that he made his mark on the history of British musicals.

Mordden has paired off the work of Sandy Wilson and Julian Slade for coming on to the scene in the early 1950’s – neither one of them influenced by American musicals but were also described as one-hit wonders – Wilson with The Boy Friend, and Slade with Salad Days – Wilson working on his own while Slade worked with collaborators. Slade’s musicals being innocent while Wilson was satirical and cynical.

Wilson’s The Boy Friend echoed the American musical, No, No Nanette – with a pastiche score – and an homage to 1920’s British musicals. Slade’s musicals are described by Mordden as unworldly and silly – including Salad Days – and a later success, Trelawney, a musicalization of Arthur Wing Pinero’s play of the same name which was launched at the Bristol Old Vic with Hayley Mills heading the original cast – then moving on to the West End with Gemma Craven as the star.

Mordden describes the 1960’s as a decade of contrast, re-invention, experimentation, and transition in terms of the development of British musicals. It was also a time of social and political upheaval in British society, and also the society at large responding to the Cold War.

Described as “concept musicals” were three musicals by Anthony Newley and Leslie Bricusse with Newley starring in all of them – the Marcel Marceau-inspired Stop The World – I Want To Get Off, The Roar of the Greasepaint, and in the early days of 1972, The Good Old Bad Old Days. Stop The World and The Good Old Bad Old Days made it to London while Stop The World, and The Roar of the Greasepaint made it to Broadway. What they all had in common was a score filled with “hits”, relatively simple production elements, and small casts – and insights into the social conditions and politics of the time.

Even more in tune with the Newley/Bricusse musicals was the experimental musical, Joan Littlewood’s Oh What A Lovely War, which premiered in 1963, a cynical musical presented in a revue format which was very anti-war employing World War I as an allegory.

But the 1960’s were also full of traditional and conventional musicals such as Passion Flower Hotel and Canterbury Tales, and a spoof of James Bond movies, Come Spy With Me, and Charlie Girl, a modernized version of the Cinderella story that was a popular success. Also there was Pickwick (with Bricusse as one of the collaborators) based on the Charles Dickens’ novel, and in 1964, Robert and Elizabeth, based on The Barrett’s of Wimpole Street.

Revues dominated the 1970’s and the 1980’s with Cowardy Custard, Cole and tributes – Noel and Gertie, Betjemania, John Paul George Ringo & Bert, and Underneath the Arches – perhaps inspiring Songbook in 1979, a tribute to a fictional composer Mooney Shapiro with pastiche music inspired by the Cold War, World Wars, Broadway and Hollywood. A Broadway production in 1981 opened and closed within a short time period.

There were also adaptations including that of J.B. Priestley’s novel, The Good Companions, about a touring theatrical company with a collaboration by Andre Previn, Johnny Mercer, and book writer, Ronald Harwood. A little less conventional was the spoof of 1950’s sci-fi movies, The Rocky Horror Show, and other adaptations – Hans Andersen starring Tommy Steele, Busy Malone, Billy starring Michael Crawford based on the movie, Billy Liar, and Howard Goodalls’ and Melvyn Bragg’s The Hired Man – and Willy Russell’s Blood Brothers – which was a hit on both sides of the Atlantic – and a play with songs, Privates on Parade.

At the end of his book Mordden examines the development of the “Pop Opera” or “thru-sung British musicals” which have dominated British stages in the last several decades. Less known have been Stephen Oliver’s Blondel, Metropolis, based on Fritz Lang’s film, but better known are Les Miserables, Miss Saigon, and Martin Guerre by the team of Alain Boublil and Claude-Michel Schonberg.

Also included for examination is Chess, Tim Rice’s collaboration with Benny Andersson and Bjorn Ulvaeus – as well as the use of the ABBA song catalogue for Mamma Mia!

However the strongest British proponent of this genre of musicals is home-grown British Andrew Lloyd Webber with Jesus Christ Superstar, Joseph And His Amazing Technicolor Dream Coat, Evita, and Cats among his best known musicals, collaborating with Tim Rice and other lyricists. Lloyd Webber’s choice of subject matter has been eclectic enough to also include The Phantom of the Opera, Aspects of Love, Sunset Boulevard, and the most recent, The School of Rock, which premiered on Broadway. And not all of his musicals have reached American shores.

Also mentioned were “new” composers on the British scene including Elton John – in particular Billy Elliott – the team of George Stiles and Anthony Drewe from Honk to Marry Poppins to Peter Pan to The Wind in the Willows, Tim Minchin’s recent stage adaptation of Roald Dahl’s Matilda and Lucy Mass’ Six.

Enhancing Mordden’s Pick A Pocket or Two is an extensive and annotated discography – a roadmap to help discover some of these important musicals in Britain’s history.

Arthur Schwartz – Broadway Composer

By Mark Kappel

Tighe Zimmers has written a detailed and engrossing biography – That’s Entertainment – A Biography of Broadway Composer – Arthur Schwartz, which has been published by McFarland and Company.

Schwartz is one of many composers whose songs are at the heart of the American Song Book.

Schwartz was born in the Brownsville section of Brooklyn in 1900. Having skipped a few grades he completed his elementary school studies at the age of 12 – then on to Boys High School graduating at the age of 16. Showing an aptitude for music, sneaking in practice on the family piano while lessons were reserved for his older brother William. He played by ear when in his single digit years and also began writing songs.

Schwartz earned his undergraduate degree in English Studies at New York University, then a Master’s Degree at Columbia University, and back to New York University to complete his law degree.

Schwartz’s first published song was in 1923 – “Baltimore, Md., You’re The Only Doctor For Me’, and as a counselor at Brant Lake Camp in the Adirondacks – he continued to write songs for the camp revues and activities – where he met and collaborated with Lorenz Hart.

After being in a law practice for a brief time, Schwartz decided to leave his law practice in 1928 to begin his full-time work in the theater as a composer – after which he would take on any theatrically-related work that he could – including contributing songs to revues which had mixed success.

In that same year, Schwartz formed a partnership with Howard Dietz – a collaboration that began in earnest with The Little Show as their first significant collaboration and in so doing revitalized the revue format.

In 1930, Schwartz worked on his first show, only as a composer. with a British lyricist which was produced in London that same year. It was Princess Charming, an operetta, written with other collaborators in London with Dr. Albert Sirmay, a Hungarian operetta composer, who collaborated on an American version of this operetta – with this new version premiering on Broadway in 1930 – at a time when the convention of an operetta was waning of interest to a Broadway audience.

During a short period of time, Dietz and Schwartz wrote several successful revues. One of them being The Band Wagon which was notable because all of the score was composed by Dietz and Schwartz, and George S. Kaufman wrote the script – with Fred and Adele Astaire as the co-stars.

Also a notable collaborator was Albertina Rasch and the employment of Rasch’s dancers in the show. Rasch was a business woman from Vienna and a founding member of the Russian Tea Room – and married to concert pianist/film composer, Dimitri Tiomkin. Also Viennese, Tilly Losch, who was Rasch’s principal dancer who earned her reputation as a dancer after training at the Vienna Opera School moving on to shows in London – then on to the United States as a dancer and choreographer for Max Reinhardt.

The Band Wagon was also notable for twin revolving stages – a first for a Broadway revue – which became an integral facet of The Bandwagon – also Beggar Waltz – which was a dream/dance sequence.

Flying Colors, a follow up to The Bandwagon, was produced in a larger and grander manner. Tamara Geva was engaged as a dancer for the show and one of the cast members was Buddy Ebsen.

A breakthrough project for Schwartz was The Gibson Family, a radio serial which was intended as a weekly musical comedy on radio. Unfortunately it didn’t live up to the expectations of its sponsor, Proctor & Gamble, and came to quick end.

An important event in Schwartz’s life was in 1934 when he married actress Katherine Carrington.

In 1934, Dietz and Schwartz wrote their first book musical, Revenge With Music, which was based on the Spanish folk tale, Pedro de Alarcon’s The Three Cornered Hat, which was also the source material for Leonide Massine’s The Three-Cornered Hat for the Diaghilev’s Ballet Russes. First thought of as an operetta, it was later described as a “romantic play with music” and featured a hit song for Dietz and Schwartz, “You And The Night And The Music” and starred a friend of the composing team, Libby Holman.

Another revue followed, At Home Abroad, in 1935, which starred Eleanor Powell, Beatrice Lillie and Ethel Waters. This was also Vincente Minelli’s Broadway debut for a full-length musical – the dialogue and skits were about travelling abroad in spite of turmoil abroad at the time. In that same year was another revue Follow The Sun – produced in London – for which the cast included American Claire Luce who had danced in Frederick Ashton’s The Last Shoot.

Schwartz also contributed songs to several Hollywood films including That Girl from Paris starring Lily Pons, Under Your Spell, and The Mark of Zorro, which was never produced.
Also there were two other book musicals, Between the Devil in 1937, and the musical, Virginia, produced in the Center Theater at Rockefeller Center – and supported financially by the Rockefeller Family. The locale of that musical was in Williamsburg, Virginia in 1775 – the Rockefeller Family had financially supported the restoration of Williamsburg and the musical, Virginia, focused on the romance of the era more than the history of the era.

Stars In Your Eyes was envisioned to be about leftists working in Hollywood – and was meant to be a satire on Hollywood. It was an opportunity to work with Dorothy Fields – with Ethel Merman and Jimmy Durante in the cast, and producer Dwight Deere Wiman’s protégé, Tamara Toumanova, who danced in two ballets in this show – with Alicia Alonso, Nora Kaye, Maria Karnilova, and Jerome Robbins as the dance ensemble.

Director Josh Logan thought the story was overdone and reduced the story to sex in Hollywood. There was the hope that New York World’s Fair visitors would buy tickets to Stars In Your Eyes but that hope for a box success was never realized.

It was ironic that Schwartz’s next project, American Jubilee, would be presented as an entertainment for the New York World’s Fair. Schwartz collaborated with Oscar Hammerstein II – with events and personalities from American history to be included in this show.

Schwartz spent a great deal of the 1940’s in Hollywood collaborating with such musical greats as Johnny Mercer and Frank Loesser. Schwartz’s songs would be inserted into a long list of Hollywood movies and also sung by the great film singing stars of the day.

Schwartz was also engaged as a producer for two major films. The first of which, Cover Girl (1944), had a score written by Jerome Kern and Ira Gershwin with Rita Hayworth and Gene Kelly as the stars – Kelly as choreographer as well. Cover Girl was successful enough that Schwartz was asked to produce Night and Day in 1946 which was a somewhat fictionalized biography of Cole Porter which included songs composed by Porter, and starring Cary Grant as Porter and Alexis Smith as Porter’s wife, Linda. Although invitations were sent out to the many performers who had associations with Porter’s music, the only star to appear on screen was Mary Martin who sang “My Heart Belongs To Daddy”.

Schwartz once again returned to Broadway in 1946 with Park Avenue, a collaboration with Ira Gershwin, with a book by George S. Kaufman adapted from a Nunnally Johnson’s “Holy Matrimony”. Schwartz then returned to Hollywood to collaborate with Leo Robin on the film score for The Time, The Place and The Girl – resulting in another one of Schwartz’s songs being nominated for the Academy Award.
Schwartz returned to Broadway again to reunite with Dietz to work on revue based on John Gunther’s Inside USA – which opened with the same name as Gunther’s book in 1948 with Beatrice Lillie and Jack Haley as the stars. Inside USA was a great success on Broadway and on national tour.

Schwartz felt that musical revues could be easily adaptable to the new medium of television, and Schwartz adapted Inside USA with Chevrolet in 1949 creating songs and sketches set in many locations in the Untied States. In 1950 Schwartz produced Samson Raphaelson’s play, Hilda Crane with Jessica Tandy, and Hume Cronyn as director, and had also planned to be involved with a stage musicalization of Grand Hotel which was never produced.

1951 brought Schwartz together with Dorothy Fields as lyricist for A Tree Grows in Brooklyn based on the novel of the same name by Betty Smith. George Abbott and Smith co-wrote the book for this musical which starred Shirley Booth. It was a modest success on Broadway and on tour.

A return to films included contributions to Excuse My Dust, and Dangerous When Wet – collaborating with Johnny Mercer – and starring Esther Williams.

Arthur Freed, one of the master makers of movie musicals, wanted to produce another “song catalogue musical” having had successes with An American in Paris and Singin’ In The Rain. Freed and Roger Edens teamed up with Betty Comden and Adolph Green as screen play writers, Vincente Minelli as director, and Michael Kidd as choreographer to employ the Arthur Schwartz and Howard Dietz music catalogue to create such a musical – although not entirely based on the Schwartz and Dietz revue of the same name. The film starred Fred Astaire and Cyd Charisse – and Schwartz and Dietz composed the well-known show business anthem, “That’s Entertainment” for the film.

However before The Bandwagon’s successful film premiere in 1953, there was a personal tragedy as Schwartz’s wife, Katherine, died of a cerebral hemorrhage.

Schwartz’s next Broadway project was By The Beautiful Sea which had its Broadway premiere in 1954. With a book by Herbert & Dorothy Fields, and Shirley Booth as the star, this musical also had its roots in Brooklyn taking place in Coney Island in 1907 – proving to be a modest success.

Only two months before By The Beautiful Sea opened on Broadway, Schwartz married May O’Hagan Scott, a Broadway actress, which not only was a marriage but also a professional marriage as Scott worked with Schwartz are several projects together.

In the mid-1950’s Schwartz turned his focus on television projects including a television musical version of the Maxwell Anderson play, High Tor, which starred Bing Crosby and Julie Andrews, and later a television musicalization of A Bell For Adano starring Barry Sullivan and Anna Maria Alberghetti.

The last two Broadway musicals that the partnership of Schwartz and Dietz worked on were not the successes that they could have been. As Zimmer pointed out both musicals suffered from weak books, difficult out-of-town tryouts, and problems behind the scenes that hampered their success.

The Gay Life which starred Barbara Cook and Walter Chiari, was based on Arthur Schnitzler’s 1-act play, Anatol, with a book by Fay & Michael Kanin. Gerald Freedman was the original director but was replaced by Herbert Ross (who was already this musical’s choreographer) during its tryout stop in Detroit. The Gay Life opened on Broadway in 1961 to a mixed critical reception and never caught on at the box office.

Jennie was created as a star vehicle for Mary Martin and was based on the life of the legendary Broadway actress Laurette Taylor. Zimmer stated in this biography that Mary Martin turned down the roles of Fanny Brice in Funny Girl, and Dolly Levi in Hello, Dolly! to star in Jennie. Arnold Schulman wrote the book but through development, rehearsals, tryouts and performances, Martin’s husband, Richard Halliday, was interfering in every aspect of this musical. Its tryout tour was particularly rocky – it opened on Broadway 1963 to a modest critical reception and was the last of Schwartz’s Broadway musicals.

Thereafter Schwartz worked with many different lyricists on musicals that either languished or didn’t reach the point where they could be produced. Among them were stage musical versions of the film Casablanca, Charles Dickens’ Nicholas Nickleby, and Graham Green’s Our Man in Havana. Reaching the stage was a revision, working with his wife, Mary O’Hagan, of A Tree Grows in Brooklyn, re-titled Look Who’s Dancing, was presented at the Berkshire Music Festival in 1978.

Schwartz returned to New York in the 1980’s. He suffered a stroke and passed on in 1984.

It would be impossible to comment on all of the details, including Schwartz’s personal and professional life, that Zimmer has included in his biography of Arthur Schwartz in this review. In addition, Zimmer’s biography of Schwartz also includes exhaustive listings of Schwartz’s Broadway musicals and songs which make excellent reference.

Chichester Festival Theatre

Presents South Pacific

August 4, 2021

By Mark Kappel

As the world is coming to terms with the effects of Covid-19 it is expected that streamed performances presented, on an international basis, will be fewer and far between in the future. Fortunately the Chichester Festival Theatre is currently presenting internationally streamed performances of its current revival of Rodgers and Hammerstein’s South Pacific.

The esteemed Chichester Festival Theatre opened in 1962 with Laurence Olivier as its artistic director. Over the years the Chichester Festival Theatre has presented revivals of musicals and plays that have won acclaim and some of the productions have been transferred to London’s West End. Therefore it is fortunate, still to some degree in our Covid-19 isolation, that we are able to see one of its recent and ongoing productions. And I hope that the Chichester Festival Theatre will make its productions available to be seen in this manner in the future.

South Pacific opened on Broadway in 1949 just after World War II and proved to be a star vehicle for Mary Martin in the role of Nellie Forbush. The musical was inspired by James Michener’s Tales of the South Pacific which told the stories of Americans in the military services who were based in the South Sea during World War II. Richard Rodgers and Oscar Hammerstein II were responsible for this musical’s memorable and dazzling score, and Hammerstein also wrote the book in collaboration with Joshua Logan.

The story begins in 1943 and traces the encounters of two couples who face new experiences living in what is a very different place from the United States. Nellie Forbush, a Navy nurse from Arkansas, has fallen in love with Emile de Becque a French plantation owner, and their romance takes some strange turns as Forbush comes to terms with her prejudices concerning de Becque’s children born of de Becque’s native mistress. The second story line focuses on Lt. Cable, who is sent to this part of the world on a special mission to spy on Japanese ship movements, and comes in contact with a native girl, Liat -- and realizes that he too has own prejudices. This is a story that doesn’t have a fulfilling happy ending but is certainly a learning experience for all involved.

Director Daniel Evans (who is the Chichester Festival Theatre’s current artistic director) opens his version of South Pacific with a Prologue with a lone young local Polynesian girl (Sera Maehara who plays the role of Liat)) whose space is filled with invading soldiers amid the sounds and atmospherics of chirping birds and the sounds of airplanes in the sky – all the while the orchestra is playing excerpts from South Pacific’s score. The choreography for Liat, by Ann Yee, sets the tone that we are in an unfamiliar place in chaotic times. These opening minutes set the stage for a culture clash between the native inhabitants on this island in the Pacific and the military from the United States and Japan.

Also this is a teaser for Evans’ slightly different interpretation of this classic American musical which includes some of Rodgers and Hammerstein’s best songs including, “Some Enchanted Evening”, “Cock-Eyed Optimist”, “I’m Gonna Wash That Man Out of My Hair”, “This Nearly Was Mine” and the haunting, “Bali Ha’i”.

There was some risk-taking in the interpretation of “Happy Talk” which might seem frivolous but in this production the tone was much more somber as it seems Bloody Mary is praying to the Gods, and pleading with Lt. Cable for him to marry her daughter, Liat – prayers that are not answered.

In this production of South Pacific, Evans, has made some interesting directorial choices to scrutinize this mid-20th century story from a 21st century point of view.

Both Gina Beck as Nellie Forbush and Julian Ovendon as Emile de Becque give stunning dramatic and singing performances full of charm and romance. In particular Ovendon’s heart-breaking and passionate interpretation of “This Nearly Was Mine”, and Beck in her scenes when she realizes that she still loves Emile no matter what prejudices that she may have had – particularly when she is informed that Emile’s life is in danger.

Also impressive were Joanna Ampil as the exotic Bloody Mary, Keir Charles as the comic Luther Billis, and Rob Houchen as the somewhat innocent, yet urbane Lt. Cable. Sera Maeharu’s Liat is given more expression through the language of dance which was created for her by Ann Yee, and then there were the charming performances of Emile’s children, Ellie Chung as Ngana and Archer Brandon as Jerome.

Seen in context in its time South Pacific not only deals with prejudice and acceptance, but also the displacement of people in foreign lands –and what they experience -- that will affect them for the rest of our lives.

Evans conveys that message so well in his revival of South Pacific, which is supported by this revival’s excellent cast.

A Conversation

with James Lapine & Stephen Sondheim

Town Hall

August 3, 2021

By Mark Kappel

In celebration of the publication of James Lapine’s new book, “Putting It Together: How Stephen Sondheim and I Created Sunday in the Park With George”, presented by Town Hall in New York City, was a digital conversation with James Lapine, and Stephen Sondheim moderated by Christine Baranski (who was an original cast member of the off-Broadway production of Sunday in the Park With George) – and Bernadette Peters and Mandy Patinkin, the two stars of the Broadway production of Sunday in the Park With George.

Sunday in the Park With George was the first of three Lapine/Sondheim collaborations and the Broadway production premiered in 1984. This musical was inspired by the art work of French pointillist painter, Georges Seurat, and in particular his painting, “A Sunday Afternoon on the Island of La Grande Jatte”.

The focus of this conversation was how a musical evolves from the first discussion between the collaborators until it is being performed in front of a live audience – and in this discussion it was clear that collaboration was the word of the day. Sunday in the Park With George examines an artist and his work, and expressed in this artistic analysis how both Sondheim and Lapine look back on this musical with the wisdom of age.

In this 90-minute conversation included were few tidbits of note of how the Sondheim/Lapine collaboration worked. One of the more notable ones was Lapine employing tracing paper to trace Seurat’s painting and annotate that tracing with who the characters are that would evolve into the characters in the musical. Sondheim also mentioned that his music for Sunday was influenced by Benjamin Britten – but all of his compositions are influenced by French composers. And both of them noted that the live performance of a musical is actually where the magic is begins.

This chat emphasized that art isn’t easy but also emphasized that a creator or creators can have a meeting of the minds – and eventually result in a major musical masterpiece.

Although a 90- minute conversation between Sondheim and Lapine – and the added comments by Baranski, Peters, and Patinkin – is not enough for me – Town Hall should be proud to have presented this fascinating discourse among great artists.

Mean…Moody…Magnificent! – Jane Russell

By Mark Kappel

Author Christina Rice has written the very first biography of movie star Jane Russell entitled, Mean…Moody…Magnificent! – Jane Russell And The Marketing of a Hollywood Legend, published by the University Press of Kentucky. And it is a good read about a film star that made her mark in the Golden Age of Hollywood.

Russell who was born in 1921 in Bemidji, Minnesota, lived the life of a major film star, theater performer, and activist until she passed away in 2011.

Her career in film was launched with an aggressive advertising campaign to promote the Howard Hughes’ film the Outlaw in 1943. Through the decade of the 1940’s she made very few films but ultimately she had a major film career working with the best of Hollywood’s film directors and worked with co-stars who were Hollywood legends in their own right – and Russell also managed her boss Howard Hughes who only wanted to exploit her as a sex symbol.

Starring with Marilyn Monroe in Gentlemen Prefer Blondes and appearing as a spokeswoman in Playtex bra commercials – her back story was having strong religious faith and later in her life she had a career as a Christian vocalist – and after experiencing the side effects of an abortion she had in 1942 – which prevented her from having children – Russell adopted children with her husband Robert Waterfield (a professional football player) – thereafter creating the WAIF foundation to raise money to lobby congress to change restrictions governing adoptions.

Russell’s mother, Geraldine, had a modest career as a stage actress – and as was to be, Geraldine and her husband pursued their lives and business on both sides of the United States and Canadian border. But when those ventures were no longer stable, they migrated from Vancouver to San Francisco and then on to Los Angeles to seek their fortunes. The Russell Family wasn’t effected by the Wall Street market crash in 1919 as Russell’s father’s position with the Jergens Company gave the family financial stability. However there was the tragedy that Russell’s father died at 47 years old as a result of complications after a routine surgical procedure.

Russell took to drama at a young age and played the piano in a fashion. She joined her brothers and neighborhood kids in an orchestra that performed at ladies clubs, at the YMCA, and private parties.

Russell studied drama with Hollywood character actress Maria Ouspenskaya. An opportune connection with local photography, Tom Kelley, allowed Russell to embark on a career as a model – and Kelley even arranged for her to have movie screen tests – which unfortunately were not breakthroughs for Russell to act in films.

However Russell’s career was to change when she was casted in the role of Rio, the Mexican/Irish girlfriend of Billy The Kid in the film, The Outlaw, which was produced by Howard Hughes, who would be an important force in her film career. Rice includes several different stories of how Russell was casted in the film but it seemed to have been a connection to her modeling work with Tom Kelley, when an aggressive agent found Russell’s photo in Kelley’s studio – who then presented Russell as a possibility for the role. Russell was subsequently screen-tested and then landed a movie contract deal which was lorded over by Howard Hughes.

Howard Hughes challenged the movie production code of the time, and he also interfered in the making of The Outlaw. Only a few weeks into the shooting of the film, its director Howard Hawks was dismissed and Hughes took over as director.

In spite of Hughes control over Russell and the films she was in, when under the guidance of film director Howard Hawks, Russell learned that she could control her own destiny and not to be intimidated to do anything to promote herself that would be construed as being against her better judgment.

It took nearly five years for The Outlaw to be premiered because of Hughes’ insistence on challenging the Production Code Administration as the PCA found scenes in The Outlaw to be too erotic for American film audiences to see. Negotiating the cuts and also Russell winding her way through Hughes aggressive publicity campaign for the film – including photos by George Hurrell with Russell pictured erotically in front of haystacks – might have eventually been effective in selling tickets for The Outlaw but stalled Russell’s film debut.

When the United States entered World War II Russell became a popular pinup girl so it appears that the publicity campaign had worked to her advantage – but The Outlaw was not perceived as a great screen classic.

While waiting for The Outlaw to be released Russell had a botched abortion which influenced her life in the future. There was some question as to who the father of the baby might have been – either her fiancée Robert Waterfield or a boyfriend in between relationships, John Payne – however the impact of it all was great. Russell believed that her not being able to have children of her own was due to the fact that she turned her back on her spiritual faith – the cause of her misfortune. Upon her own revelation, Russell proclaimed a renewal of her faith and beliefs.

Robert Waterfield, Russell’s first husband, was a high school athlete and subsequently pursued college studies at UCLA – and in 1941 he made the varsity football team. Russell finally married Waterfield in 1943 eloping to Las Vegas. Thereafter Waterfield was offered a contract to play football for the Cleveland Rams while Russell pursued her career in a fashion. Kay Kyser, the bandleader, gave Russell the opportunity to sing with his band and also a recording career.

Russell and Waterfield built a showcase home in California, and still on the coattails of the publicity that Hughes generated for The Outlaw, Russell appeared on stage as a variety act during time periods when she was on hiatus from making films.

In the 1950’s her film career resumed with His Kind of Woman, and Macao, and then came Son of Paleface – again with Bob Hope.

The motion picture that Russell was most known for was Gentlemen Prefer Blondes. Most notably the film version of this Broadway musical didn’t include all of the music from the Broadway version – new music was written – and added were story-lines to bolster Russell’s part as Dorothy Shaw.

Jack Cole was the choreographer for the film and he had to deal with two leading ladies – Russell and Marilyn Monroe – who were not the best of dancers – and it was notable that Cole’s assistant on the film was Gwen Verdon who helped create the illusion that both Russell and Monroe were at home dancing and singing in a film musical. This same team came together for what was to be a sequel to this film, entitled Gentlemen Marry Brunettes – co-starring with Jeanne Crain – but without the same success.

After many years of association with Hughes, the film, Underwater, which was released in 1955, was her last film for Hughes.

Thereafter Russell organized a spiritual singing group that was signed on for a recording contract – and thereby launching yet another career. In 1957 Russell made her Las Vegas debut and in 1958 at the Latin Quarter in New York. She also appeared on television variety shows, talk shows, game shows, and in guest appearances in television series – she also toured the summer stock and regional theater circuit in plays.

Russell’s husband, retired from football, then went into the movie business producing and developing films for Russell with their own film production company, and then returned to football as a coach.

Russell devoted time to becoming an activist for the international adoption of children, which was enabled in the 1953 congressional passage of the Refugee Relief Act. In 1954 after several government agencies had been realigned, Russell was elected to the Board of the International Social Service – a new division, WAIF, was founded with the purpose that it would be employed to cover personal and salaries and expenses to cover adoption reforms and activism – Russell used her celebrity status effectively in raising money and lobbying politicians.

In 1981 Russell testified before Congress on behalf of the Adoption Assistance and Child Welfare Act of 1980 – and after further lobbying efforts the bill passed.

In the 1960’s Russell appeared in independent films. Her last film role was a cameo appearance in Darker Than Amber and her last television appearances were in Yellow Rose and Hunter.

In 1967 Russell filed for divorce from Robert Waterfield which proved to be an ugly mess that was not settled for more than 1-1/2 years. However after working with Roger Barrett while doing a play in the Chicago area, the whirlwind romance resulted in a wedding in 1968. After a few short months of marriage Barrett died of a heart attack – just before a planned road show production of Hello, Dolly!

Harold Prince, director of the Stephen Sondheim hit musical, Company, was looking to replace Elaine Stritch in the role of Joanne who was to leave the Broadway production for the national tour. Prince saw Russell interviewed on the Dick Cavett Show and thought Russell would be right for the part. After having anxieties about preparing herself for the role, Russell took to drinking again, landed up in a psychiatric hospital, and her agent withdrew her from Company. But after second thoughts Russell wanted to do it if Prince wanted her to do it. Prince still wanted her and Prince signed her on again. Through the rehearsal process she realized that the character of Joanne was a kindred spirit – and she made her Broadway debut in May 1971 – receiving a warm reception from critics and audiences – however still having some anxieties she cut her Broadway engagement down to three months. However she continued doing limited engagements in stock productions – among them Mame.

Russell got married again in 1974 – to John Peoples, a retired military man – a marriage that lasted until Peoples’ death in 1999. However there were a few ups and downs in her personal life including her son Buck Waterfield being arrested for attempted murder, resulting in a trial, and he being convicted of involuntary manslaughter and sentenced to nine months in jail and five years’ probation. She herself was arrested for drunken driving. There was a positive move to Sedona, Arizona to spend more time with her family in the early 1980’s but ultimately returned to California. She kept on going until health issues slowed her down, and she passed away in 2011, after living her last years as a “Living Legend”.

Christina Rice’s book about Jane Russell includes many more details about Russell’s career than I could in a comparatively short book appraisal as well as details of her personal life and in all of the alternate careers that Russell was involved in after her film career faded. And also her controversial views on social issues. For those who are interested in Russell’s life, and career in entertainment, this is an important in-depth study.

Art Lab/Showtown Productions’ First Date

July 16, 2021

By Mark Kappel

From July 23-25, 2021 there is a special treat for summer time streamers as result of the presentation of the Art Lab & Showtown Productions’ streamed production of the Broadway musical, First Date, which had premiered on Broadway in 2013.

First Date, with a score by Alan Zachary and Michael Weiner, and a book by Austin Winsberg, tells the story of the ups and downs of what might be a typical blind date for two 30-ish new New Yorkers who are set up by friends, relatives and co-workers – and more often than not, they don’t work out for many reasons.

Directed by Meg Fofonoff for this streamed performance of First Date, the audience is more than an eavesdropper on this intimate story of Aaron, an investment banker, and Casey, a free-spirited, cool, aspiring photographer who have been set up for a first date – with Aaron’s co-worker Gabe, and Casey’s sister, Lauren being the prime chorus and ghosts of the past and present who comment and support – and criticize – these first daters in the hope that this one might turn out well in spite of the personal and emotional baggage that both Aaron and Casey are carrying. And it all begins with drinks – and then dinner – and then…

This first date is immersed in misconceptions, dating mistakes, and off-key first impressions – Aaron stressed out and Casey rather cool yet unsure of herself. Both express their feelings and awkwardness in conversations and inner monologues – in spoken word and song – riding the roller coaster ride of what could be a momentous evening.

First Date has a listenable and charming score that moves the narrative ahead while not rushing the main characters’ thoughts and concerns. As this 90-minute musical moves forward the daters are caught up with the repercussions of Google searches about each other, past relationships, and breaking down barriers. And then the spontaneous and unexpected attraction that evolves between Aaron and Casey.

This particular streamed version featured former American Idol contestants – and married in real life – Ace Young as Aaron and Diana DeGarmo as Casey – and perhaps for that reason you have a feeling of where this relationship was going to wind up. Their chemistry together is evident. They are both in fine voice and adept at the comedy in First Date’s book.

Also notable were Kevin Massey as Gabe, and Jennifer Sanchez as Lauren, and also playing multiple roles, Vishai Vaidya, Aurelia Williams, and Nick Cearley.

First Date represents the kind of interaction that has been missing in this past year because of Covid-19 social distancing – and an entertaining and fun 90 minutes of theatre.

Fruma-Sarah (Waiting in the Wings)

The Cell Theatre

July 10, 2021

By Mark Kappel

Finally with theCovid-19 emergency now ended in New York State I had my first indoor theatre experience attending a performance of E. Dale Smith’s Fruma-Sarah (Waiting in the Wings) at the Cell Theatre on July 10, 2021.

And this involving and entertaining theatrical experience, conceived and directed by Braden Burns experience, makes a clever reference to one of our best known-musicals, Fiddler on the Roof.

The play focuses on a aging community theater star and real estate broker Ariana Russo, played by Jackie Hoffman, is playing the role of Fruma-Sarah in the Roselle Park Theatrical Society’s revival of Fiddler on the Roof. A production of Fiddler that is more of a revisal infusing current political figures and parties into the plot.

Fruma-Sarah is the dead wife of Lazar Wolf, the butcher, who appears in the nightmare sequence in Fiddler on the Roof. And as she does not appear for an hour into the first act, Arianna spends the time in the wings, and enters into caustic, witty, and humorous banter with Margo (played by Kelly Kinsella) the substitute crew member who is in charge of flying Fruma-Sarah high above the stage.

During the course of the play, these ladies, representing two different generations, let their hair down breaking down Ariana’s walls that she has placed around her. They share their experiences regarding marriage, raising teenagers, and their personal and professional successes – and disasters. Ultimately revealed is that Ariana has a problem with alcohol that is impairing her and is also causing damage to her reputation within the amateur theatre community in Roselle Park. She steals a drink – bourbon – to build up the courage to go on stage and bemoans the fact that so many of the leading roles she lost was collateral damage due to local politics, and favoritism – which somehow is also related to her failed attempts in securing real estate deals.

There are moments in this 80-minute play that descend into maudlin – but the humorous moments in the play more than balance out for the maudlin – and for regular theatergoers, the inside theatre jokes are worth this journey. Especially when Ariana realizes that life is worth living when she is encouraged to believe that she is being seriously considered to play Dolly Levi in the Roselle Park Theatrical Society’s upcoming revival of Hello, Dolly! There is good on the other side.

As for Jackie Hoffman as Ariana you are seeing and experiencing a gifted comic actress at work, and Kelly Kinsella as Margo is more than an actor who merely shepherds Ariana through the ups and downs in the plot lines of the play.

The theatre community in New York City has had a tough year and a half and it is now back , ready to entertain us out of the difficult time we have experienced. Fruma-Sarah (Waiting in the Wings) is the first volley in the game and we are eternally grateful.

Jayne Mansfield – The Girl Couldn’t Help It

By Mark Kappel

Jayne Mansfield was an actress who was ridiculed by her peers and critics as it seemed she was more interested in seeking publicity rather than pursuing and honing her acting craft. She was one of the many blonde bombshells seeking stardom in the 1950’s who was not taking the “acting” part as seriously as she might have.

In her book, Jayne Mansfield – The Girl Couldn’t Help It, published by the University Press of Kentucky, Eve Golden sets out to reverse those impressions of Mansfield. Among them that she was determined to reach her goals, and would do anything to achieve them, and was recognized for her talent. Also the book further condemns the contract system in place at the major film studios in the 1960’s.

Mansfield was probably best known for playing the role of Rita Marlowe in the Broadway production of Will Success Spoil Rock Hunter? – a role she created in the film version later in her career.

But her goal was to be a film star. Mansfield made her film debut in a B-movie, Female Jungle, in 1955 before her starring role in The Girl Can’t Help It in 1956. Mansfield followed up with a dramatic role in the Wayward Bus in 1957 for which she won a Golden Globe for New Star of the Year. In that same year Mansfield appeared in the movie version of the Broadway play, Kiss Them For Me with Cary Grant.

But beyond the struggles in her professional life, her personal life was loaded with challenges. This is where Golden describes Mansfield’s childhood, her romances, among them her best known relationship with Miklos “Mickey” Hargitay – and her struggles with alcohol.
Ultimately her life ended at the age of 34 in a tragic car accident – and one can only imagine what could have been.

Golden admits that sourcing her facts about Mansfield’s story was complicated by the fact that incidents in Mansfield’s life were generated in unreliable press releases, columnists who focused on opinions, rather than facts, and the biographies of friends, family and co-workers that were flawed by individual agendas. However she does depend a great deal on press reports and the known gossip columnists of the day to tell Jayne Mansfield’s story.

Mansfield was born in Bryn Mawr Pennsylvania. She lost her father when she was three and was uprooted at the age of six to Texas when her mother remarried. She studied music and foreign languages during her school days – and although she auditioned for the drama club – Mansfield did not make the cut.

In 1942 Paul Mansfield came into her life and were secretly married when she was only 16 in 1950, and shared the birth of her daughter in the same year. At the University of Texas she pursued her acting ambitions and was given a start in the profession by the Austin Civic Theater where she acted with her husband. Leaving her child behind with her parents, Mansfield attached herself to her husband as she followed him around in his military career with the promise that her husband would take her to Hollywood to pursue a movie career.

At the same time she had her theatrical opportunities among them playing Reno Sweeney in a production of Anything Goes. Mansfield also took some time away to be a student at the University of California where she took drama classes. She returned to live with her parents once her husband completed military training and was shipped off to Korea in 1953. When her husband’s military service had ended, she held her husband to his promise to go Hollywood. But after struggling financially and trying to support Mansfield’s ambitions, Mansfield’s husband packed up and moved to San Francisco – abandoning her and also his child.

Mansfield’s movie career went forward – although not at the pace she wished – and upon auditioning for a Broadway play, Will Success Spoil Rock Hunter? her visibility improved. She manufactured her own publicity making herself available for supermarket openings, benefits and charity events – all in the media center of the United States – and could be described as making herself available for the opening of an envelope. She became well-known in New York and became a bonafide star.

Mickey Hargitay, described by Mansfield as the love of her life, immigrated to the United States from Hungary in 1947. Settling in Cleveland he earned his living in the building trades. In 1952 he won a weight-lifting contest, and in 1956 he won the Mr. Universe title. He appeared in Mae West’s plays and revues. Romance blossomed when Hargitay and Mansfield met – a relationship that West didn’t approve of. They both ultimately divorced from their spouses and got married. But their marriage and joint projects had their ups and down – not to mention trying to manage their dual and separate careers, and their children.

Mansfield not only collected boyfriends, she also collected a menagerie of animals. While in New York she appeared on television game shows, television variety shows and interview shows. Golden described Mansfield as “press-mad” and “professionally ambitious”. And also becoming well known for appearing as daffy and clueless in interviews.

Off to Hollywood to recreate her Broadway role in the film version of Will Success Spoil Rock Hunter?, she landed a multi-year contract with a major Hollywood film studio.

Parallel to her movie career, Mansfield and Hargitay developed a Las Vegas act. Their first venture together was in 1957 performing in the Las Vegas revue – Tropicana Holiday – at the new Tropicana hotel which was the first of many. Notably Mansfield proved to be adept at setting up straight lines for comedy routines, and also to counterbalance the dumb blonde act she displayed in interviews and television shows – although she played both piano and violin during an appearance on the Ed Sullivan Show.

One of her films, The Sheriff of Fractured Jaw, was filmed in Spain – released in the UK in 1958 and in the United States in 1959. Mansfield sang two saloon numbers and a love ballad, and was humiliated to find out that her singing was dubbed by a soon-to-be recording star, Connie Francis. Ironically Mansfield won a Museum of Modern Art Golden Laurel for Top Female Musical Performance for her role in The Sheriff of Fractured Jaw.

Mansfield made many films abroad and several of them were in Italy including The Loves of Hercules with Hargitay as Hercules and Mansfield as one of his lovers in 1960. Thereafter Hargitay appeared in similar epics and spaghetti westerns. Mansfield also appeared with Bob Hope in USA shows, guest spots in television series and a regular on quiz and game shows, and talk shows. There was also the unfortunate film, Promises…Promises! – a film described as a nudie film – and then Mansfield posing for Playboy.

Also Mansfield and Hargitay purchased and renovated what was called the Pink Palace, a show place, and also used it to promote their projects – and there were also Mansfield’s love affairs, breakups between herself and Hargitay -- and reconciliations.

With the assistance of her third husband, Matt Cimber, Mansfield appeared in theatre tours – among them in Bus Stop and Gentlemen Prefer Blondes – directed by Cimber – which led to other theatre tours, as well as appearing as a lounge singer in the United States and the United Kingdom – and pining over film projects that never happened – which led to problems with alcohol and divorce from husband number three. However Mansfield never gave up the search for good-paying jobs to support her family and self-promotion. Because of her self-promotion, even after death she left a legacy behind her.

The tragedy is that Mansfield died in a car accident in 1967 near Slidell, Louisiana after visiting Keeler Air Force Base in Biloxi, Mississippi, and fulfilling club date obligations.
Even after her death the Mansfield mystique continued and in 1980 the Jayne Mansfield Story was premiered with Loni Anderson as Mansfield and Arnold Schwarzenegger as Hargitay. Engelbert Humperdinck, who was one of the owners of Mansfield’s The Pink Palace, allowed some of that television movie to be filmed there including the heart-shaped swimming pool.

In Jayne Mansfield – The Girl Couldn’t Help It, Golden tells the story of a 1960’s American icon who made a name for herself in the entertainment industry and also in pop culture – and this was before the evolution of social media and more modern-day methods of self-promotion. She was a reality show unto herself. Golden’s book delves into the world of that self-promotion and also how relevant it is today.

Paper Mill Playhouse Ends

Its Online Season With Beehive

June 22, 2021

By Mark Kappel

To end its online season the Paper Mill Playhouse is presenting streamed performances of the 1960’s inspired musical, Beehive, from June 12 – 26, 2021.

The creation of Larry Gallagher, which premiered off-Broadway in 1986, Beehive focuses on six young women coming of age in the 1960’s featuring hit songs from that period that were made famous by individual female singers and girl groups. With direction by Casey Hushion and choreography by Jennifer Werner, this production of Beehive is an all-female entertainment not only represented by its cast but also with its all-female band.

The 1960’s was a decade of political and social changes with women making progress in breaking barriers in education, and in careers. But it was also a time of upheaval with protests against the Vietnam War, political assassinations, and struggles with racial issues. Some historians have described this period as a time when the United States lost its innocence – certainly it was not idyllic.

Gallagher cleverly injects the feelings of these women as they navigate this unique decade in American history while adjusting to the parallel social changes.

As for the music of that decade it was the beginning of rock and roll, folk and politically influenced songs, as well as women expressing their thoughts in regard to the issues of the day also issues as relevant as adjusting to boy troubles, the British invasion of British rock bands and Beach Party movies. The music of the era is as stylistically unique as it could be. Beehive highlights the female voices of the 60’s with songs made famous by Aretha Franklin, Dusty Springfield, Janis Joplin, Tina Turner, Connie Francis, and the girl groups – The Supremes, the Chiffons, and the Ronettes. Literally covering the musical map of this time period.

Beehive’s versatile and superlative cast of actress-singers, including Ashley Blanchet as Gina, Emma Degerstedt as Alison, Adrianna Hicks as Wanda, Isabelle McCalla as Patti, Anastacia McCleskey as Jasmine, and Mary Kate Morrissey as Laura, put their personal stamps on the music of this era.

You may well find your favorite songs of the 1960’s included in Beehive or they will be your new favorites after you have seen Beehive!

With this rousing conclusion to the Paper Mill Playhouse’s streamed season, one looks forward to attending live performances at the Paper Mill Playhouse next season.

The Big Parade

By Mark Kappel

The Big Parade – Meredith Willson’s Musicals from The Music Man to 1491, published by Oxford University Press, by Dominic McHugh, is McHugh’s thoughtful and comprehensive examination of Meredith Willson’s four musicals in detail, and how his experiences in his professional life had an impact on those musicals.

In the 1950’s, a decade that is often described as part of the golden age of Broadway musicals, Meredith Willson’s The Music Man, Willson’s first musical, followed behind My Fair Lady and The Sound of Music, in becoming the third longest-running musical at that time.

Willson only wrote four musicals and only three of them, The Music Man, The Unsinkable Molly Brown, and Here’s Love, made it to Broadway -- and all of them were as American as apple pie, and also aptly described as Americana musicals.

In his examination of Willson’s career before The Music Man, McHugh has employed newly available source materials to tell Willson’s story.

Willson looked backward when he wrote The Music Man. With nostalgia in mind, as he set the story of The Music Man in Iowa, Willson’s home state, in 1912, and included in his score marches and barbershop quartets – and an example of “rap” in the chat and patter among Midwestern salesmen in “Rock Island” which opens the show.

Willson attended Juilliard and subsequently joined John Philip Sousa’s band as a flutist – and then on to the New York Philharmonic under conductor Arturo Toscanini. During the 1930’s Willson was the musical director for radio shows and in the 1940’s he composed the film scores for the Great Dictator, and The Little Foxes, both earning him Academy Award nominations.

Willson was a composer of popular songs including “May The Good Lord Bless and Keep You?, and “It’s Beginning To Look a Lot Like Christmas”, and he also composed two symphonies which were premiered by the San Francisco Symphony and the Los Angeles Philharmonic. He also composed patriotic songs during World War II for various Federal Government agencies.

McHugh tells in detail the story of how The Music Man was developed and eventually brought to Broadway. That includes details about the early drafts for The Music Man which include input from Willson’s sister, Dixie, and Franklin Lacy. Those drafts also reveal the development of this musical’s characters including one who was descended from an immigrant family – which evolved into the role of Tommy Djilas -- and also a character who was disabled.

McHugh also analyzes in detail how the score for The Music Man evolved. Willson wanted the music in the score to represent what people in a Midwestern town – circa 1912 – might have heard. McHugh describes the rhythmic patter represented in the aforementioned “Rock Island” and also “Trouble”.

Six numbers in the Willson’s original version of The Music Man’s score made it to Broadway. Willson wrote almost 60 songs for the score – two-thirds of them were discarded. Also it was noted that Frank Loesser was the ghost writer for “My White Knight”.

There were many drafts of The Music Man that were written over the years – refining the book for four years before getting it ready for Broadway.

The Music Man opened on Broadway in 1957 with an estimated budget of $300,000. In 1960 The Music Man made history when Liza Redfield became the show’s musical director – the first woman to be engaged as a full-time musical director for a Broadway musical. The Music Man was received warmly by the critics and audiences.

John Chapman used an intriguing and revealing title to a profile of Willson in the Sunday News – “The Corn Belt’s Noel Coward”.

The Music Man headed to London and the stars didn’t align for Robert Preston to perform in the London production. Possibilities for the role of Harold Hill included Laurence Olivier, Sam Wannamaker, Max Bygraves, Alfred Drake, Gene Kelly, Peter Ustinov, Donald O’Connor, Gordon MacRae, and Paul Newman – but the role went to Van Johnson.

Then on to the movie version for which Doris Day, Shirley MacLaine, Mitzi Gaynor – Barbara Cook, Broadway’s original Marian was tested – but the role went to Shirley Jones who played opposite Preston recreating his Broadway performance.

McHugh also mentioned draft versions of a sequel to The Music Man about a concert pianist who falls in love with the daughter of a music publisher – the idea was not pursued but instead, The Unsinkable Molly Brown was Willson’s next project.

The Unsinkable Molly Brown began its journey to Broadway in 1959 with Richard Morris writing the book – although Irving Berlin had been the first choice for composer – to be co-produced by the Theatre Guild and Dore Schary – who eventually was assigned the directing duties for the show. Molly Brown began its successful Broadway engagement in 1960 – and in 1964 the movie version with Debbie Reynolds premiered.

This musical was based on the life of Margaret Brown, who married gold miner J.J. Brown, and in 1912 she was a survivor of the sinking of the Titanic. The musical’s story is that of people coming from humble means becoming rich, and trying to win the respect of Denver’s society.
In this musical Willson used some of the same dramatic and musical devices he used in The Music Man.

For the Broadway production, Kaye Ballard and Lisa Kirk, and Shelly Winters were considered for the role of Molly Brown – Tammy Grimes was chosen – and John Raitt was considered for the role of Johnny Brown – but Harve Presnell was chosen.

Comparisons were made to Annie Get Your Gun among other successful Broadway musicals and was not embraced by all of the theatre critics even though it was a Broadway success, on tour and in its movie version.

Willson’s third and last musical to reach Broadway was Here’s Love, a stage musical version of the 1947 film The Miracle On 34th Street. As was the case for The Music Man, Willson assumed the multiple roles as composer, lyricist and book writer. One of the major revisions made by Willson was setting the story in the 1960’s rather than in the 1940’s which necessitated changes in the story in its adaptation – and the idea of reformulating a movie for the stage was also unique at the time Here’s Love was produced – which had its Broadway premiere in 1963.

Contributions were also made by the musicals first of two directors, Norman Jewison, and producer Stuart Ostrow – who eventually took on the role of director when Jewison was removed from the project.

McHugh concludes that Here’s Love was not the success it could have been because of the changes in the storyline from film to stage, and because the principal characters of Doris and Fred were unlikeable – and in general suffered from a comparison to the movie. Also the music was weak because of the fact that none of the actors in the musical were strong singers.

Several actresses were considered for the role of Doris including Michelle Lee and Shirley Jones but Janis Paige was casted. Considered for the role of Fred were Jason Robards and Lloyd Bridges but Craig Steven was chosen – and as for the pivotal role of Kris Kringle, George Rose, Leo McKern, Barry Jones and Eddie Foy Jr. were considered but Laurence Naismith was engaged.

In regard to the casting I saw a performance with Lisa Kirk as Doris and Richard Kiley as Fred towards the end of the Broadway engagement and both them gave effective – and well-sung performances in their roles.

Michael Kidd was noted for his dynamic choreography for the show and it should be noted that Here’s Love had a respectable run on Broadway and on tour.

Perhaps what hurt Here’s Love more than anything was that its story was seasonal and might have been less interesting for an audience to see during other times during the year.

1491 – which was Willson’s last staged work – was intended to be a fictionalized account of Christopher Columbus’ back story before he set sail for the New World. It received several tryouts on the West Coast in 1969 but never made it to Broadway.

McHugh writes of Willson’s story and facts that would have been seen as being reactionary when it came to racial issues – how the Latin culture was presented – and the collateral effects of the voyage which included enslaving and genocide of the Taino people of Hispaniola. It was thought that these problems would be resolved through more work on 1491 and also research.

1491 was based on an idea by Ed Ainsworth – and noted that 1491’s subtitle in the program for its world premiere was “A Romantic Speculation”.

1491’s initial production was presented by the Los Angeles Civic Light Opera and that company’s director, Edwin Lester, contributed a great deal in the development of the musical along with Ira Barmak as co-book writer, and the contributions of Richard Morris who was also this musical’s director. McHugh’s feeling was that there were great problems with the book that none of the contributors were able to overcome.

Often the casting process can influence the success or failure of a musical as often musicals are tailored to the talents of the actors who are appearing in them. Casting possibilities for the role of Columbus included Robert Preston, John Raitt, and Sergio Franchi – and the role was ultimately given to John Cullum. Elizabeth Allen, Joan Diener, Roberta Peters and Patricia Morrison were considered for the role of Queen Isabella, but the role was offered to Jean Fenn – Chita Rivera was casted in the role of Columbus’ love interest, Beatriz. Danny Daniels was the choreographer.

1491 received mixed reviews during its West Coast tryouts which might have also contributed to the fact that 1491 didn’t make it to Broadway.

Through The Big Parade, McHugh, emphasizes the influence of Frank Loesser on Willson’s scores and also offered him advice in regard to the business of show business --- and McHugh often quotes Loesser advising Willson that his legacy should be based on more than one hit show.

Perhaps Willson might only be remembered for The Music Man but that isn’t such a bad track record. What is paramount is that McHugh has given us a useful reference book to enable us to examine Willson’s professional life and his achievements – in a detailed, informational, and clear manner.

National Ballet of Canada Presents Highlights From The Sleeping Beauty

June 10, 2021

By Mark Kappel

The National Ballet of Canada continues its Spotlight Series with highlights from Rudolf Nureyev’s production of The Sleeping Beauty. This particular production of The Sleeping Beauty has been one of the National Ballet of Canada’s signature works since it was given its company premiere in 1972 – and after touring this production extensively with Nureyev as a guest artist dancing the role of Prince Florimund.

The production is also known for its sumptuous costumes designed by Nicholas Georgiadis and even presented in this film of the highlights from this ballet, by Karolina Kuras, these designs shine through.

Nureyev’s production of The Sleeping Beauty is idiosyncratic not only in its new choreography but also in its staging of traditional choreography. There is also idiosyncratic naming of the characters, what they dance, and how they portray their characters. However in this stream of highlights the characters and the narrative do not get in the way. You can sit back and enjoy the dancing from this unique production of one of the 19th century’s best-loved classics.

One of Nureyev’s idiosyncrasies is not naming the Fairies in the ballet’s Prologue. Instead it is a series of variations by these fairies which were elegantly danced by Jacklyn Oakley, Miyoko Kogasu, Tina Pereira, Tirion Law, Koto Ishihara, and Kathryn Hosier – the latter dancing what is traditionally the Lilac Fairy variation. In the context of the full production the role of the Lilac Fairy is danced by a character dancer, a tradition often included in productions of The Sleeping Beauty danced by Russian ballet companies.

Also included in this stream there was the virtuoso Bluebird Pas de Deux danced by Tina Pereira and Siphesihle November, and the White Cats danced by Clare Peterson and Jack Bertinshaw.

Rather than dancing the full Grand Pas Deux from Act III of The Sleeping Beauty, Sonia Rodriguez and Naoya Ebe dance the Adagio only with great elegance, and even in isolation Rodriguez’s Act I Variation and Ebe’s Act II Variation, each captured the characters they portrayed.

Overall this was an opportunity to take a microscopic look at an important production of The Sleeping Beauty, leaving one wanting more to see the entire production.

Broadway Goes To War

By Mark Kappel

Broadway Goes To War by Robert McLaughlin and Sally Parry, published by University Press of Kentucky, is a survey covering the content of plays and musicals that were produced on Broadway before, during, and after World War II. This book looks at Broadway productions – and imports from London – from an historical prism as Americans coped with the anxieties about war, how life would change once the United States began participating in World War II, and the contemplation of what life might be like after World War II.

Broadway Goes To War’s primary premise and argument is that the universal perception that Americans pulled together during World War II is a myth. Social anxieties about the war, and what it was doing to the country were juxtaposed against love of country and sacrifice.
Noting that Broadway was the major contributor to American culture during that period – each had an effect on each other. The point is how did the Broadway theatre, in the content of its plays and musicals, support the war effort. And whether the content had an impact on the politics of the United States and an impact on social conditions.

Playwrights writing for New York theatre audiences zeroed-in on the threat of war – including the rise of Nazi power in Germany, and the ambitions of the Japanese -- before other mainstream American media. Through the 1930’s the content of plays included a variety of opinions on what eventually drew the United States into World War II.

McLaughlin and Parry focus on plays and musicals with plots referencing social issues at the time – and the cause and effect of changes in America’s political landscape. One of those plays was Pins and Needles, a revue played by members of the International Ladies Garment Workers Union, which was updated on a regular basis during its extended engagement. And there was also Cole Porter’s Leave It To Me – with its protagonist being a Midwestern businessman who is made ambassador to the Soviet Union – against his better judgement -- reflecting the concerns of the American public at the time about the rise of fascism and communism in Europe, and social and economic upheaval.

The Broadway theater of the 1930’s was representative of the political divisions in the United States in terms of what its creators wanted to communicate to the general public. Some wanted to preserve social and economic norms, others advocated for radical change – and others saw theatre as a means to communicate ideas, and recruit adherents.

The Federal Theatre Project, underwritten by government funds, took on a controversial and ambitious project, a stage version of Sinclair Lewis’ It Can’t Happen Here – which was about the possibility of fascists taking over the United States.

Before the bombing of Pearl Harbor Broadway plays’ content represented a wide variety of views ranging from pacifism to anti-interventionism – to concerns about the rise of fascism in Europe. Among the important plays were Robert Sherwood’s Idiot’s Delight, Lillian Hellman’s Watch On The Rhine, and in particular S.N. Behrman’s Rain From Heaven which predicted the extermination of Jews in Europe.

There were also plays imported from London to Broadway and the British playwrights had their own prospective about the war effort in Europe which was close to home. Particularly in Great Britain the plays depicted living conditions resulting from bombings during the Blitz – and also about British soldiers in combat.

One of those imported plays, Terrence Rattigan’s Flare Path put an emphasis on family and personal relations, and how the war impacted those relationships.

Also there were plays about the threat posed by the Soviet Union. As in the aforementioned Porter’s Leave It To Me! in which these concerns were presented in a comic manner, in contrast Robert Sherwood’s There Shall Be No Night, set at the time of the Soviet invasion of Finland – positioned this threat in a more serious light.

Plays such as Clifford Odets’ adaption of Konstantin Simonov’s The Russian People was a story about Russians resisting the Nazi occupation, and also there were comedies about Russians living in the United States during the same time period and the occupation of countries in Europe – in particular the example of S.N. Behrman’s Jacobowsky and the Colonel.

Depictions of Americans in combat didn’t arrive on Broadway until the end of 1942 – centered on combat and invasions in Asia and Africa initially, and then later European locales.

A large number of plays and musicals during this time period described how American life was being transformed on the home front and how the military draft caused further stress on American society.

One of the examples was Cole Porter’s musical, Let’s Face It, touched on that anxiety, and how civilians adjusted to military life was reflected in the Howard Lindsay & Russel Crouse comedy, Strip for Action.

In contrast was Irving Berlin’s patriotic revue, This is the Army, and Moss Hart’s Winged Victory which depicted civilians being trained to be pilots – adapting to military life, and Gladys Hulbut’s Yankee Point which focused on suspected German saboteurs and spies within American borders and plays dealing with war-time pregnancies, absent fathers and mothers working full-time to make ends meet, older children taking over as parenting their younger siblings, and taking on the tasks of running a household.

Youthful connection with the war years was represented in the musical On The Town which also celebrated an ideal image of New York. In contrast was Tomorrow The World by James Gow and Arnaud d’Usseau, which takes place in the Midwest where a 12-year-old German refugee was transported from Germany to live with his American relatives -- turning that family upside down when he dons the uniform of a member of the Hitler Youth. Through the course of the play, he is redeemed.

Another important aspect of war life was how the returning soldiers would adjust to civilian life and their wartime obligations. Such plays as Rose Franken’s Soldier’s Wife dealt with this subject in a serious manner but many were comedies. Maxwell Anderson’s Truckline Café focused seriously on the life of returning soldiers. There were plays about returning soldiers with PTSD (post-traumatic stress disorder). African-Americans were not represented in many of these plays although as McLaughlin and Parry stated, they were presented in a positive light – particularly as depicted in Oscar Hammerstein II’s Carmen Jones – but the returning soldiers were seen as upending social norms.

A unique theatrical presentation was We Will Never Die, with a script by Ben Hecht, Kurt Weill as composer and Moss Hart as director, whose content attacked German persecution of Jews and challenging Americans to save the Jews targeted in Europe. In contrast was Arthur Laurent’s Home of the Brave which told the story of Jewish soldiers and their homecoming which brought up the subject of anti-Semitism – the principal Jewish character being in the United States but is accepted into American society.

The same creative team that was brought together for We Will Never Die was brought together again in A Flag Is Born which questioned the silence of America and American Jews while Jews were being killed in Europe.

Produced by the New Jewish Folk Theater in 1944, Harry Levick’s The Miracle of the Warsaw Ghetto – performed in Yiddish – took place in Warsaw in 1943 where a young Jew learns his family has been killed by the Nazis and vows to fight fascism after his girlfriend is killed on a mission for the resistance.

State of the Union by Howard Lindsay and Russel Crouse wrote about a political campaign which debated America’s future and the questionable behavior of politicians and rank and file voters – but hoping that the problems from the past could be resolved in the years after World War II.

Broadway playwrights expressed concerns for America’s future. The content of playwrights writing for the stage was juxtaposed with flag-waving and ith cynicism during the World War II years.

There was an amazing number of plays and musicals that concentrated on what was happening in the world or touched on it from a distance. The number of theatre productions just during the 1941-42 season was 84 plays – far more than are produced on Broadway in this day and age.

Broadway Goes To War provides an invaluable resource for scholars and aficionados of the Broadway theatre as it is supplemented with an appendix, in which plays and musicals that were produced during World War II years, are described in detail.

First and foremost Broadway Goes To War is a detailed description of the historical context that served as the background of what playwrights were concerned about during years of World War II.

Pennsylvania Ballet Presents

Three World Premieres

June 2, 2021

By Mark Kappel

Ending its three program spring season, the Pennsylvania Ballet’s final program featured three world premieres which were linked not only as premieres but all three of the premiere pieces were choreographed to music composed by Jennifer Higdon.

Created via Zoom was Juliano Nunes’ Encounter which reflected the themes of encountering people, people’s encounters, and encountering the times we are living in. These themes were significant as the piece begins with a lone dancer, and the remaining dancers of this ensemble cast joining in one at a time or by two or in groups. All of the choreography reflects searching and connections and is choreographed in a contemporary dance vocabulary.

The ensemble cast of So Jung Shin, Zecheng Liang, Nayara Lopes, Jack Thomas, Oksana Maslova, Arian Molina Soca, Dayesi Torriente and Thays Golz eased in and out of Nunes’ choreographic ideas which were also styled to interpret Higdon’s music.

Meredith Rainey’s Spillway reflected American spirit and energy, with the dancers linking up as a community. The contemporary ballet choreography responded to the music – and Rainey chose propulsive moment and steps to interpret the music.

Yuka Iseda, Jermel Johnson, Lillian DiPiazza and Sterling Baca guided an ensemble cast that was constantly on the move!

The closing piece, Russell Ducker’s Dance Card, took its theme and title from the composer’s music. The men were costumed in formal attire and the ladies were attired in stylized black ball gowns. There was formality in the patterns on the stage as they whirled in this dark ballroom – connecting and disconnecting. Of the three pieces on this program Ducker was the only choreographer who responded to Higdon’s music with classical choreography. And similar to the other pieces on the program, Dance Card was danced by a large ensemble cast.

This program was a provocative experiment in commissioning choreography pairing off the choreographers with music by the same composer. Commissioning choreography is always a challenge and a risk, but for the Pennsylvania Ballet this was a risk worth taking.

Vienna State Opera Ballet Dances

Robbins and Balanchine

May 31, 2021

By Mark Kappel

Streams of the Vienna State opera Ballet are rare and when these streams are made available on a worldwide basis, the company performs full-length ballets and not programs with multiple ballets.

On May 31st, 2021, the Vienna State Opera, now under the direction of Martin Schlapfer, presented a streamed performance which included four ballets – three of them choreographed by Jerome Robbins and one choreographed by George Balanchine.

Neither choreographer is still with us and even when staged by Robbins’ and Balanchine’s designated stagers these ballets are left to the interpretation of the dancers who are casted in them.

Jerome Robbins’ Glass Pieces was given its world premiere by the New York City Ballet in 1983, choreographed to pulsing music composed by Philip Glass. Robbins’ choreography and Glass’ music combine to create an urban landscape with people quickly moving with little connection to others – and a bit of gloom – and currently with the extra layering of the pandemic era.

The Vienna State Opera Ballet’s cast of dancers, Ionna Avraam, Calogero Failla, Alice Firenze, Arne Vandervelde, Fiona McGee, Lourencio Ferreira, Nina Polakova, and Roman Lazik reflected those mixed emotions in their performances.

Displaying another aspect of Robbins’ choreographic range was the intimate, A Suite of Dances, which was created in 1997 – danced by a lone male dancer with a cellist playing the music of Bach to accompany the dancing.

A Suite of Dances’ choreography has a sense of informality and improvisation, and was danced with a little bravado and characterization by Davide Dato.

In contrast was the comic ballet, The Concert, which had its world premiere in 1956. Choreographed to orchestrated music composed by Chopin, Th Concert was inspired by the fantastical thoughts of audience members attending a piano recital – those thoughts and fantasies have a wide range and latitude as even the pianist not only plays Chopin’s music but also is a participant in the comic goings-on.

Elena Bottaro as the Ballerina, Eno Peci as the Husband, and Ketevan Papava as the Wife brought much humor and comic flair in their dancing and interpretation of these stereotypical characters. And then there was pianist Igor Zapravdin, who not only played Chopin’s music impeccably but was also channeling Victor Borge.

In short The Concert is antidote for these troubled times – and the Vienna State Opera Ballet dancers acquitted themselves well in The Concert as well as in A Suite of Dances, and Glass Pieces.

The lone Balanchine piece on this program was Duo Concertant, a short and intimate duet choreographed to Stravinsky’s music of the same name played by a pianist and violinist on the stage.

Duo Concertant was one of Balanchine’s major contributions to the New York City Ballet’s Stravinsky Festival in 1972. Throughout the piece the changes in mood in the music are reflected in Balanchine’s choreography and enhanced by the lighting effects.

Liudmila Konovalova and Masayu Kimoto both communicated well those changing moods and executed Balanchine’s choreography precisely.

Overall the Vienna State Opera Ballet presented a challenging program of choreography and dancing.

Manhattan Theatre Club Presents The Niceties

May 29, 2021

By Mark Kappel

Beginning on May 27, 2021, the Manhattan Theatre Club is presenting a virtual revival of Eleanor Burgess’ The Niceties, a play that the Manhattan Theatre Club had presented during its 2018-19 season. Adapted to a virtual platform, this new version is fortunate to have the original stars Lisa Banes and Jordan Boatman who truly inhabit the characters they are playing.

The Niceties focuses on an ambitious and opinionated, black college student (Jordan Boatman), and her white history professor (Lisa Banes) who meet over Skype to discuss the student’s thesis paper, a paper which presents a different perspective regarding the causes of the American Revolution.

The professor is the stereotype of a privileged elitist at a prestigious school of learning and very much in an academic bubble of her own. The student, a political science major, is eager to get a good grade in order to pursue her career as a community activist and organizer, and is accused by the professor of not focusing on her thesis paper as she is distracted by her organizing political protests and marches.

Both are described as liberal in their politics and the professor is revealed immediately for what she wishes to be represented by – drinking coffee from a Hilary Clinton mug -- while the student is at home where she wanted to tackle her thesis paper rather than being on campus.

The student’s point of view is how much slavery played a part in the American Revolution and its aftermath – and the contentious debate moves on from there with both the student and professor revealing their generational differences, and their personal and academic differences regarding race. The meaningful debate between them is the heart of The Niceties.

Needless to say the title of the play is ironic – and the play’s end is abrupt leaving an audience wondering what will happen after this confrontation has ended – or if it hasn’t ended and there is more to come.

Because Burgess studied history at Yale she has made the conflict between these two women true to life. One would be able to make comparisons between this confrontation and those one might have had while studying in a college or university setting – fighting for your principals, methodology – and even a grade.

Director Kimberly Senior deftly makes The Niceties much more than a verbal fencing match, and certainly the performances of Banes and Boatman are important facets of the controversial confrontation that takes place between the characters they are playing. And that is why The Niceties is worth watching and pondering both the positives and negatives in this academic disagreement.

National Ballet of Canada – Balanchine Program

May 27, 2021

By Mark Kappel

The National Ballet presented an atypical program as part of its Spotlight Series which was an all-George Balanchine program with two of his signature works. The National Ballet of Canada has danced many Balanchine ballets since its beginnings but very rarely. This made the programming a bit unique.

Balanchine’s Apollo, choreographed to a commissioned score by Igor Stravinsky, was created for the Diaghilev Ballet Russes and shortly after its world premiere became Balanchine’s best-known work.

The ballet focuses on the theme of Apollo’s relationships with his muses -- and to note that the National’s version of Apollo is based on a revised version that Balanchine created for the New York City Ballet in 1979 rather than the two scene version he created for the Diaghilev Ballet Russes in 1928. The revised version eliminates the first scene depicting Apollo’s birth and also eliminates even the minimal scenery that was designed for the original version.

The National’s production of this revised version was meticulously staged by Christopher Stowell and Lindsay Fischer.

The title role demands a heroic performance from the dancer dancing this role creating a God-like figure with royal elegance. Brendan Saye gave such a heroic performance as Apollo – proud and strong -- and the dancers playing the adoring muses, Svetlana Lunkina as Terpsichore, Jeannine Haller as Polyhymnia, and Calley Skalnik as Calliope were Apollo’s ladies in waiting and inspirations.

Although this version has a bit of starkness it still has a lot to say and remains a magical match between the choreography and the music.

The other Balanchine work was one of his few stand-alone duets, Tarantella, choreographed to music by Louis Moreau Gottschalk and very much tailored to the talents of its original cast, Patricia McBride and Edward Villella. Tarantella is also an Auguste Bournonville-inspired dance piece with the Italian themes from Bournonville’s Napoli.

For the two dancers dancing this virtuoso and challenging piece they must give the impression that they have been shot out of a cannon, with none of their energy flagging. Both dancers achieved this with ease and charm. Skylar Campbell performed with a great deal of swagger, and Koto Ishihara contributed the appropriate spirit.

This all-Balanchine program was a challenging one and brought out the best in all of the dancers participating.

Todd Bolender, Janet Reed and the Making

of American Ballet

By Mark Kappel

Distinguished dance writer Martha Ullman West has written a thoughtful and exhaustive examination of two important figures in the American dance world in her book, Todd Bolender, Janet Reed, and the Making of American Ballet, published by the University of Florida Press.

West’s point of view is that Todd Bolender and Janet Reed, both of whom danced for George Balanchine during their careers, participated in the pioneering of the establishment of ballet companies in the Midwest and the Western part of the United States at the time when ballet was becoming part of popular culture rather than just a New York phenomenon.

Not to mention ballet companies dancing the works of Lew and Willam Christensen, Eugene Loring, Agnes de Mille, Catherine Littlefield, and Ruthanna Boris had as much of an influence on American ballet as did George Balanchine and Jerome Robbins.

So who were Todd Bolender and Janet Reed?

Bolender, who was born in 1914 in Canton, Ohio, began his dance career as a modern dancer, and Janet Reed, who was born in Tolo, Oregon in 1916, was exclusively a ballet dancer.

Bolender pursued his studies in New York with Mary Wigman and Hanya Holm described by him as his strongest influences. During the time period he was in New York, when the country was recovering from The Depression, he also studied at the School of American Ballet and with other ballet teachers who taught in different ballet styles that were not offered at the School of American Ballet.

Lincoln Kirstein asked Bolender to join Ballet Caravan which was a project for American ballet dancers to dance the works of American choreographers – and West’s book includes detailed descriptions of those ballets some of which are now rarely performed by American ballet companies.

Ballet Caravan was a significant arts entity as its activities were underwritten by the United States Government as a cultural exchange to counter anti-democratic influences in South America – a rare instance when the United States Government had supported any arts groups. Ballet Caravan offered choreographic opportunities to George Balanchine, Antony Tudor, and William Dollar among others performing “Americana” ballets that reflected American culture not only in choreography but also in music and subject matter. West provides many details about these tours and Bolender’s participation in them.

A particular note of interest is that during the time period Ballet Caravan was touring in South America, Balanchine was offered the job of artistic director of the Teatro Colon’s ballet company – which he turned down. But he returned to the Teatro Colon at a later date to choreograph a new ballet for the company, Mozart Concerto.

Reed was a descendent of pioneers and received her training in Oregon – with Willam Christensen in Portland – and appeared in adaptations of the 19th century classics – the 19th century classics which Reed later danced in with the San Francisco Opera Ballet.

Reed was a featured dancer with the San Francisco Opera Ballet where she danced in Willam Christensen’s’ full-length production of Swan Lake, the first production of this ballet in the United States.

Reed ventured to New York to join Eugene Loring’s Dance Players – an artistic extension of Ballet Caravan in that Loring wanted to choreograph “dance plays” with American themes and stories. This was one of many concert ballet groups that Reed danced with – then on to American Ballet Theatre where she danced roles in ballets choreographed by Jerome Robbins and Antony Tudor – particularly creating a role in Robbins’ Fancy Free, and dancing in David Lichine’s Graduation Ballet.

Bolender joined American Ballet Theatre in 1944 – which was a short stint – and then another short stint with the Ballet Russes de Monte Carlo as both a dancer and choreographer. Thereafter Bolender joined Ballet Society a precursor of the New York City Ballet – with Boulder creating the Phlegmatic section in Balanchine’s The Four Temperaments – a work that Balanchine revised in 1951 without costumes and scenery. The premise of Ballet Society was not following the Diaghilev model of ballets being a collaboration of choreographers, artists, and composers.

West describes many of Bolender’s choreographic projects in the 1940’s and beyond in detail, and how much Bolender, as a choreographer, contributed to the New York City Ballet’s repertoire in its early years.

Reed married her husband Branson Erskine in 1946, and while still a dancer with Ballet Theatre appeared in the Broadway musical, Look Ma I’m Dancing! In 1949 Balanchine invited Reed to join the New York City Ballet, and created a role for her in his Bourree Fantasque.

West mentions a dispute Bolender had with Balanchine and the New York City Ballet in 1956 about the New York City Ballet performing his ballets on an extensive European tour. Bolender threatened that a decision in the negative on this issue might influence whether he would remain with the New York City Ballet. His ballets weren’t performed on that tour – but he stayed with the company and created one of his best known roles in Balanchine’s Agon in 1957.

In 1958, after a hiatus of sorts, Reed rejoined the New York City Ballet as a balletmistress and became known as a taskmaster. Ultimately she left the New York City Ballet in 1961, and in 1963 Bolender was appointed the artistic director of the Cologne Opera Ballet beginning his career as an artistic director of several ballet companies.

Bolender and Reed crossed paths again when Reed in 1974 was engaged to be the director of the Pacific Northwest Dance Company School, an appendage of the Seattle Opera – and she also choreographed for the Seattle Opera productions. Pacific Northwest Dance Company School was the precursor for what it is now Pacific Northwest Ballet.

During the time period when Reed was in charge of the company Bolender was also engaged to work with the company as a teacher and choreographer – and he took over the workload during the interim periods when Reed left the Pacific Northwest Dance Company School after the School’s executive director and Reed’s husband had a dispute. Melissa Hayden succeeded Reed for a short period of time, and Bolender kept up a relationship with Hayden and her successors, Kent Stowell and Francia Russell who formed what is known today as the Pacific Northwest Ballet.

Bolender’s career in dance was extended beyond his dancing career having appeared in Broadway musicals and later directing Broadway musicals in countries all over the world. But Bolender is best known for directing ballet companies abroad and the Kansas City Ballet in the Untied States.

As mentioned Bolender’s first director’s job was in Cologne, Germany where he chose repertoire he knew well but bringing most of it from America – including several of his own ballets and Balanchine’s The Nutcracker. Unfortunately that experience was not a happy one as these choices were not greeted with enthusiasm by the dance critics – and he moved on to Frankfurt which was another unhappy experience. However Bolender did create two ballets for the New York City Ballet’s Stravinsky Festival in 1972.

In 1981 Bolender was appointed artistic director of the Kansas City Ballet where he remained until 1995. During that period of time Bolender put his stamp on the company with his own creations and adding Balanchine ballets to the company’s repertoire. West’s book chronicles Bolender’s achievements as the Kansas City Ballet’s artistic director and Bolender’s post-artistic director career involving himself in archive videos of George Balanchine’s works for the Balanchine Foundation.

Janet Reed passed on in 2000 and Bolender passed on in 2006, and both contributed to the emergence of professional ballet companies in the United States.

Besides examining the careers of Bolender and Reed, West’s book chronicles the history, the domestic and international tours, and new choreography that highlighted the years of the 1940’s, 1950’s and the 1960’s in American dance, and also emphasizes that there were important achievements that had been made by ballet and dance companies all over the United States that are worth noting – and being appreciated by dance audiences, and employing dancers, choreographers, teachers, and administrators.

For sure I commend West’s effort and to know that it will be an important source for dance scholars who wish to know more about the formative years of America’s ballet tradition.

Broadway By The Year – Virtual Edition –

The Andrew Lloyd Webber Years

May 24, 2021

By Mark Kappel

The final virtual concert as part of the Town Hall’s Broadway By The Year series was a celebration of British composer, Andrew Lloyd Webber, one of the pioneers in creating sung-through musicals for the West End and for Broadway – and is still composing them. Lloyd Webber’s contribution to the art form of musical theatre was well represented in this third presentation of Broadway By The Year’s series.

As always Scott Siegel was there with his introductions and anecdotes, and Ross Patterson was at the piano accompanying all of the wonderful singers that performed in this concert. The question was what does one pick from among the songs from Lloyd Webber’s many musicals – and those that would fit each singer’s best attributes. All of the songs chosen were from the most well-known of Lloyd Webber’s musicals but the singers presented personal interpretations of these songs giving them unique insights.

These personal interpretations were presented by a stellar cast of actor/singers. Liz Callaway beautifully and expressively sung her way through two songs from Song and Dance, “Unexpected Song” and an almost defiant interpretation of “Tell Me On A Sunday”, and Ali Ewoldt infused raw emotion in her performance of “I Don’t Know How To Love Him” from Jesus Christ Superstar. Max Von Essen expressed assurance and an all-knowing interpretation of “High Flying Adored” from Evita, and Ethan Slater expressed youthful innocence in his singing of “Close Every Door” from Joseph And His Amazing Technology Dreamcoat, and brought a new meaning to “As If We Never Said Goodbye” from Sunset Boulevard, anticipating when live performances in the theatre will return.

Emily Larger and Danny Gardner confirmed that Lloyd Webber’s music should not be danced to in their short excerpts from Jesus Christ Superstar, Evita, and The Phantom of the Opera.

The last song of this presentation, “All I Ask Of You” from The Phantom of the Opera was given a reassuring and romantic interpretation by Ali Ewoldt and Mas Von Essen – fitting as it was sung in the empty auditorium of Town Hall which hopefully will be filled very soon with an enthusiastic audience celebrating these wonderful singers in live performances.

This was yet another entertaining evening presented by Broadway By The Year – and now curtain up for next season.

Sarasota Ballet’s Digital Program 7

May 22, 2021

By Mark Kappel

Concluding its digital season, the Sarasota Ballet’s Digital Program 7 included two very different and contrasting dance pieces.

The first piece on Digital Program 7 was Frederick Ashton’s rarely performed A Birthday Offering which was premiered by the Royal Ballet in 1956 to celebrate the Royal Ballet’s 25th anniversary. Choreographed to music composed by Alexander Glazunov and arranged by Robert Irving, A Birthday Offering is a classic neo-classical ballet which shows off a company’s principal dancers.

The ballet begins with a procession of the seven couples in the ballet’s cast followed by the seven variations named after the ballerinas who created them, a Pas de Deux, and an ensemble Mazurka for the male dancers in the cast.

Staged by Margaret Barbieri the Sarasota Ballet took A Birthday Offering into its repertoire in 2013.

A Birthday Offering is neither stuffy or staid, but understated and refined classicism. Choreographed to Glazunov’s tuneful music the ballet is celebratory not only of the ballerinas who created the ballet’s original roles but also of the moment.

Although Victoria Hulland and Ricardo Graziano assertively took over center stage in A Birthday Offering’s Pas de Deux, this was an ensemble effort with excellent performances also coming from Katelyn May, Danielle Brown, Marijana Dominis, Elizabeth Sykes, Ellen Overstreet, Janae Korte, Harvey Evans, Erik Figueredo, Richard House, Yuri Marques, Daniel Pratt, and Ricardo Rhodes.

In contrast was Twyla Tharp’s Nine Sinatra Songs, a work that has been danced in several different versions since its original world premiere in 1982. The Sarasota Ballet’s production of Nine Sinatra Songs was taken into its repertoire in 2012.

Choreographed to recordings of classic songs sung by Frank Sinatra, seven couples perform in a series of duets which dive deep into the lyrics of the songs as sung by Sinatra. Some of Sinatra’s recordings are those of his hits and others are from the American Song Book. Tharp has her own interpretation of these songs which depict a bit of romance, mystery, and conflict.

The series of duets is only interrupted by a small group dance choreographed to My Way – which also is the finale piece of Nine Sinatra Songs.

Notable performances were by Asia Bui and Daniel Pratt in “Softly As I Leave You”, Samantha Benoit and Ricki Bertoni in “One For My Baby”, and Anna Pelegreno and Yuri Marques in “All the Way”. But Nine Sinatra Songs is in many ways also an ensemble piece and was celebratory simply as an end to what has been an extraordinary and challenging season for the Sarasota Ballet.

San Francisco Ballet’s Swan Lake

May 20, 2021

By Mark Kappel

For its final offering of its digital season, the San Francisco Ballet is presenting a 2016 archive performance of Helgi Tomasson’s second and revised production of Swan Lake.

The San Francisco Ballet has a special relationship with Swan Lake as it was the first professional ballet company in the United States to stage a production of this ballet favorite which was staged by Willam Christensen in 1940.

In 1988 Helgi Tomasson staged his own production for the San Francisco Ballet, and in 2009, collaborating with designer Jonathan Fensom, Tomasson revised his production of Swan Lake – described as a production of Swan Lake for the 21st century.

The story of Swan Lake focuses on Siegfried, a royal prince who must marry. After meeting the enchanted Odette, who is under the spell of Von Rothbart and destined to be a swan forever – Siegfried pledges his love to her. However Von Rothbart and his daughter Odile, disguised as Odette, tricks Siegfried into pledging his love to Odile which reinforces Von Rothbart’s spell to doom Odette to a life as a swan. Odette and Siegfried do reconcile but they find that the only way out of their doomed relationship is to take their own lives in order to be together in the afterlife. Their love also breaks Von Rothbart’s spell.

Tchaikovsky composed three ballet scores and Swan Lake was his first. The first production of Swan Lake was premiered by the Bolshoi Ballet. However Swan Lake is known best from its 1895 production choreographed by Marius Petipa and Lev Ivanov which was premiered by the Mariinsky Ballet – after Tchaikovsky’s death.

In this production Tomasson has chosen to retain the choreography of Act II and the Black Swan Pas de Deux credited to Marius Petipa and Lev Ivanov, and has choreographed the remainder of the ballet himself. He has also added a Prologue in which Von Rothbart introduces himself to Odette and then tries to abduct her. Although Odette escapes the evil Von Rothbart, Von Rothbart still succeeds in transforming her into a swan which is depicted with the aid of a clever projection. The national dances are also transformed into short vignettes which offer a bit of story-telling as well.

Swan Lake’s libretto focuses on relationships – and love and betrayal, and the battle between good and evil. The white acts are a display of adagio and ensemble dancing – while Act III is a dazzling display of national dances and the virtuoso Black Swan Pas de Deux in which Odile seduces Siegfried and tricks him.

You could not have a better pairing of principal dancers than Yuan Yuan Tan dancing the dual roles of Odette/Odile, and Tiit Helimets as Siegfried. Not only to dance the memorable and virtuoso choreography but to portray their characters and tell the ballet’s story. Helimets is an elegant prince, while Tan is serene as Odette, and subtle and calculating as Odile. This performance was watching two stunning classical dancers at their best.

Also notable was the performance of Alexander Reneff-Olson as the evil Von Rothbart, and Dores Andre, Taras Domitro and Sasha De Sola in the Act I Pas de Trois.

For San Francisco Ballet this production of Swan Lake is a fitting end to its digital season – a very difficult season at best – and more important knowing that the San Francisco Ballet will be returning to live performances next season.

Dancers of the Met

May 16, 2021

By Mark Kappel

The dancers of the Metropolitan Opera, and the Met’s musicians, singers, and production staff have had one hell of a year – and not much has been settled concerning the Metropolitan Opera’s performances for next season as of this writing.

Therefore it was a great release of artistic energy when Dancers of the Met, an independent collective of dancers, who have performed with the Metropolitan Opera over the years, joined with furloughed musicians and singers of the Met for a collaborative performance on West 75th Street in Manhattan.

The program opened with a bit of a prologue – Danielle Russo’s 421 Days and Counting: An Ongoing Work in Progress which marked this occasion. The piece was choreographed to street sounds and the first movement of Mozart’s “The Hunt” which was danced by Antuan Byers, Ayaka Kamei, Maria Phegan, Megan Krauszer and Sarah Kay Marchetti with the music played by Mary Hammann, Laura McGinnis, David Heiss, and Sarah Vonsattel.

William Berger, who is a music aficionado and commentator, emceed with welcoming remarks and also speaking of the obvious that these wonderful artists haven’t had a theater to perform in since March of last year.

The program continued with Michelle Vargo’s I’m Here…Now choreographed to Handel’s “Lascia Chio Pianga” – sung by Anne Nonnemacher, a member of the Metropolitan Opera chorus. Danced by Michelle Joy and Melissa Sadler, this piece was a bit mournful but with the piece ending in a warm embrace by the dancers -- representing two sides of the same woman -- it signified how much we all wanted to see these musicians, this singer, and these dancers returning to work again.

Met musicians then played Piazzola’s ‘Oblivion” and then on to the final two dance pieces of the program.

Jacoby Pruitt’s Ein Traum was danced to Ernest Korngold’s “Gluck, das mir verblieb” from Korngold’s opera, Die Tote Stadt with Nonnemacher singing for the piece which was danced by Cara Seymour, Melissa Anderson, Natalia Alonso, and Ryan Redmond.

The program concluded with Belinda McGuire’s Weather choreographed to selections from Verdi’s La Traviata – with reference to bad weather as the dancers – Megan Krauszer, Minga Prather, Jacqueline Calle, Julia Jurgilewicz, and Spencer Weidie -- were costumed in raincoats with one dancer having an umbrella in hand.

What all of the pieces had in common was the choreographic vocabulary of flowing movement in the modern dance style.

Needless to say this was the perfect way to spend part of the day to enjoy the music, the dancing and the spring-like weather.

Norwegian National Ballet –

Balanchine & Bournonville

May 15, 2021

By Mark Kappel

In this last year when so many European ballet companies have been presenting livestream performances instead of live performances or in addition to live performances, the Norwegian National Ballet has been under represented. However on May 15, 2021, the Norwegian National Ballet presented a streamed performance of a triple bill that includes works choreographed by one of the greats of the 19th century, Auguste Bournonville, and one of the greats of the 20th century, George Balanchine.

George Balanchine was represented by two very different ballets even though both of them were choreographed to music by Tschaikovsky – one of Balanchine’s frequent musical collaborators.

Serenade, choreographed to Tschaikovsky’s Serenade for Strings (with the third and four movements reversed), is an example of Balanchine’s signature neo-classical ballets. Serenade also holds the distinction that it was the first ballet that Balanchine choreographed in the United States.

As a neo-classical ballet, Serenade makes allusions and references to a 19th century ballet, Giselle in this instance, but retains the integrity of Tschaikovsky’s music and the neo-classical ballet style.

The Norwegian National Ballet took Serenade into its repertoire in 1970 and its corps de ballet and the principal dancers perform Serenade with appropriate solemnity – while also being mournful.

The principal dancers, Maiko Nishino, Whitney Jensen, Lania Atkins, Erik Murzagaliyev, and Ricardo Castellanos, danced the ballet with precision, musicality and reverence.

Tschaikovsky Pas de Deux is one of Balanchine’s few stand-alone pas de deux with the classical structure of an adagio, two variations and a coda. Employing the music from Act III of Swan Lake’s original score – which would have been the Black Swan Pas de Deux in the original version of Swan Lake – came another great example of Balanchine’s neo-classical style, and danced in a carefree, yet elegant manner by Melissa Hough and Yoel Carreno.

A particular curiosity on this program was Dinna Bjorn’s staging of Bournonville’s Act III of Napoli with interpolations from Flower Festival At Genzano, and a forgotten Bournonville piece, Ponte Molle.

Bournonville, as a young man, had traveled Europe absorbing the national dance styles and the atmospheres of each country he visited. Napoli is a story of two young Italian lovers,and Act III of Napoli is a joyous wedding celebration – consisting of ensemble dances, trios, solos and duets.

The cast was led with exuberance by Natasha Dale and Lucas Lima.

The Norwegian National Ballet has presented a streamed performance in what truly could be described as a mixed-bill.

Joyce Theater Streaming

The Stephen Petronio Company

May 15, 2021

By Mark Kappel

The Stephen Petronio Company has been performing at the Joyce Theater on a regular basis, and for the 2021 season – as part of the Joyce Theater’s digital season – the Stephen Petronio Company is presenting a dance program which includes five works. These five works have been newly created or reimagined in response to the pandemic the world is experiencing, and were filmed on site at the Petronio Residency Center and Hudson Hall in upstate New York.

Opening the program were two slightly different versions of Petronio’s Are You Lonesome Tonight? choreographed to one of Elvis Presley’s hits.

Presented were reimagined versions – one which was performed in a staged format, and a second version which was presented in a film version. What both versions had in common was that the choreography was inspired by the lyrics in the song – telling a story. The staged version captured isolation with some synchronization in movement and some movement that is disconnected. The cinematic version zones in on human connections. Different perspectives on the lyrics and the music.

Ryan Pliss and Mac Twining brought a human connection in the first version, and Nicholas Sciscione and Lloyd Knight focused on the disconnection.

Love Me Tender, also choreographed to one of Elvis Presley’s hits, and was originally choreographed and performed by Petronio in 1993 as part of a collaboration with Cindy Sherman – entitled The King is Dead. Presented was a reimagined version of this solo.

Sciscione danced Petronio’s interpretation of this Presley classic, which also reflected the isolation and the disconnection in the lyrics.

Petronio’s Bloodlines project, which honors major contributors to the post modern dance movement that influence his own work, has now included Trisha Brown’s Group Primary Accumulation, a 1973 work. In this digital program this dance piece is presented in a filmed version which allows the viewer to see the entire work from an aerial position with the dancers on a wooden bridge in a natural setting. The choreography is performed in unison by four dancers placed in positions distanced from each other – which for the first time includes a male dancer in the piece.The movement is comprised of minimal gestures and leg movement in repetitive sequences. The naturally changing light sets and resets the mood of the piece which is performed in silence and showcases the discipline of the dancers – those four dancers were Larissa Asebedo, Ernesto Breton, Jaqlin Medlock and Tess Montoya.

Debuting on this program was New Prayer For Now (Part 1), a full company work featuring music by Monstah Black with the Young People’s Chorus of New York City inspired by Harry Thacker Burleigh’s Balm in Gilead and Paul Simon’s Bridge Over Troubled Water.

Petronio’s choreography reflects solemnity, thoughtfulness, and an emphasis on floor work. The piece’s first half is danced by only 3 male dancers and then joined by the remaining cast members – a spiritual work and a ritualistic work danced empathetically by Larissa Asebedo, Ernesto Breton, Jaqlin Medlock, Tess Montoya, Ryan Pliss, Nicholas Sciscione, and Mac Twining.

A notable component of this program was Pandemic Portraits, a film by Dancing Camera, which features dancers of the Stephen Petronio Company sharing their creative journeys, their emotions, their isolations, and their stress while working in bubble residencies at the Petronio Residency Center.

Certainly the Stephen Petronio Company’s presentation is of the moment.

Boston Ballet At Home – Premieres

May 14, 2021

By Mark Kappel

The Boston Ballet At Home series has presented a wide range of choreography -- including world premieres of known and lesser known choreographers -- and has also put a spotlight on the company’s talented dancers. On May 14th 2021 the Boston Ballet presented its finale program of its virtual season – a laudable effort and filling the vacuum that was created by the Covid-19 pandemic which eliminated live performances for more than a year.

This finale program includes four dance pieces which were filmed live in Boston Ballet studios and also on the Boston Opera House stage, and focused on choreographers expressing their voices in modern dance.

First on the program was Ken Ossola’s Zoom In which was choreographed through the method of Zoom, and was choreographed to Arvo Part’s familiar “Fratres”.

Ossola’s piece featured constant movement and random movement with an energized opening, and then settling into a series of duets. The choreographic metaphor was twisting and contorting the dancers’ bodies and then disappeared into the atmosphere of darkness.

The cast of Maria Alvarez, Tyson Clark, Paul Craig, Daniel Durrett, Chyrstyn Fentroy, John Lam, Nina Matiashvili, Tigran Mkrtchyan, Alec Roberts, Haley Schwan, and Patrick Yocum committed themselves to Ossola’s concept.

In contrast to the other works presented on this program was Nanine Linning’s La Voix Humaine, choreographed to music composed by Francis Poulenc from the opera of the same name. Jean Cocteau wrote the libretto in 1928, and it was set to music by Poulenc in 1958.

Linning’s concept was not only a dance piece but also dance on film, and is more of an interpretation of the music than a narrative work. What is revealed is the one-way phone conversation which reveals the feelings and emotions of a woman, Elle, having her final conversation with her lover who is leaving her for another woman.

Linning’s interprets Elle’s predicament as one caught in a spider web – a concept which is enhanced in Linning’s cinematic approach to La Voix Humaine’s libretto.

Clearly Linning has her own choreographic voice and her own vision of story-telling.

In portraying the role of Elle, Ji Young Chai expresses Elle’s turmoil and that one can communicate so much with mere facial expressions and minimal movement.

The third piece on the program was Lex Ishimoto’s What Happens If…, choreographed to music by Kurtis Sprung.

Ishimoto has been associated with the Boston Ballet in the past and is known for his participation in the popular television dance program, “So You Think You Can Dance”.

In What Happens If… Ishimoto has created a pure dance piece – with the dancers performing in masks – which stretches the Boston Ballet’s dancers abilities and was well danced by the cast of Lia Cirio, Madysen Felber, Emily Hoff, Sage Humphries, Sangmin Lee, Sunwoo Li, Abigail Merlis, Irlan Silva, and Gearoid Solan.

What all of these pieces had in common was an expression of the loneliness and isolation that people are feeling in this corona virus pandemic era.

As a hashtag, also presented was John Lam’s movingpARTS, a dance film made by the City of Boston with the Boston Ballet dancers dancing in different locations that are part of Boston’s transit system – public places – with dancers masked – and reflected how normal life has been impacted by the corona virus pandemic.

With a soundtrack based on the Catalan folk song, “El cant dels ocells”, the choreographic styles are mixed throughout this piece – in series of short choreographic vignettes that are linked together cinematically.

The cast of Daniel Cooper, Louis Hautefeuille, Lauren Herfindahl, Graham Johns, Benji Pearson, Lily Price, Nina Matiashvili, and Addie Tapp embodied the bonds between themselves as dancers.

The Boston Ballet, in its virtual season, has succeeded in gaining visibility during these unusual times – a launching pad for the company’s future live performances.

Broadway By The Year – Virtual Edition –

The Kander & Ebb Years

May 10, 2021

By Mark Kappel

The Town Hall’s virtual and online concerts of Broadway By The Year continues with a celebration of the Kander & Ebb Years. A prolific Broadway partnership that produced many Broadway musical hits – a long established partnership.

As always Scott Siegel acts as host providing background information about John Kander and Fred Ebb in what is a virtual and remote filmed concert – with five singer/actors singing and acting through these composers songs in solo filmed performances -- with Ross Patterson providing the piano accompaniment.

Kander and Ebb have been represented on Broadway with Flora The Red Menace, Chicago, Cabaret, Steel Pier, Woman of the Year, The Rink, Kiss of the Spiderwoman, 70 Girls 70, The Happy Time, Curtains, The Scottsboro Boys, and The Visit representing a wide range of story-telling through the prism of musical theatre, and Broadway By The Year brought together a wonderful group of singer/actors to tell these stories.

Ute Lemper, who appeared in the Paris production of Cabaret and in both the London and New York productions of the revival of Chicago, offered a breezy jazz interpretation of “All That Jazz” from Chicago -- suitably brassy – and a sensitive rendition of the title song from Cabaret – elucidating the song’s irony and how one can make light of political and social con

Tony Yazbeck, who has appeared in the New York production of the revival of Chicago as Billy Flynn, presented a suave and debonair song and dance rendition of “All I Care About Is Love” from Chicago and, in contrast, a romantic and sensitive interpretation of “Sometimes A Day Goes By”, a ballad from Woman of the Year.

Natascia Diaz showed off her versatility as the earthy and independent Anna singing “Chief Cook and Bottlewasher” from The Rink and the mysterious and passionate Aurora singing the title song from Kiss of the Spiderwoman. Two songs in contrast.

Beth Leaval, a consummate performer, showed off her versatility singing the comic turn “Everybody’s Girl” from Steel Pier, and the torch song, “Maybe This Time” from Cabaret – portraying both characters as survivors in difficult times.

Danny Gardner brought it all home with “Sing Happy” from Florida The Red Menace – bringing us out of our doldrums during this pandemic we are living through.

These dynamic performers presented personal interpretations of Kander & Ebb’s songs which reflected a whole range of human emotions – and entertained us too!

And This Is My Friend Sandy – Sandy Wilson’s The Boy Friend, London Theatre and Gay Culture

By Mark Kappel

And This Is My Friend Sandy – Sandy Wilson’s The Boy Friend, London Theatre and Gay Culture by Deborah Philips, published by Methuen/Drama, is an examination of the career of well-known and popular British composer, Sandy Wilson, who became famous for his one hit musical, The Boy Friend.

The Boy Friend has been considered a minor musical. Wilson never achieved an equal success with the other musicals he composed. At the end of Wilson’s life he wrote musical adaptations of fiction largely written by gay men. The beginnings and the in between is what makes Philips’ book informative.

Wilson was not born into wealth but he went to the best of British schools – including Oxford where he wrote revue material – then a move to London where he continued to make contributions to the blossoming of revues in the 1950’s.

Hermione Gingold invited him to write a song for her review, Slings and Arrows in 1949, but in 1948 Wilson had a major breakthrough in his career when he was invited to contribute to a revue, Oranges and Lemons, which was produced by Laurier Lister.

Philip’s book gives a detailed description of the development of and examination of Wilson’s biggest success, The Boy Friend, a spoof of musicals set in the 1920’s, which had its premiere at the Players’ Theatre and thereafter transferred to the West End.

The Players Theatre had earned a reputation for preserving Victorian music hall entertainment in the post-war period clinging to nostalgia including Victorian Christmas pantomimes, and Victorian drama. It became a popular place to be in the 1950’s with its cosmopolitan audiences.

Although composed in the 1950’s, The Boy Friend’s success stemmed from the British nostalgia for the 1920’s – which as compared to the 1940’s and the 1950’s – was a less worrying time than those other decades.

Shortly after The Boy Friend’s London success, The Boy Friend opened on Broadway in 1954 which made a star of Julie Andrews who appeared in the role of Polly. However this was not a good experience for Wilson and for this musical’s director, Vida Hope, who had conflicts with the New York producers and were disappointed in the New York production. Wilson and Hope were barred from the show’s last week of rehearsals and previews – and Wilson didn’t attend the opening. Yet the New York production was a success.

The success of The Boy Friend was not dimmed and was produced in former British colonies – as well as Turkey and Russia.

The film version of The Boy Friend was complicated by the fact that Wilson sold the film rights to the producers of the New York production of The Boy Friend – who then sold the rights to MGM. As mentioned in Philips’ book, Hedda Hopper reported that Debbie Reynolds and Bing Crosby had been approached to be in the film. However the project languished until Wilson was approached by Justin de Villeneuve – romantic partner of the British model Twiggy – about producing a film version of The Boy Friend – but ultimately without informing Wilson, Twiggy and de Villeneuve had sealed a deal with MGM to do the film with Ken Russell as director – and the end result was not to Wilson’s liking.

After the success of The Boy Friend, Wilson contributed to West End revues, and wrote songs for television and radio. He also concentrated on adapting plays and novels with the exception of The Buccaneer which premiered in 1955 and was a modest success.

Other projects were shelved and didn’t reach fruition because of bad timing. Wilson was to adapt George Bernard Shaw’s Pygmalion into a musical – the rights had already been secured by Alan Jay Lerner and Frederick Loewe. Similar bad timing for a musical adaptation of Christopher Isherwood’s Berlin Stories which was lost because the rights to John Van Druten’s play adaption, I Am A Camera, were purchased by Harold Prince – which evolved into one of Prince’s successes, Cabaret. Wilson had already completed the book and score for his version, and Prince auditioned Wilson’s songs and libretto. But librettist Joe Masteroff felt the songs were too similar to The Boy Friend and not in the spirit of Weimar cabaret. There was also the possibility that Julie Andrews was interested in a return to Broadway as Sally Bowles in Wilson’s version.

In the years when Wilson rose to the top of his profession it was against the law for gay citizens to engage in sexual activity, a circumstance that was exacerbated by Scotland Yards’ and the Home Office’s crackdown on male vice.

Wilson survived these difficult times forming connections with important people in the London theatre world, referred to as the “Ivy League”, and Wilson had to be discrete in his public and private behavior. Even so Wilson became an activist by attending meetings aimed at reforming British laws persecuting its gay citizens.

Wilson wrote a biography of one of his idols and friends, Ivor Novello – noting that Novello’s songs and Noel Coward’s songs, kept up British morale during the World War II years. Tastes in British theatre experienced a jolt in the late 1950’s with the premiere of John Osborne’s Look Back in Anger and other kitchen sink dramas focusing on the economic and social problems of the lower and middle classes – rather than drawing room comedies. This made Wilson’s musical efforts seem even more nostalgic and not particularly relevant.

One of Wilson’s other significant musicals was Valmouth which was his adaptation of Ronald Firbank’s 1919 novel. Tony Richardson of the English Stage Company at the Royal Court Theatre invited Wilson to write this musical for the company. Firbank’s novel had many challenges – besides being described as “camp” included characters that might be considered offensive in our day. The English Stage Company reconsidered its commitment to Valmouth, but the theatre producer Michael Codron arrived as the white knight – including the creative decision for The Boy Friend’s director, Vida Hope, to helm the production. Valmouth made it to the West End but did not have the enormous success that The Boy Friend did.

Valmouth was transferred to New York in 1960 but was presented off-Broadway rather than on Broadway and it ran for only 14 performances. There wasn’t a British revival until 1982 at the Chichester Theatre. But beyond its inuendo and sexual implications that were before its time, it was felt that Valmouth was out of fashion.

Then came Wilson’s sequel to The Boy Friend, Divorce Me, Darling! – also produced by the Players Theatre which opened in London in 1964. Other musical efforts included His Monkey Wife, and The Clapham Wonder.

Wilson’s last commissioned musical – for which he composed the score and wrote the book – was Aladdin. It was commissioned in 1979 to be the opening of the newly redecorated Lyric Theatre Hammersmith – and described as creating a musical which was trying to bend a pantomime entertainment into a musical. What plunged Wilson’s musicals into obscurity were the mega-musicals that were produced in the 1980’s which made Wilson’s musicals look even more quaint and out of fashion.

Wilson died in 2014, and although he did compose one of the most successful musicals on a British stage, The Boy Friend, and did compose and write other musicals, to most Wilson was a one-hit wonder. Yet in Britain he was considered as a transitional figure in theatre history.

Philips’ book provides new information – a great deal of information from Wilson’s archives --focused on an important figure in the musical theatre – about his personal life, his political activism, anecdotes about his successful productions, and those that didn’t reach the stage – resulting in a consequential examination of Wilson’s personal and professional life.

Pennsylvania Ballet – Spring Digital Season

April 30, 2021

By Mark Kappel

The Pennsylvania Ballet’s Spring Digital Season is continuing with a truly mixed-bill program of dance pieces in various styles – and in particular dancing a work that traces the company’s roots. For this program Angel Corella has staged a suite from one of the 19th century classics.

George Balanchine’s Allegro Brillante was created for the New York City Ballet in 1956 and was taken into the Pennsylvania Ballet’s repertoire in 1965 when the company was in its formative years. It is a go-to Balanchine work choreographed to Tchaikovsky unfinished piano concerto, a sparkling, intricate, and spirited neo-classical piece that is a challenge for all dancers.

Leading the Pennsylvania Ballet’s cast was Maya Pineiro and Zecheng Liang dancing Allegro Brillante with appropriate speed and clarity, and gave a respectful performance of one of the many Balanchine ballets choreographed to Tchaikovsky’s music.

Contemporary ballet was also represented on this program by Christopher Wheeldon’s Polyphonia, another work on this program that was given its world premiere by the New York City Ballet – in 2001 – and taken into the Pennsylvania Ballet’s repertoire in 2005. Danced to music by Gyorgy Ligeti, Wheeldon choreographed a series of ensemble dances, solos, duets, and trios that are choreographically linked to the mood of the music. This work is in the repertoires of many ballet companies all over the world and sets a particular tone.

The cast of Oksana Maslova, Nayara Lopez, Sterling Baca, Jack Thomas, Russell Ducker, So Jung Shin, Alexandra Heier, and Aleksey Babayev performed the work in the fluid and exacting style that was required.

Angel Corella’s Raymonda Suite is also on this program which is basically the Act III Wedding Celebration of this full-length ballet, and is the most familiar act of Raymonda to ballet audiences as the full-length Raymonda is rarely performed. Raymonda was the last full-length ballet created by Marius Petipa, and also the first-time he collaborated with composer, Alexander Glazunov. Both the music and the choreography is a hybrid of classical ballet, and Hungarian character dancing which makes this ballet unique in the classical repertoire.

This particular staging includes the beautiful ensemble dances led by Raymonda and Jean Brienne dotted by additional ballerina variations, a male pas de quatre, and the rousing finale.

Three ballerina variations were danced with proper classical style by Yuka Iseda, Gabriela Mesa, and Fernando Oliveira, and with regality by Dayesi Torriente as Raymonda and Arian Molina Saca as Jean de Brienne.

The short addition to this program was a solo from Dwight Rhoden’s And So It Is, a contemporary work choreographed to music composed by Steve Reich which had its world premiere in 2015. Jermel Johnson commanded the stage in his execution and interpretation of this modern dance piece.

An important aspect of this program was that it was filmed at Philadelphia’s Performance Garage with Alexander Iziliaev credited as the video director which gave this digital presentation the spontaneity of a live performance.

Broadway By The Year – Virtual Edition –

The Cole Porter Years

April 26, 2021

By Mark Kappel

Created, written, and hosted by Scott Siegel, Broadway By The Year is a signature series presented by Town Hall in New York which celebrates Broadway musicals by the year in concerts featuring the songs of those musicals benefitting from the New York talent pool of Broadway actors and actresses.

As a result of the pandemic crisis these concerts will not be presented live but are being presented in three online virtual concerts available on demand and also on the platforms of several performing arts organizations -- and instead of celebrating Broadway musicals from a particular year, these concerts will celebrate the leading lights of Broadway of the past and present.

This virtual concert sets each song in an intimate setting – in New York’s living spaces – with the singer or singers presenting their songs in a story-telling manner. Providing the musical accompaniment is pianist Ross Patterson and each singer has the opportunity to perform an individual interpretation of classic songs in the form of a cinematic vignette.

The first of these concerts celebrates The Cole Porter Years which included familiar songs from Porter’s best known and lesser known musicals. And those songs are sung by a stunning cast of singers.

Emily Larger and Danny Gardner sing and dance their way through “You’re The Top” from Anything Goes, and “Night and Day” from Gay Divorce. Lilli Cooper sings emotional renditions of “I Get A Kick Out Of You” from Anything Goes, and an early Porter song, “Miss Otis Regrets”. Kenita Miller offers ironic and sophisticated interpretations of “What Is This Thing Called Love” from Wake Up and Dream, and “Just One of Those Things” from Jubilee. Nicole Henry also offered an ironic and throwaway interpretation of “It’s Alright With Me” from Can Can, and Alexander Gemignani offered in character renditions of the comic “Where Is The Life That Late I Led?” and the romantic moment, “So In Love” from Kiss Me Kate.

Hosting this virtual edition of Broadway By The Year, Scott Siegel provides informative anecdotes about Cole Porter, and the songs that were performed. An overview of one of the greats who composed music and lyrics for Broadway musicals.

My West Side Story: A Memoir

By George Chakiris

By Mark Kappel

Published by the Roman & Littlefield Publishing Group, My West Side Story: A Memoir by George Chakiris is an enlightening and frank look back on what had been a varied career in entertainment.

George Chakiris’ career was, and is still, strongly linked to a major Broadway artistic success, West Side Story. He starred as the gang leader Riff in the London production of West Side Story and is best known for portraying Bernardo in the film version of West Side Story – winning an Academy Award for Best Supporting Actor for his screen performance in 1962. And he also had links to West Side Story’s creators, Jerome Robbins, Leonard Bernstein and Arthur Laurents. But he did have many career achievements before and after West Side Story.

He started his career as an ensemble dancer in major Hollywood movies including backing up Marilyn Monroe in the movie version of Gentlemen Prefer Blondes, and Rosemary Clooney in White Christmas.

Then came West Side Story and thereafter roles in other Hollywood films, films in Europe, television variety shows, guest appearances in television sitcoms and dramatic series, and leading roles in musicals in summer stock theaters and regional theatres, and even appeared in Las Vegas shows.

He only set foot on a Broadway stage once – which is an anecdote of interest -- but he led the national touring company of the Stephen Sondheim musical, Company, theatre appearances in Great Britain in national tours including M. Butterfly, and The Passion of Dracula in London’s West End, as well as appearing in British televisions series, and in White Butterfly Diary with the legendary Takarazuka Theater in Tokyo, Japan, and recorded four albums with Capital Records.

Born into a hard-working Greek immigrant family that moved often from one city to another, his first taste of Hollywood was as a member of The St. Luke’s choristers appearing in film. He was also a student at the American School of Dance in Hollywood directed by the acclaimed choreographer Eugene Loring, and in films he worked with choreographers Jack Cole and Robert Alton. He was also a contract player at Paramount Studios.

He also appeared in Las Vegas shows – one of them appearing with Judy Garland and in his own solo act.

But perhaps his most adventurous gamble was to follow his dream – travelling to New York to pursue his career. Through that leap of faith Chakiris was able to audition for the London production of West Side Story and securing the role of Riff. Ultimately while in London he was able to screen test for both of the roles of Riff and Bernardo in the screen version of West Side Story, and he along with several other London cast members were included in the film version.

In My West Side Story Chakiris has described the West Side Story locations in the Upper West Side in New York City and also Jerome Robbins’ perfectionism. The 4-minute and 39 second number, “Cool” took three weeks to shoot and Robbins insisted that the whole number be performed from the top to the end on every take. Dancers had blisters on their knees and infuriated, they piled up their knee pads and set them on fire in front of Robbins dressing room door. Robbins was fired as director of the film version of West Side Story but in the end shared the Academy Award with Robert Wise as Best Director for the film.

Also interesting were the possible candidates for the roles of Tony and Maria in the film. Among those considered for Tony included Elvis Presley, Robert Redford, Burt Reynolds, Tab Hunter, Warren Beatty, and Russ Tamblyn – and Richard Beymer was casted. For Maria considered were Elizabeth Taylor, Jane Fonda, Audrey Hepburn, Suzanne Pleshette – and the Broadway Maria, Carol Lawrence was also screen tested – but in the end Natalie Wood was chosen.

Chakiris’ participation in the London production of West Side Story also resulted in a drug addiction problem which started when taking Doriden during his participation in that musical – and he stayed addicted for years -- - then a result of not taking up Jerome Robbins’ suggestion to wear body pads when performing in West Side Story. Fortunately Chakiris beat that addiction after two weeks in drug rehab treatment.

Among the many post-West Side Story projects was Chakiris’ participation in the French musical film, The Young Girls of Rochefort, which had a score by Michel LeGrand and also starred Gene Kelly – and directed by Jacques Demy – with whom Chakiris formed a difficult and trying working relationship.

Certainly a major project post-West Side Story was starring in the national tour of Stephen Sondheim’s Company. He, along with members of the national tour cast, rehearsed in New York and Hal Prince asked him to do a matinee during Company’s Broadway run. He participated in that tour for a year opposite Elaine Stritch with whom he had an up and down relationship.

However significant as part of that engagement Chakiris described how he reacted and coped when Prince decided to a cut segment out of Company that Michael Bennett has specially choreographed for Chakiris. A decision that was made after the national tour had been out for a few months – and seemed a whimsical decision rather than a decision that benefitted the show as a whole. There was another unfortunate disagreement with Prince when Chakiris decided not to do the bus and truck tour of Company which apparently he found himself obligated to do by a mix-up which he and his agent had been involved. Ultimately that decision went into arbitration with Actors Equity – an arbitration which he lost and paid a fine even though he agreed to do part of the bus and truck tour until his replacement could be found.

What could have been a Broadway musical project for Chakiris was a proposed musical, Dancers, which was to be produced by David Merrick with Ron Field as director and Robert Joffrey as choreographer. Chakiris was to play a “dramatic role” in this musical as an injured dancer trying to find himself and direction after his dancing career sputtered. In short Dancers was never produced.

In My West Side Story, Chakiris frankly looks back on his career and is grateful for the career he has had, and the personal and professional friendships he made along the way. For that and that alone, My West Side Story is a good read.

Sarasota Ballet – Digital Program 6 – All-Ashton

April 24, 2021

By Mark Kappel

The Sarasota Ballet has hit upon a special niche in regularly performing the works of Frederick Ashton – a decision supported from the time that Iain Webb assumed the position of artistic director of the company. The company has performed these works not only in Sarasota but also in New York and Washington DC, and its Digital Program 6 is an all-Ashton triple bill which includes rarely performed works by this choreographer.

The first work presented on this program is Valses Nobles et Sentimentales choreographed to the well-known music by Ravel – a ballet which was premiered in 1947, and given its company premiere by the Sarasota Ballet in 2012.

Ashton’s approach to the music is in the abstract but creating romanticism and glamour – and mystery – as the dancers swirl around the stage in waltz-time seemingly disconnected from the evils of the world around them.

Leading the cast of Valses Nobles et Sentimentales Victoria Hulland and Ricardo Rhodes added to the mystery and the romance.

A vignette unto itself is The Walk to the Paradise Garden created by Frederick Ashton for the Royal Ballet in 1972 featuring Merle Park and David Wall in the principal roles of doomed lovers. There are references to Romeo and Juliet in this short ballet, and a beautiful and somber interpretation of music composed by Frederick Delius. The focus of the piece is a rapturous duet for the two principal dancers which devolves from love and devotion to an atmosphere of doom. This miniature ballet comes to a deathly conclusion as a Figure of Death envelopes both of the dancers.

The Sarasota Ballet has performed this nearly-forgotten work since 2016, and here The Walk to the Paradise Garden is danced with subtlety by Danielle Brown and Ricardo Graziano, with Richard House as the Figure of Death.

No less a novelty is Ashton’s Façade which Ashton created in 1931 employing William Walton’s music that was composed as a musical showcase for Edith Sitwell’s witty and sardonic poetry. Façade is a series of vignettes reflecting the age it was created in. It all culminates in a tango duet which combines satire, and tongue and cheek humor.

Façade is a ballet of its time with Ashton including the popular dances of the day, musical hall turns, and most importantly, it has its charm, humor and wit.

This piece was given its Sarasota Ballet premiere in 2008, and in time the company has made Façade its own. That was reflected in the performances of Katelyn May in the Polka solo, Ricki Bertoni and Yuri Marques in the Popular Song duet, and Kate Honea and Ricardo Graziano in the Tango.

A special aspect of this presentation was the commentary by Margaret Barbieri who has staged many of the Ashton ballets for the Sarasota Ballet and provides insights into each ballet’s history and intent.

For any balletomane who wishes to experience how Ashton ballets should be danced and honored, the Sarasota Ballet’s Digital Program 6 is a must see.

San Francisco Ballet – Digital Program 5

– A Triple Bill

April 23, 2021

By Mark Kappel

Continuing its digital season the San Francisco Ballet’s Program 5 is a triple bill which includes the work of three different choreographers including Helgi Tomasson, the San Francisco Ballet’s artistic director.

Tomasson’s work, 7 For Eight, is a neo-classical work choreographed to energetic and breezy music composed by Johan Sebastian Bach, which was given its world premiere by the San Francisco Ballet in 2004.

Uniquely 7 For Eight opens with an adagio danced by Yuan Yuan Tan and Tiit Helimets which creates a quiet beginning for this ballet – and the 6th Movement is another adagio pas de deux for this same couple – in effect – bookending the ballet. The choreography is often contemplative and spirited in terms of mood.

As this digital presentation was that of an archival video of this work, the cast was comprised of past and present company members. The wonderful cast of Yuan Yuan Tan, Tiit Helimets, Vanessa Zahorian, Gennadi Nedvigin, Koto Ishihara, Elizabeth Powell, Taras Domitro and Lonnie Weeks are put through their paces with sparkling technique and confidence.

The remaining two pieces included in this program were given their world premieres by the San Francisco Ballet in 2018 as part of the company’s Unbound Festival.

Cathy Marston is a contemporary choreographer who has focused her efforts on story pieces. She was represented in Program 5 by Snowblind, choreographed to music by Amy Beach, Philip Feeney, Arthur Foote and Arvo Part, and is a modern dance representation of Edith Wharton’s Ethan Frome – a story about three people who depend upon each other for support – both emotionally and for survival. Wharton’s novel tells this story a bit out of sequence and in expressionistic style.

Ethan Frome (danced by Ulrik Birkkjaer), who runs a farm in Massachusetts, is facing many challenges to survive and his immediate concern is his sickly wife, Zeena (danced by Sarah Van Patten), who is being cared for by a cousin Mattie Silver (danced by Mathilde Froustey). Frome copes with harsh weather and conflicting emotions as he is caught in a triangle of relationships – he is caring for his sickly wife, and falls in love with his wife’s caregiver. Frome is willing to take risks to keep that relationship alive – and it all foreshadows a tragedy. As depicted by Marston, these three characters depend upon each other for many reasons and in many different ways as the roles in their relationships change and are emotionally heightened.

Marston tells the story in a bit of an haze with a corps de ballet – representing snow and farm workers – which sometimes obscure the principal characters. And although not always clear in her story-telling, Marston is intrigued by the narrative form – as well as in theatre craft – leaving the audience to imagine or to interpret for themselves the story line and how the characters are defined.

The end product is a different view of a dramatic ballet and offering a showcase for the cast’s talents.

This program’s finale was David Dawson’s Anima Animus, choreographed to music by Ezio Basso, and danced by a cast of current and former San Francisco Ballet company members as this presentation derived from archival footage. Dawson’s piece is virtually non-stop dancing with choreography ranging from simple and clear to complicated.

In viewing Dawson’s Anima Animus one perceives how much William Forsythe’s aesthetic has influenced dance as an art form and also how it is has influenced the next generation of choreographers. As in Forsythe ballets, Dawson’s choreography is random with repeated steps on a dimly lit stage – and clearly Dawson exploited the cast’s best attributes.

Dawson’s choreography was meant for the talents of Maria Kochetkova and Sofiane Sylve, and their male supporters, Carlo Di Lanno, Luke Ingham, Henry Sidford and Wei Wang.

The San Francisco Ballet’s Program 5 emphasizes the company’s support of new choreography and in such a streamed form, this new choreography can reach a wider audience.

National Ballet of Canada –

Dancing Shakespeare

April 21, 2021

By Mark Kappel

Many choreographers have been inspired by the plays of William Shakespeare – particularly Romeo and Juliet, A Midsummer Night’s Dream, and Othello. In continuing its Spotlight Series, the National Ballet of Canada is currently streaming, “Dancing Shakespeare” which includes highlights of the company’s productions of ballets that have been inspired by Shakespeare’s plays.

To open the program was the Pas de Deux and Finale from Frederick Ashton’s fanciful interpretation of A Midsummer Night’s Dream, The Dream, choreographed to incidental music composed by Felix Mendelssohn. Premiered by the Royal Ballet in 1964, the National Ballet of Canada acquired The Dream in 1978.

The Pas de Deux is the culmination and reconciliation between Titania and Oberon after Oberon has played a rather cruel trick on Titania in a tussle over a Changeling Boy, and Ashton rose to the occasion in expressing the joy and love apparent in the reconciliation.

Jillian Vanstone as Titania and Harrison James as Oberon – with brief appearances by Skylar Campbell as Puck and Joe Chapman as Bottom – execute Ashton’s choreography with charm and clarity.

Alexei Ratmansky created a new production of Romeo and Juliet for the National Ballet of Canada in 2011 which has since been acquired by the Bolshoi Ballet in 2017.

Choreographed to the Serge Prokofiev score, Ratmansky’s approach to this play is rather anachronistic using a blueprint from Russian ballet company productions from the 1950’s. His choreography is often in counterpoint to the music rather than following the musical phrases.

The excerpt from this ballet presented was the Bedroom Scene from the Third Act with Elena Lobsanova as Juliet and Guillaume Cote as Romeo, and both dancers brought the expression and dramatic depth that the narrative required.

The third and final excerpt was from Christopher Wheeldon’s dance adaptation of The Winter’s Tale which was premiered by the Royal Ballet in 2016, and as a co-production with the National Ballet of Canada, the National began performances of The Winter’s Tale in 2016.

The excerpt is an encounter early in the ballet when Leontes (danced by Piotr Stanczyk) finds his friendship with Polixenes (danced by Harrison James) is being tested by his suspicions about his wife (danced by Hannah Fischer) and her possible infidelities with Polixenes.

The tensions between Leontes and Polixenes are reflected in an athletic duet danced by them which elucidate Shakespeare’s intentions in his play – and were well-played by Stanczyk and James.

The National Ballet of Canada’s presentation reflected on how great stories can be adapted into effective and compelling dance pieces.

Paper Mill Playhouse – Pete ‘n’ Keely

April 19, 2021

By Mark Kappel

The Paper Mill Playhouse had made contingency plans for its 2020-21 season which have been in continuous flux because of the Covid-19 pandemic. There had been the hope by the Paper Mill Playhouse that live performances would have returned to its stage by this date. But that has not been allowed to take place. However the Paper Mill Playhouse has hit upon a way to continue its season and present one of the musicals that been on its schedule.

Pete ‘n’ Keely, an off-Broadway musical that premiered in 2000, was scheduled for a live revival by the Paper Mill Playhouse. Instead Pete ‘n’ Keely is being streamed for the small screen with a filmed version of a live taping – which will be shown from April 17-May 1, 2021. Not only has Pete ‘n’ Keely been rethought it is coming alive again on the Paper Mill Playhouse stage where actors have not been performing for over a year.

The concept of Pete ‘n’ Keely is a live television variety special – circa 1968 – with Pete Bartel (played by George Dvorsky) and Keely Stevens (played by Sally Mayes) – this musical’s original cast – as a warring divorced couple who had achieved success as a husband and wife team – no doubt inspired by the successful duo of Steve Lawrence and Eydie Gorme. The past is brought up and the battles begin.

One of the songs in the score “It’s Us Again” sets the scene for a re-creation and nostalgic look at a genre of entertainment that is unfortunately gone. It was a time when an entertainer’s goal was to divert an audience and making sure that the troubles of the day were left outside of the theatre walls – and all cooked up with a bit of oversell, cheesy and glitzy sometimes, and Pete Bartel and Keely Stevens upstaging each other often.

In this format Pete and Keely delight the audience with their back stories -- how they met, how they got into show business, why they got married, and the ups and downs of a show business career. As the story unfolds the duo is distancing themselves from each other evolving into a love-hate relationship that is expertly told in the songs being sung – and enriched by the emotional and acerbic interpretations of them by Mayes and Dvorsky.

In the course of this television special the relationship between Pete “n” Keely changes not for the better and sometimes for the worse. Yet they rekindle their relationship and perhaps another chapter in their personal and show business lives is about to begin.

James Hindman, the creator of Pete ‘n’ Keely, provides the snappy and witty dialogue while incorporating standards from the American Songbook along with original songs with music by Patrick Brady and lyrics by Mark Waldrop. Waldrop, this musical’s original director, re-imagines his direction and musical staging for the Paper Mill Playhouse’s revival.

The ”special material” is of the age this story takes place in and this filmed live performance captures the genre and the moment in time.

Besides the exemplary and winning performances by Sally Mayes and George Dvorsky who bring these characters’ to life – and get the best out of the songs they are singing – it was simply wonderful to see actors again on the Paper Mill Playhouse.

In viewing Pete ‘n” Kelly you get the feeling that we are almost there and that audiences will soon be experiencing live performances at the Paper Mill Playhouse sooner than later.

Being A Ballerina – Gavin Larsen

By Mark Kappel

Gavin Larsen had an illustrious career as a dancer exemplified by her associations with Pacific Northwest Ballet, the Alberta Ballet of Canada, the Suzanne Farrell Ballet, and the Oregon Ballet Theatre before retiring from the stage in 2010. The stories that she can tell focusing on her stage experiences should comprise a book alone.

In her book, Being A Ballerina, published by the University of Florida Press, Larsen reveals her experiences beginning with her training, and her career as a professional dancer. She is introspective and frank concerning the preparations and the study that was necessary for her to achieve her goal to be a professional dancer – and upon retirement from the stage Larsen takes the opportunity to evaluate her training, her career, and move forward and not backward.

Her book is in diary and essay form describing the beginnings of her formal ballet training at age 8, including her daily routine, her feelings at the time, what she learned from her teachers, and also offering a bit of support for those young readers aspiring for a similar career in dance to help them find their way when trying to cope with the setbacks that are part of the ballet training process.

Larsen describes in detail her inner feelings during her audition and her acceptance at the School of American Ballet in New York City and praising her influential teachers including Madame Dudin, Madame Tumkovsky, and Richard Rapp. Through her training Larsen learns how to defy gravity, and feeling at home on the stage when as a student performing with the New York City Ballet – particularly the New York City Ballet’s production of George Balanchine’s The Nutcracker, and in the annual School of American Ballet Graduation performances.

Also of interest was Larsen’s experience auditioning for ballet companies in the United States, and her first professional contract with Pacific Northwest Ballet – and after a long relationship with that company making the bold decision to leave that job and seek out adventures elsewhere which seemed to be an endless trail of rejections until she received a contract offer from the Alberta Ballet of Canada. Also included are her inspirational experiences working with Suzanne Farrell while a member of the Suzanne Farrell Ballet, and then continuing her career with the Oregon Ballet Theatre.

The whole range of a ballerina’s experiences are included in this memoir including how to cope with injuries, make-up, hair, and costuming for performances, descriptions of how it feels to dance particular roles – and how to prepare for them – and pre-performance and after performance rituals. In this book’s “Appendix 2 – How To” provided is advice on the basics from sewing pointe shoes to executing a partnered pirouette.

Also described is a dancer’s feeling when dancing a role in a ballet on stage and for the first time the choreographer’s thoughts are now in the control of the dancers’ hands and feet – and does the dancer truly have the command and control over the stage in these circumstances.

Of course one of the most challenging prospects in a dancer’s career is making the decision to stop dancing – or when that decision is made for you by chronic injury or an artistic director not renewing your contract. A component of this rite of passage is the end of career final performance if that luxury is afforded to you, and Larsen describes what her farewell performance meant to her with retrospective wisdom in spite of the many emotions that she was feeling. But it is the middle between training and that last performance that is what a dancer’s career is all about – and a dancer’s greatest achievement.

One has to be grateful to Larsen for taking the time to write so well about the thoughts and the emotions that she revealed – and passing on the art form and those experiences to the next generation of ballet students and professional dancers in Being A Ballerina.

John Cullum: An Accidental Star

April 8, 2021

By Mark Kappel

The Vineyard Theatre, Goodspeed Musicals, and the Irish Repertory Theatre – in association with Jeff Berger – are presenting streamed performances of John Cullum: An Accidental Star, a one-man presentation that puts a spotlight on Cullum’s Broadway career and his talents as a performer and story-teller.

Directed and filmed by Lonny Price and Matt Cowart, written by David Thompson, and conceived by John Cullum and Jeff Berger, John Cullum: An Accidental Star is Cullum’s musings about his decades on the Broadway stage beginning with his Broadway debut in 1960 in Camelot, his Tony Award-winning performances in Shenandoah and On the Twentieth Century, and then on to On A Clear Day You Can See Forever, Urinetown, and The Scottsboro Boys – and then there are the stories and anecdotes about working with his theatre colleagues, Richard Burton, Robert Goulet and Julie Andrews among others.

This fascinating 80 minutes of chat, song, and heartfelt feelings about his career in the theatre, is what makes this personal entertainment a winning one. Cullum describes his series of lucky accidents that led him from one theatre project to the next – an experience similar to sitting down with Cullum for a conversation in a coffee shop or a bar, and listening to Cullum’s personal theatrical memories which are also part of Broadway’s history.

Cullum’s folksy manner and his self-deprecating humor provides his audience with a different slant on his career – and a back story as well. Although his singing voice wavers a bit, you can hear the interpretation and conviction in every song he sings, and how he readied himself for the opportunities that came his way during his theatrical career – some of them coming unexpectedly and how he took on these theatrical opportunities and made them his own. You feel all of that from the beginning of An Accidental Star when he sings some of the lyrics from On A Clear Day You Can See Forever – and then the memories come back.

Cullum talks about his experiences working with his well-known colleagues and they are honestly told – a teaser and motivation for you to take the time to experience John Cullum: An Accidental Star for yourself.

Cullum has lived for 91 years – a stellar life in the theatre – and I am glad that he made the time for this wonderful chat with his admiring audience and fans.

San Francisco Ballet Dances Jewels

April 2, 2021

By Mark Kappel

As part of its digital season the San Francisco Ballet is now offering its production of George Balanchine’s triptych ballet, Jewels. Created for the New York City Ballet in 1967, this full-length ballet is unique in that it is a series of ballets with the only link being that of the designs of each jewel that is represented in this ballet. In recent decades Jewels has found its place in the international repertoire having been performed by ballet companies all over the world.

This series of performances is dedicated to former New York City Ballet dancer, Elyse Borne, who had been a valued member of the San Francisco Ballet’s artistic staff. Her recent passing is not only a loss for the San Francisco Ballet but also a loss felt by the many companies who worked with her when she staged George Balanchine’s ballets for them. Jewels was among the ballets that she staged and rehearsed for the San Francisco Ballet.

A unique aspect of this presentation of Jewels is that is it is not a stream of one performance of Jewels. Each act was filmed in a different year – Emeralds in 2021, Rubies in 2016, and Diamonds in 2017.

The first act of Jewels is Emeralds which makes references to the French Romantic era of the early 19th century. Choreographed to haunting theatrical music composed by Gabriel Faure, Balanchine’s choreography is decorative – filled with filigree and subtlety – dramatic and solemn.

There are four principal dancers (Misa Kuranaga, Angelo Greco, Sasha Mukhamedov, and Aaron Robison) and a pas de trois of soloists (Julia Rowe, Esteban Hernandez, and Wona Park) that lead Emeralds, and all of them capture the Romantic style that Balanchine was paying homage to.

The second act of Jewels is Rubies, choreographed to Igor Stravinsky’s Concerto for Piano and Orchestra, which reflects Balanchine’s American influences with a jazzy style, and intended to be flashy.

Mathilde Froustey and Pascal Molat danced the principal roles aiming to emphasize the quirkiness in the choreography – and also energized the performance with sparks of energy.

Diamonds is the third and final act of Jewels and is an homage to the ballet style of Russia in the 19th century. Choreographed to Tchaikovsky’s Symphony No. 3 subtitled, Winter Dreams, present are the allusions to The Sleeping Beauty in the music, and what would be the celebrative ending of a full-length 19th century story ballet.

This was a potent and grand performance of Diamonds from the principal dancers, Sasha De Sola and Tiit Helimets, with added reverence, regalness, clarity, and fluidity – which was also reflected in the performances of the soloists and the company’s corps de ballet.

Overall the San Francisco Ballet’s performance of Jewels was sophisticated and performed by the company’s dancers with panache.

Art Lab and ShowTown Productions

Presents Amour

April 2, 2021

By Mark Kappel

Streaming has become a trend-setting and practical method for the presentation of musical theatre performances in the last year when the world has been stopped dead in its tracks by the Covid-19 pandemic. However necessity is the mother of invention and many producers and production companies have used and developed technology to continue presenting musical theatre presentations and bring them to the public. And the technology becomes more refined and sophisticated with every day.

From April 2-4, 2021 Art Lab and ShowTown Productions is presenting the virtual Broadway revival of Michel Legrand’s musical, Amour, which premiered on Broadway in 2002.

Adapted from Marcel Ayme’s 1944 short story “Le Passe-Muraille” with a libretto by Didier van Cauwelaert, and enhanced by the English adaptation by Jeremy Sams, Amour takes place in the quaint neighborhood of Montmartre in Paris shortly after World War II. Amour’s story focuses on Dusoleil, an introverted civil servant, who discovers that he can walk through walls and uses this power to give food and jewels to the deserving inhabitants of this special neighborhood in Paris. He soon becomes known as Monsieur Passepartout.

One of his other aspirations is to win over Isabelle who is imprisoned by a controlling husband in an unhappy marriage. Dusoleil’s optimism is infectious as he has a positive effect on everyone he has contact with including his co-workers and other Parisian locals. This is a fanciful story – and a romantic and humorous story – that comes to an ironic conclusion!

One of Amour’s attractions is Legrand’s charming score, and how that score tells Amour’s story.

This production of Amour has been directed by Art Lab’s director, Meg Fofonoff, employing the latest streaming technology. Fofonoff has been thoughtful and observant in how she has used this technology to tell Amour’s story – and providing the illusion of how Dusoleil is able to walk through walls.

Amour which is sung-through and a chamber opera unto itself tells the story admirably. But the perceptive interpretation of this story by Fofonoff, make this streamed version of Amour what it is – a charming entertainment performed by a superlative cast.

The cast is an embarrassment of riches which is led by Drew Gehling as Dusoleil, and Chistiani Pitts as Isabelle, and also including Derrick Baskin as The Painter, Kara Lindsay as Madeleine, Kevin Massey as Bertrand, Adam Pascal as both the Prosecutor and Charles (Isabelle’s controlling husband), Jennifer Sanchez as Claire, Thom Sesma as Boss/Policeman, Vishal Vaidya as Doctor Roquefort and Monsieur Le President, and Rachel York as The Whore.

This is well worth the journey and a diverting and welcome break from our present reality!

Stuttgart Ballet – Hans van Manen & Beethoven

April 1, 2021

By Mark Kappel

The Stuttgart Ballet is currently streaming a program that had been planned to be performed for full live audiences. But as often is the case in the atmosphere of the Covid-19 pandemic, plans must be flexible and can change. The program is both an homage to a great German composer but also to two choreographers whose works have been performed by the Stuttgart Ballet regularly over several decades.

This program is a belated celebration of Ludwig van Beethoven’s 250th birthday and includes two ballets by one of Europe’s choreographic masters, Hans van Manen, and a world premiere choreographed by Mauro Bigonzetti.

Bigonzetti’s world premiere, Einssein, is choreographed to three of Beethoven’s Piano Sonatas, Nos. 3, 2, and 30. The ballet opens with the dancers performing group movement using their hands, arms, and heads draped over the piano on stage. And the dancers also dance on top of the piano with the dance sections choreographed as they were given birth by the piano. The couples respond to the drama in Beethoven’s music in a tapestry of contemporary ballet and modern dance vocabulary reflecting underlying emotions and angst. Not ironically the piece ends with a lone dancer on top of the piano.

Einssein is an ensemble dance piece which was performed committed to the choreographer’s intentions by Elisa Badenes, Hyo-Jung Kang, Mackenzie Brown, Vittoria Girelli, Friedmann Vogel, Anthony Soares da Silva, Matteo Miccini, and Alessandro Giaquinto.

Hans van Manen was represented on this program by two of his classic works, Adagio Hammerklavier and Grosse Fuge – both known for their musicality and van Manen’s signature choreography.

Adagio Hammerklavier, choreographed to Beethoven’s music of the same name, is danced to Cristoph Eschenbach’s recording which sets the tone with musical tempi that interprets Beethoven’s music in an eloquent and elegiac manner. Three couples are involved in this dance piece all having their moments in separate pas de deux.

Adagio Hammerklavier is a study in adagio dancing and male partnering with fervent emotional interaction between the two dancers in each duet. The mature artists of the cast, Anna Osadcenko, David Moore, Miriam Kacerova, Roman Novitzky, Elisa Badenes and Jason Reilly, danced in an understated and subtle manner.

Grosse Fuge, also choreographed to Beethoven’s music of the same name, creates a striking mood as compared to Adagio Kammerklavier’s deliberateness. The costuming represents a sense of chaos and the neon lighting is stark, in this piece for 4 couples which has been described as a battle of the sexes.

Created for the Netherlands Dance Theatre, Grosse Fuge is choreographed in the manner of how successful the fusion of ballet and modern dance can be. In the opening moments the four male dancers arrive on stage costumed in their black skirts, and the female dancers are placed in the rear of the stage in contrast. The male and female dancers pair off in contrasting combative duets and stillness.

The Stuttgart Ballet offered the excellent cast of Rocio Alaman, Veronika Verterich, Alicia Garcia Torrontaras, Clemens Frohlich, Ciro Ernesto Mansilla, Timoor Afsher, and Marti Fernandez Paixa in this performance of Grosse Fuge.

In the last year the Stuttgart Ballet has offered streamed performances of its notable full-length story ballets and this all-Beethoven program offered a perfect contrast.

American Ballet Theatre – Four By Ratmansky

March 30, 2021

By Mark Kappel

Filmed live on the City Center stage, and available on demand from March 23 – April 18, 2021, American Ballet Theatre and the City Center are presenting a digital program including four works choreographed by the company’s Artist in Residence, Alexei Ratmansky.

This presentation marked the first time American Ballet Theatre has appeared on the City Center stage since 2012, an historical relationship that is glowingly mentioned throughout this digital program.

Opening the program was the Rose Adagio from Ratmansky’s production of The Sleeping Beauty which had been reconstructed from the notations of Marius Petipa’s original choreography. The nature of the reconstruction is also exemplified by the historic costuming but the basic footprint of the Rose Adagio would be familiar to those have seen more recent productions of this familiar 19th century classic. This is an opportunity to examine this signature piece of choreography by Petipa close-up.

Dancing the role of Aurora was Skylar Brandt, with her confident and controlled balances, and who was supported Aran Bell, Patrick Frenette, Blaine Hoven, and Tyler Maloney as Aurora’s suitors.

The second ballet that Ratmansky choreographed as American Ballet Theatre’s Artist in Residence, Seven Sonatas, had its premiere in 2009 and is choreographed to piano sonatas composed by Domenico Scarlatti.

In this digital program the Second Movement of Seven Sonatas was danced which is a series of consecutive solos danced by four different dancers. Capturing Ratmansky’s spirit and intent was the cast of Herman Cornejo, Luciana Paris, Carlos Gonzalez, and Devon Teuscher.

Also included in this program was the Pas de Deux from Ratmansky’s The Seasons, a ballet which had its world premiere in 2019 and is choreographed to Alexander Glazunov’s The Seasons. This duet, which is danced to the Petit Adagio from the Autumn section of the ballet, is the focal point of Ratmansky’s ballet. The choreography is particularly musical and expressive, and danced here superlatively by Isabella Boylston and James Whiteside.

Closing this program was a Ratmansky world premiere, Bernstein in a Bubble, choreographed to Leonard Bernstein’s Divertimento for Orchestra.

Choreographed for seven dancers, Ratmansky seemed to be guided by the music itself with its musical jokes, references to musical styles – and Bernstein’s theatrical music. The steps melt into each other while also expressing the colors, and the scene in Bernstein’s sonic urban landscape. The musical jokes are reflected in the choreography which Ratmansky syncs to the appropriate musical moments.

Ratmansky’s light moods and circumspections were reflected in the performances by Aran Bell, Skylar Brandt, Patrick Frenette, Blaine Hoven, Catherine Hurlin, Tyler Maloney, and Cassandra Trenary.

This was a great opportunity for audiences to see American Ballet Theatre dancing on one of its home stages at a time when the major performing arts venues are not yet open to public audiences -- and to see Alexei Ratmansky’s dance pieces close-up.

Pennsylvania Ballet – Digital Spring Season – Program No. 1

March 26, 2021

By Mark Kappel

The Pennsylvania Ballet is dedicating its Digital Spring Season to the company’s founder, Barbara Weisberger, and will be presenting live captures of company repertoire, as well as world premieres.

Program No. 1 of the Digital Spring Season is truly a mixed-bill in that the dance pieces included represent distinct styles of dance.

Opening Program No. 1 is one of George Balanchine’s signature works, Concerto Barocco, a work that the Pennsylvania Ballet has danced since its beginnings. It was first produced in 1941 and has been danced by many ballet companies all over the world.

Choreographed to Bach’s Concerto for Two Violins in D Minor, the two principal ballerinas represent the two violins in the concerto and dance in counterpoint to and with an all-female corps de ballet – with only the second adagio movement danced by one of the ballerinas with a male dancer in support.

Concerto Barocco is Balanchine in his neo-classical mode but there is a hint of angular movement and also another Balanchine signature, musicality.

With a cast led by Yuka Iseda, Alexandra Heier, and Jack Thomas, the ballet was cleanly and precisely danced showing off the musicality of the choreography.

Whether by coincidence or plan, the second work on this program, Stanton Welch’s Clear, was also choreographed to music by Bach, and whereas in Balanchine’s Concerto Barocco, there is only one male dancer among the female cast, in Clear there is a lone female dancer with the male dancers dominating the ballet.

Clear was created for American Ballet Theatre, was inspired by the events on September 11th, and supplies a dizzying number of solos, duets, trios and group dances with the lone female dancer appearing late in the ballet.

If one could single out particular dancers they would be Zecheng Liang, and as the lone female dancer, Oksana Moslova.

This program also included Suspended in Time which had been premiered by the Corella Ballet in 2012 to celebrate the company’s dancers and is a collaborative work which has sections choreographed by Angel Corella, Russell Ducker, and Kirill Radev – Radev and Ducker had been dancers with the Corella Ballet and Ducker is now a member of the Pennsylvania Ballet. This version of Suspended in Time was revised and adapted to reflect the personalities and strengths of the Pennsylvania Ballet’s dancers.

Choreographed to music by the Electric Light Orchestra, it is also a work that reflects a moment in time – and notable in the cast was Ashton Roxander leading The Fall section, and Oksana Maslova and Sterling Baca dancing the pas de deux in Rain Is Falling.

As an add-on to this digital presentation was an excerpt from Matthew Neenen’s Penumbra, choreographed to Alberto Ginastera’s Milonga, and a showcase for the talents of Jermel Johnson. This excerpt reflects Neenen’s form of expression in modern dance vocabulary and admirably showcases Johnson’s particular dancing talent.

Boston Ballet – The Art of Classical Ballet

March 25, 2021

By Mark Kappel

The Boston Ballet is continuing its stream series concentrating on a different perspective from its past presentations with a focus on variations, and duets from the 19th century classical ballet repertoire. Under the guidance of Karin Averty, Russell Kaiser, Anthony Randazzo, and the Boston Ballet’s artistic director, Mikko Nissinen, the Boston Ballet dances repertoire mostly from the Marius Petipa repertoire along with a few items choreographed by Auguste Bournonville, and a solo variation from a 20th century neo-classical work choreographed by Serge Lifar.

As described in Mikko Nissinen’s welcoming speech at the beginning of this presentation, his concept was a gala evening – however it is most informative to see these variations and duets in close-up as the choreographers employed the dance medium to tell a story or draw their characters, or their characters’ moods. There are many details on display in viewing these variations and duets in isolation which can be lost when these variations and duets are performed within the context of a large production of the ballets they come from.

Notably, also, these variations and duets were mostly danced to piano accompaniment with the dancers performing in masks – and in the Boston Ballet’s studio. But it is a rare experience for the viewers and the dancers as the dancers have profited so much from the personal coaching they received in preparation for these filmed performances.

Lifar is represented here with the Cigarette variation from his Suite en blanc, here danced by Louise Hautefeuille with flair and charm – charm in an eccentric and sophisticated manner sometimes but elegant on its own.

Bournonville is represented by the Jockey Dance From Siberia to Moscow – a duet for two male dancers – with a bit of humor and wit – danced by Lawrence Rines and Irlan Silva. In addition Ji Young Chae and Daniel Durrett danced solos from Bournonville’s lesser known William Tell.

Lasha Khozashvili dances a folk dance solo from Gayane – a dance piece that reflects how effective character dancing is in performance.

The remainder of the program is all Marius Petipa featuring a duet from Raymonda danced by Nina Matiashvili and Maria Alvarez, and Raymonda’s Act III variation danced by Ji Young Chae. Patric Palkens danced Franz’s variation from Coppelia, and Addie Tapp danced a solo variation from Satanella. Don Quixote was represented by Basilio’s variation danced by Tyson Clark and the Cupid Variation danced by Nina Matiashvili, and The Sleeping Beauty was represented by Prince Desiree’s Act II variation danced by Junxiong Zhao, and the Princess Florine variation from the Bluebird Pas de Deux.

From the earlier Romantic era was Giselle’s Act I variation danced by Maria Alvarez, and a solo from Le Corsaire danced by Sun Woo Lee.

La Esmeralda Pas de Deux was danced in its entirety by Viktorina Kapitonova and Tigran Mkrtchyan in a French version staged by Karin Averty, and from Swan Lake, Odette’s Act II solo danced by Soo-Bin Lee, the Four Swans from Act II danced by Louise Hautefeuille, Emily Hoff, Ryan Kwasniewski, and Molly Novak, the Pas de Cinq danced by Lauren Herfindahl, My’Kal Stromile, Patrick Yocum, Dawn Atkins, and Chyrstyn Fentroy, and the virtuoso Black Swan Pas de Deux danced by Lia Cirio and Paulo Arrais – danced with elegance and dramatic impact even out of context.

Needless to say all of the Boston Ballet dancers appearing in this program were showcased well and all of them took the opportunity to display their training and the coaching they received.

National Ballet of Canada – Joy of Dance – William Forsythe and Justin Peck

March 18, 2021

By Mark Kappel

The National Ballet of Canada has resumed its Spotlight Series with a program entitled Joy of Dance which features two different works – one choreographed by William Forsythe, and one choreographed by Justin Peck.

The National Ballet of Canada acquired William Forsythe’s The Vertiginous Thrill of Exactitude in 2019 – a ballet consisting of complicated choreography performed at dizzying speed – by only five dancers. Choreographed to Franz Schubert’s Symphony No. 9, Forsythe is in his Balanchine mode in which Forsythe’s employs a classical ballet vocabulary infused with his own personal tweaks.

The cast of Hannah Galway, Chelsey Meiss, Calley Skalnik, Naoya Ebe, and Harrison James keep up with Forsythe’s pace in The Vertiginous Thrill of Exactitude throwing off the choreography with alacrity and also with a bit of a wink and a nod.

The second dance piece that is a part of the National Ballet of Canada’s short-in-length stream is the First Movement from Justin Peck’s Paz de la Jolla, which Peck created for the New York City Ballet in 2013 and was acquired by the National Ballet of Canada in 2018.

It is a work reflecting youthful exuberance and playfulness with the impression of a celebration on a California beach in the summer. The strains of Bohuslav Martinu’s music strikes a modern chord.

The exuberance factor was emphasized by the principal cast of Jenna Savella, Emma Hawes, and Brendan Saye, and the National Ballet of Canada’s ensemble of dancers.

Packed into this short National Ballet of Canada stream there is a lot of dancing!

Royal Swedish Ballet – Double-Bill

March 17, 2021

By Mark Kappel

Many Scandinavian ballet companies have presented streaming performances in the last year of our worldwide pandemic lockdown and disrupted performances. However new in presenting free streaming performances has been the Royal Swedish Ballet, one of Scandinavia’s venerated ballet companies which rarely tours outside of Sweden.

The company is currently directed by Nicholas LeRiche, a former etoile of the Paris Opera Ballet, and partially the programming presented in this streaming performances is a reflection of LeRiche’s French taste.

The program opened with Ben Stevenson’s Three Preludes, a dance for two dancers, which had been created for the Harkness Youth Ballet but has been danced by several ballet companies in the United States and elsewhere.

Choreographed to piano preludes composed by Sergei Rachmaninov, the piece is divided into three sections which begin inward and open up outward with the moods changing as the mood in Rachmaninov’s music changes.

The opening section is in a studio setting with a ballet barre as an important signpost with the dancers dancing academic ballet exercises but also using the barre for the male dancer to support the female dancer. The second section is an adagio pas de deux, and the third second action opens up to a fully-lit stage which reflects a joyous mood.

The choreography is simplicity itself – and understated in Stevenson’s own manner – but Three Preludes expresses a great deal in a fragment of time – and it was well danced by Haruka Sassa and Colum Lowden.

In contrast in style was Serge Lifar’s neo-classical showpiece, Suite en blanc, which had been premiered by the Paris Opera Ballet in 1943 and choreographed to music composed by Edouard Lalo. Suite en blanc is choreographed in the neo-classical style while also making references to the Romantic era.

The ballet opens and ends with a striking tableau of the dancers on stage and platforms, and in sections take the stage in showy, technically demanding – but not embellished – virtuosity – yet also subtle at the same time.

Particularly notable in the cast were Haruka Sassa in the Cigarette variation, Dmitry Zagrebin in the Mazurka variation, Luiza Lopes and Adilijiang Abudureheman in the Adage, and Sarah Keaveney leading the Flute variation.

Both Three Preludes, and Suite en blanc, are ballets that present challenges, and it was clear that the Royal Swedish Ballet’s dancers can meet those challenges in their own manner.

Valentina Kozlova International Ballet Competition Goes Virtual

March 15, 2021

By Mark Kappel

Facing the Covid-19 worldwide pandemic many ballet competitions have gone the virtual route in order for this year’s competitions to take place. The Valentina Kozlova International Ballet Competition took up the challenge judging dancers from all over the world in virtual formats and presided over by a series of judges who adjudicated these dancers and then made the decisions about the award winners.

Unique for this competition was that all of the competitors performed live online for the judges.

The judges included Nina Ananiashvili, Patricia Aulesta de Alba, Dirk Badenhorst, Jan Broeckx, Nina Buisson, Diana Byer, Martin Fredmann, Olga Guardia De Smoak, Maximiliano Guerra, Elisabetta Hertel, Mi Sook Jeon, Regina Kaupuza, Sun Hee Kim, Konstantin Kostjukov, Aivars Leimanis, Andres Liepa, Oliver Matz, Paul McRae, Christopher Moore, Victoria Morgan, Brenda Neville, Radenko Pavlovich, Melanie Person, Michael Pink, Ricardo Scheir, Sergei Soloviev, Garry Trinder, Nikolai Tsiskaridze, and Septime Webre.

Before the announcement of the awards, presented were several medal winners from past competitions including Elza Leimane of the National Ballet of Latvia dancing in her own piece, Solo? Repent, Jillian Schubert (USA) dancing a variation from Raymonda, Sadie Weintraub (USA/Ireland) dancing Nina Buisson’s Labyrinth, Claire Teysseyre (France) dancing La Cigarette from Serge Lifar’s Suite en blanc, Nikita Boris (USA) dancing Nina Buisson’s Unleashed, Ildar Tagrov (Russia) dancing the solo Petrouchka, Brooklyn Mack (USA) dancing a variation from Talisman, and K-Art of South Korea dancing the modern dance work, Mob.

Also there were personal interviews with two previous Competition winners, Brooklyn Mack and Whitney Jensen, including updates on their professional dancing lives.

And the following were the winners of medals at this year’s Competition:

Classical Competition

Youth Division

Gold – Larissa Bellini de Franca (Brazil)

Silver – Liselotte Van Doorn (Aruba)

Silver – Julia Barbeta (Brazil)

Bronze – Larissa Cunha (Brazil)

Bronze – Anastasiia Strekalovskaia (Russia)

Youth Division B

1st Place – Natalie Simmons (Canada)

2nd Place – Katelyn Sauve (Canada)3

rd Place – Ariana Sarmiento (Canada)

Student Division

Gold – Nikita Amelie (USA)

Silver – Olesia Chyzh (Ukraine)

Silver – Solenne Barclay (USA)B

ronze – Isabela Cabral Saqueti (Brazil)

Bronze – Liia Dmytrenko (Ukraine)

Junior Division

Gold – Mary Elsener (USA)

Silver – Katherine St Jean (USA)

Silver – Giovanna de Sousa Gomes (Brazil)

Bronze – Seyeon Min (South Korea)

Bronze – Keita Marija Bloma (Latvia)

Senior Division Female

Gold – Taylah Rohweder (Australia)

Gold – Jimin Kim (South Korea)

Silver – Nayoung Kim (South Korea)

Silver – Yeon Oh (South Korea)

Bronze – Bella Gilligan (Australia)

Senior Division Male

Gold – Eunsoo Lee (South Korea)

Silver – Tenki Nomura (Japan)

Silver – Gyeongho Kang (South Korea)

Bronze – Hunkyu Lee (South Korea)

Contemporary/Neo Classical Competition

Solo Division 1

Gold – Chiara Smith (USA)

Silver – Liselotte Van Doorn (Aruba)

Silver – Bethany Wong (Canada)

Bronze – Olesia Chyzh (Ukraine)

Bronze – Everly Nedza (Canada)

Solo Division 2

Gold – Sadie Weintraub (Ireland)

Silver – Kyung-won Lee (South Korea)

Silver – Sungkyoung Lee (South Korea)

Bronze – Katia Marjeram (Canada)

Bronze – Ana Luiza Filippo (Brazil)

Bronze – Monica Florentin (Paraguay)

Solo Division 3 Female

Gold – Jiwon Son (South Korea)

Gold – Jisoo Lee (South Korea)

Bronze – Emer Lenihan (Ireland)

Solo Division 3 Male

Gold – Byungchan Lee (South Korea)

Gold – Heewon Ham (South Korea)

Silver – Hyeontaek Oh (South Korea)

Bronze – Sevan Gille (Belgium)

Bronze – Alejandro Guanoluisa (Ecuador)

Also there was the announcement that next year’s Competition will be live on stage at Symphony Space in New York City from June 20-24, 2022.

Ballet West – Diamonds from Jewels

March 13, 2021

By Mark Kappel

Ballet West is presenting Diamonds, the third and final act of George Balanchine’s neo-classical abstract ballet, Jewels, as part of the company’s Winter Streaming Series.

As with Emeralds and Rubies, with costumes and scenery designed in those jewel tones, Diamonds is represented by its diamond color costumes, and scenic effects, and choreographically references the late 19th Century style of ballet – exemplified by Marius Petipa – but here represented in neo-classical style and form.

Choreographed to Tchaikovsky’s Symphony No. 3, the music also makes references to one of Tchaikovsky’s most famous ballet scores, The Sleeping Beauty.

All of these ingredients sets the stage as Balanchine has choreographed in the grand manner with two principal dancers leading the large cast of soloists and corps de ballet, and makes Diamonds the most challenging in terms of resources of Jewels’ acts.

The centerpiece of Diamonds it is pas de deux which is choreographed to one movement of Tchaikovsky’s Symphony No. 3. This pas de deux, danced eloquently by Emily Adams and Adrian Fry, is understated and elegant – equally matching the elegant and haunting nature of Tchaikovsky’s music. It is an homage as all of the other acts of Jewels are.

Ballet West did meet the challenges that Balanchine created in Diamonds, as it had in its Winter Streaming Series presentations of the Emeralds and Rubies acts of Jewels.

This presentation of Diamonds is the culmination of Ballet West’s Winter Streaming Series – an opportunity to see more of Ballet West – no matter where in the world – opportunities that might not have been afforded otherwise.

Ballet West – Facades

March 6, 2021

By Mark Kappel

Continuing its Winter Streaming Series, Ballet West is presenting a work by choreographer Garrett Smith – a work entitled Facades – choreographed to music by Phillip Glass.

Smith uses the theatrical convention of mirror images in his dance piece -- as well as the musical images of the Baroque in Glass’ music.

Facades is framed by the appearances of two comic fops (danced by Joshua Whitehead and Joshua Shutkind) who are contrasted against the more contemporary look of the ladies in red tutus, and men in black and white costumes that create illusions of Baroque historical costuming.

Using modern and contemporary choreographic vocabulary, Smith, develops patterns on stage for the principal dancers and the ensemble – with the primary focus being a framed mirror using it as a theatrical device to display mirrored image choreography danced by the ensemble and principal dancers. The images appear and disappear, contrast with the black, red and white costuming, in single and multiple reflections.

There is a strong sense of theatricality in the piece as well as a well-thought out interpretation and use of Glass’ music.

Although ensemble like in choreographic construction and nature, the principal cast of Rex Tilton, Katie Kritchlow, Alexander MacFarlan, Jenna Rae Herrera, Katlyn Addison, Adrian Fry, Joshua Whitehead, Joshua Shutkind, Allison DeBona, Emily Adams and Chase O’Connell were notable in their execution and interpretation of Smith’s concept.

San Francisco Ballet’s Digital Season Program 3

March 5, 2021

By Mark Kappel

The San Francisco Ballet continues its digital season with Program 3, a triple bill of three dance pieces – one a world premiere created for this program, a second that was a commission by the San Francisco Ballet, and a third an acquisition of a ballet.

The premiere of Program 3 is Wooden Dimes, written, directed and choreographed by Danielle Rowe, and choreographed to a commissioned score composed by James F. Stephenson. Using the medium of film, Wooden Dimes reflects the nostalgia for the 1920’s and Hollywood film musicals.

Wooden Dimes is the story of Betty and Robert Fine whose marriage is threatened by Betty Fine’s leap to stardom in her new career in vaudeville. Set in the 1920’s, the title of this dance piece alludes to the American proverb of “don’t take any wooden nickels” which warns about how people can manipulate and swindle others – a warning that people have to protect themselves as they study life lessons at the School of Hard Knocks.

Robert Fine proves to be jealous of Betty Fine’s rise to stardom as well as Betty’s presumed relationship with The Director – a Svengali-type who is trying to manipulate Betty’s career – yet at the same time both Betty and Robert are fighting their own demons and fears.

The role of Betty Fine is danced by Sarah Van Patten and the role of Robert Fine is danced by Luke Ingham both portraying their characters with a little Hollywood-style cheekiness and innocence.

But there is also a host of other characters in this dance theatre piece including The Dresser (danced by Ludmilla Bizglion), The Director (danced by Tiit Helimets), and Betty’s demons -- Shiny Things (danced by Madison Keesler and Nathaniel Remez) and Robert’s demons -- Dark Angels (danced by Dores Andre and Max Cauthorn) – all excellent dancers and actors who bring Rowe’s story and dance theatre piece to life.

Also a creation for the San Francisco Ballet, and seen in archival capture from 2016, is Yuri Possokhov’s Swimmer, based on John Cheever’s short story. Cheever’s story examines life in America in the 1960’s and focuses on a man decides to swim through his neighbors’ pool parties having a drink or two along the way. The swimmer encounters many interesting types at all social and economic levels in American society.

Possokhov’s story-telling is enhanced by the video and projections that serve as scenery – presenting the story in a cinematic fashion. The effects help explain the odd balance of realism and surrealism in Cheever’s story.

Joseph Walsh is that Swimmer who gives an outstanding performance, but the characters along the way were also convincingly portrayed and danced by Lauren Strongin, Tiit Helimets, Sofiane Sylve, Luke Ingham, Wanting Zhao, Max Cauthorn, Daniel Deivison-Oliviera, and James Sofranko.

The remaining piece on this program was Alexei Ratmansky’s Symphony No. 9, one of the dance pieces in Ratmansky’s Shostakovich Trilogy, which is a co-production of American Ballet Theatre and the San Francisco Ballet. Symphony No. 9, was presented here in archival capture from 2019.

As Shostakovich’s music shifts from joyous to moody, Ratmansky follows those themes having created a neo-classical piece which is influenced by the Socialist realism during the days of the Soviet Union -- while at the same time focuses on the isolation of a lone man.

Symphony No. 9, though, is a pure dance piece and it was danced by the excellent cast of Jennifer Stahl, Aaron Robison, Dores Andre, Joseph Walsh, and Wei Wang.

Sarasota Ballet – Digital Program Five

February 27, 2021

By Mark Kappel

Continuing its digital programming, the Sarasota Ballet’s fifth in its series, seen on February 27, 2021, was a double bill of contrasting dance pieces – familiar and unfamiliar.

The familiar was George Balanchine’s Donizetti Variations which was created for the New York City Ballet in 1960 and which was given its Sarasota Ballet company premiere in 2020.

Choreographically inspired by Auguste Bournonville, Donizetti Variations is choreographed to opera ballet music composed by Gaetano Donizetti, and includes the precise and quick footwork in the choreography that is Bournonville’s signature. It is somewhat a jewel in the rough from the Balanchine repertoire and not as often as performed as Balanchine’s more modernist ballets.

Donizetti Variations’ choreography is not only influenced by Bournonville but also the general spirit of Bournonville’s choreographic voice.

The cast was led by Katelyn May and Yuri Marques who gave inspired performances in the pas de deux – joyful and technically assured – which makes Donizetti Variations the special dance piece that it is.

The unfamiliar was Amorosa, a work commissioned by the Sarasota Ballet with choreography by Ricardo Graziano, who is one of the company’s principal dancers.

Choreographed to excerpts from Antonio Vivaldi’s cello concertos, Amorosa is a piece for five couples, and was given its world premiere by the Sarasota Ballet in 2020.

This is a piece that depicts romance – with the ladies costumed in red in contrast to the gentlemen costumed in dark colors – and often on a dark stage. The choreography patterns are represented with simplicity in mind while the two duets have their darkness.

The five couples who brought commitment to the piece were Danielle Brown, Ricardo Rhodes, Kate Honea, Ivan Spitale, Victoria Hulland, Daniel Pratt, Paige Young, Ricki Bertoni, Lauren Ostrander, and Richard House.

Overall the Sarasota Ballet’s Digital Program Five was an exploration of the past while also venturing into the future.

Boston Ballet – Celebrating Jorma Elo

February 25, 2021

By Mark Kappel

Continuing its streaming program on February 25, 2021 the Boston Ballet presented Celebrating Jorma Elo, focusing on the work of the Boston Ballet’s Finnish-born Resident Choreographer.

As a dancer Elo was associated with the Finnish National Ballet, the Cullberg Ballet, and the Netherlands Dance Theatre and in 2005 Elo began what has been a 15-year relationship with the Boston Ballet in the role of the company’s Resident Choreographer. Elo’s particular style cannot be defined except for that fact that he has been influenced by choreographers he has worked with as a dancer and also reflecting the strengths and skills of the Boston Ballet dancers that he has come to know well.

Celebrating Jorma Elo focuses on how Elo’s work has evolved over this 15-year relationship and how he has been inspired by the Boston Ballet’s dancers.

The focal point of Celebrating Jorma Elo was Elo’s new work, Story of a Memory, which was danced by Viktorina Kapitonova and Tigran Mkrtchyan. It is not a conventional dance piece as it has been filmed with excellent editing by Ernesto Galan. Story of a Memory has been choreographed to music by Tchaikovsky, Bach and Nancy Euverink which Elo uses selectively to emphasize the emotions expressed by the dancers providing a sense of a combative nature in a relationship that was not resolved. Akin to other Elo works the choreographic vocabulary varied from classical ballet to modern dance to post-modern dance which evoked the spirit of the piece.

Also included was live footage and archival footage of Plan To B, and Bach Cello Suites, and from archival footage excerpts from C. to C. (Close to Chuck), Sharp(er) Side of Dark, Brake The Eyes, Creatures of Egmont, and the Fifth Symphony of Jean Sibelius. All of these works represented a survey of Elo’s dance pieces from the very beginnings of his residency to the present.

Many ballet companies have entered into relationships with resident choreographers, and some of these relationships are ephemeral and don’t always have a lasting impact on a ballet company’s dancers. This Boston Ballet presentation illustrates how Elo has evolved as a choreographer and illustrates the strengthening of Elo’s relationship with the Boston Ballet’s dancers.

National Ballet of Canada – Spotlight Series – Ballet’s Storyteller: John Neumeier

February 25, 2021

By Mark Kappel

Continuing its Spotlight Series, a streaming series, the National Ballet of Canada is focusing on ballet storyteller, John Neumeier, currently artistic director and resident choreographer of the Hamburg Ballet in Germany.

Neumeier is unique in that he chooses to express himself choreographically as a storyteller and he has evolved his view of dance dramaturgy in a hybrid manner of different styles of dance and the sometimes non-linear manner in which he interprets stories.

Here in the National Ballet of Canada presentation Neumeier is represented by excerpts from three of his full-length ballets which have been acquired by the National Ballet of Canada – two of them created for the Hamburg Ballet and one created for the Stuttgart Ballet.

In his opening introduction Neumeier is clear that he had not represented his versions of these stories in detail and has taken dramatic license in order for him to express his view point and interpretation of each story.

This is clear in the excerpt of A Street Named Desire, based on Tennessee Williams’ signature play, and created for the Stuttgart Ballet as a vehicle for Marcia Haydee. Williams’ tale of fantasy and despair focuses on the character of Blanche Du Bois, here danced with poignancy, by Sonia Rodriguez, in an excerpt focusing on the courtship between Du Bois and Mitch (danced by Evan McKie) which is a courtship of sorts for what could be the only hope for Du Bois and her happiness.

The choreography represents distance and intimacy between them, and how fragile Du Bois is. She is haunted by the suicide of her husband, Allan Gray, who is only referred to in the play, but Neumeier presents him as a ghost that haunts Du Bois – one of many ghosts in her past. Skylar Campbell notably dances the role of Gray whose appearance in this excerpt is only a cameo.

The other two full-length ballets, represented by excerpts, were created for the Hamburg Ballet.

An excerpt from The Seagull follows based on Chekov’s play and this excerpt depicts Kostya making a paper version of a seagull – and then dancing a solo on a simple stage with little movement but reflecting torment. Guillaume Cote makes the most of this solo – followed by a pas de deux for Kostya and Nina (danced by Sonia Rodriguez) in which passions are heightened.

The third excerpt is from Nijinsky – a scene with three dancers – in which Romola (danced by Heather Ogden) imagines Nijinsky in his famous role as the Faun (danced by Keiichi Hirano) with Nijinsky (danced by Guillaume Cote) more as an on watcher. Romola re-imagines Nijinsky in this role and the sensual images it represents – infusing fantasy in the relationship between Romola and Nijinsky.

If there is a recurring theme in these excerpts is that they are snapshots and moments in time in each story with little reference to time and place in the costuming and scenery. This is Neumeier’s signature in how he tells a story.

Bernstein & Robbins: The Early Ballets

By Mark Kappel

Bernstein & Robbins: The Early Ballets by Sophie Redfern, recently published by the University of Rochester Press, is a detailed study of the collaboration of two giants in their fields, Leonard Bernstein, the composer, and Jerome Robbins, the choreographer.

This collaboration extended encompassed the creation of ballets and Broadway musicals. In particular the ballets, Fancy Free, created for American Ballet Theatre in 1944, which evolved into the Broadway musical, On The Town, and Facsimile, also created for American Ballet Theatre which premiered in 1946.

Also very much a part of this collaboration was Oliver Smith, a member of American Ballet Theatre’s artistic staff, in his role as designer of these ballets. Smith shepherded both ballets through American Ballet Theatre’s artistic and administrative bureaucracy to make sure these ballets reached the stage.

Also this book focuses on the details of the music’s creation, the differences among the collaborators, and how they were resolved in time for each ballet’s premiere. The author has stated clearly that her book is not a detailed examination of how the choreography evolved for these two ballets, but puts more emphasis on Bernstein’s scores, and how Robbins collaborated with Bernstein. For choreographers interested in commissioning scores for their dance pieces, the information contained in this book is very useful.

American Ballet Theatre was noted for its Russian ballet repertoire in the 1940’s and Jerome Robbins and other American choreographers were focusing on dance pieces about Americans, American life, and American vernacular dance. Redfern’s book traces the history of such works that pre-date Fancy Free – a slice of life – sailors having a spree on leave in New York City.

Among the Americana dance pieces that predated Robbins’ Fancy Free were Eugene Loring’s Billy The Kid, Lew Christensen’s The Filling Station, and Agnes de Mille’s Rodeo which also had scores by American composers and a shelf life decades after their premieres.

Although Bernstein was chosen by Robbins to compose the music for Fancy Free, Robbins considered many other composers when either they turned down the project or were not available but many of them recommended Bernstein.

Fancy Free’s score reflected Bernstein’s enthusiasm for Latin American music, and also included a song he composed for singer Jane Froman in 1942 which was recycled for Fancy Free’s score. Fancy Free’s scenario was broken down and revised much like the book and score for a Broadway musical as part of the process of refining the music and the libretto for this dance piece.

Also Smith provided the visual look of Fancy Free.

Fancy Free had a very successful premiere and it was only months later that On The Town, which evolved out of Fancy Free, premiered on Broadway resulting in two triumphs within months of each other.

The next Bernstein/Robbins collaboration was to have been a ballet tentatively entitled Bye Bye Jackie which was meant to be an additional installment in a planned three ballet entertainment that was to include Fancy Free, and a third ballet. Noted in Redfern’s narrative was Bernstein giving an interview to Dance Magazine which mentioned this project and how irritated Jerome Robbins had been when Bernstein didn’t mention Robbins’ participation in this project in the interview.

The focus was then an alternative project entitled Facsimile, a second commission by American Ballet Theatre which initially involved Robbins and Oliver Smith. Paul Bowles was initially engaged to be the composer and had done some work for the score before Bernstein became involved with the project. It was mentioned that Bowles struggled to work with Robbins and then Bernstein committed to the project with a timeline meaning Bernstein was under the gun to compose the score and have it ready for rehearsals and the ballet’s premiere.

Facsimile was intended as a one-act dark narrative dance piece and Robbins spent a great deal of time on rehearsals – more than 120 hours of rehearsal time – with Nora Kaye, John Kriza and Robbins himself as members of the original cast. However the plans to produce Facsimile were on and off over a period of time and the second cast of Alicia Alonso, Igor Youskevitch, and Donald Saddler withdrew from the project.

Unlike Fancy Free, Facsimile was not a critical success – American Ballet Theatre has not danced this ballet since 1950.

Fedfern also summarizes and details other Robbins/Bernstein collaborations and in many instances there were too many cooks in the kitchen. Bernstein feared Robbins and some of these projects faltered because Oliver Smith was not a member of the creative team and unable to be the mediator and facilitator.

In the ballet world, the choreographer is the captain of the ship while composers are secondary and in a Broadway project, the director is the captain but must collaborate with the composer, lyricist and book writer. Two very different worlds. Also to add in the mix, Robbins himself, danced in the original casts of Fancy Free and Facsimile adding another dimension to possible dissension with each collaborator protecting their own interests.

Redfern also examines Bernstein’s music in detail for Fancy Free and Facsimile, and includes the critical response for both ballets as well.

Bernstein and Robbins: The Early Ballets is an interesting read if only to experience the process of making art!

Ballet West Dances Rubies from Jewels

February 20, 2021

By Mark Kappel

Continuing its Winter Streaming Series, Ballet West dances the second act, Rubies, from George Balanchine’s full-length ballet, Jewels. Although an abstract ballet, Jewels is themed together by the ballet’s costume and scenery designs, and the allusions to dance styles from different eras.

Rubies, choreographed to Igor Stravinsky’s Capriccio for Piano and Orchestra, reflects Balanchine’s American veneer on his style of neo-classicism. The jazziness in Stravinsky’s music and the feeling of space and libertarianism – and showmanship – are characteristics of this act of Jewels.

As in the Capriccio itself, Rubies is divided up into three parts with the first an introduction to the theme, the cast of dancers led by the “Tall Girl” and ultimately the principal couple weaving itself into the choreographic movement.

The second part is the tongue and cheek and showy duet, and the third part is the exuberant finale of the piece.

I have seen many different interpretations of the spirit and dancing in the duet section and Beckanne Sisk and Hadriel Diniz exemplify the refined and classic interpretation – but also showing quickness and speed in the execution of the choreography.

Katlyn Addison also represented the authority required in the role of the “Tall Girl”, and Ballet West’s corps de ballet was a cohesive ensemble.

Rubies is the only act of Jewels that has frequently been performed on its own and it is unique in that it breaks down the fourth wall between the dancers and the audience – creating a special connection.

Matthew Bourne’s Romeo and Juliet

February 19, 2021

By Mark Kappel

Matthew Bourne’s New Adventures has toured the United States regularly but with the travel, visa, and venue restrictions caused by the Covid-19 virus it was not possible for the company to appear in the United States this season.

Screenings of the company have been made available instead which are a collaboration between the Kennedy Center and the Center Theatre Group, and presented on February 19, 20 and 21, 2021 will be Matthew Bourne’s new production of Romeo and Juliet. Having premiered in 2019, it is fortunate that Bourne’s production of Romeo and Juliet was filmed at the time of its premiere.

Bourne has put his own particular stamp on many familiar stories and presented them in a unique theatrical form. He is a story-teller and excels at providing a different slant on well-known stories – some of them based on films.

With costumes and scenery by Bourne’s frequent collaborator Lez Brotherston, Bourne’s new and unique take on Shakespeare’s story – employing Serge Prokofiev’s music as adapted by Terry Davies – is very appropriate for the 21st century.

Bourne’s Romeo and Juliet takes place in the Verona Institute in the not too distant future and the story unfolds in three short acts spanning the time of a handful of weeks.

The Verona Institute is a well-guarded and controlled institution for mental health patients where young people are placed – controlled by drugs, and security guards who take on more authority than required – under the guise of providing help and support to these young people who in other times would be considered juvenile delinquents or youthful criminals.

The Verona Institute’s patients form a community that protects each other as they are awkward, social misfits and cast offs. In fact Romeo is dumped off at the Verona Institute by his entitled parents, Senator and Mrs. Montague – abandoning him because they cannot control him with his emotional illnesses and his acting up – and even bribe the Verona Institute to keep him there after he has killed Tybalt, after Tybalt, who in a drunken state, has killed Mercutio, Romeo’s fellow patient.

Juliet and Romeo meet at a party for the patients which is hosted by the Reverend Bernadette Laurence – first love blooms. It is reckless and dangerous as both of them are damaged emotionally and also physically.

The tragic ending of Bourne’s Romeo and Juliet has the equivalent impact of the dark and doomed ending of Shakespeare’s original which is also supported well by Terry Davies adaptation of Prokofiev’s score and Brotherston’s sparse and sterile scenic atmosphere. In all Bourne made a compelling argument for his reassessment of this familiar tragedy in his dance theatre piece.

Bourne also has an uncanny knack in finding dancers who make full commitments to his movement and interpretation of the story at hand. This knack was reflected in the casting of Paris Fitzpatrick as Romeo and Cordelia Braithwaite as Juliet, two young dancers who appropriately translated the impulsiveness of youth and how they were trapped in a tragic web of their own making.

Dan Wright was forceful as Tybalt and somewhat sympathetic in his interpretation as well because he is also a tragic figure to some degree in Bourne’s vision and just as much a misfit as the patients imprisoned at the Verona Institute.

Also excellent in supporting roles were Monique Jonas as Governor Escalus, Matt Pelly and Daisy May Kemp as the arrogant Senator and Mrs. Montague with Kemp also playing Reverend Bernadette Laurence, Ben Brown as Mercutio and later appears as a Psychiatrist – and with Harrison Dowzell as Benvolio.

With excellent screen direction by Ross MacGibbon, Bourne’s 90-minute version of Shakespeare’s classic story is that much more compelling.

San Francisco Ballet’s Digital Season –

Program 2

February 13, 2021

By Mark Kappel

The San Francisco Ballet is presenting an ambitious digital season in place of live performances during the coming months. Program 2 includes a world premiere and two dance pieces in the company’s active repertoire.
What all of the dance pieces have in common is that they are all ensemble pieces with two of the pieces choreographed by experienced dancemakers, and the remaining piece choreographed by one of the company’s dancers.

In that latter category is Myles Thatcher’s world premiere, Colorforms, choreographed to music by Steve Reich. Thatcher has choreographed a volume of work for the San Francisco Ballet, and he has also choreographed pieces for the New York City Ballet and the Joffrey Ballet among other companies.

Thatcher’s piece has a sense of spontaneity and a bit of tongue and cheek humor expressing human foibles.

In this piece the dancers are dancing in site locations including the San Francisco Museum of Modern Art, Golden Gate Park and Yerba Buena Gardens – noting that at the beginning of the piece, dancers are in the SFMOMA dancing in modern art galleries and manipulating shapes and objects which are color-blocked. That same theme is reflected in the costume designs.

In this dance film – which was directed by Ezra Hurwitz – Thatcher has inserted every day life and tasks with people chewing gum and blowing bubbles, grocery shopping, and bicycling – a slice of life – reflective of the times we are living in. The choreography expresses a youthfulness and optimism.

The ensemble cast of Frances Chung, Sasha De Sola, Isabella De Vivo, Jasmine Jimison, Maggie Weirich, Sean Bennett, Ulrik Birkkjaer, Cavan Conley, Esteban Hernandez, and Steven Morse were impressive in working within Thatcher’s concept.

Mark Morris’ Sandpaper Ballet was seen in an archival capture from 2020 but the piece was premiered by the San Francisco Ballet in 1999. Morris cleverly used the music of Leroy Anderson with the choreography mimicking and responding to Anderson’s unique style of pop music – and performed by a large ensemble cast. Every now and then throughout this dance piece Morris includes his signature folk dance steps and choreographic quirks, and reflects the sense of light-hearted humor in the music and in the piece itself.

Also represented on this program was choreographer Dwight Rhoden with his Let’s Begin At The End an archival capture from 2018, the same year that the San Francisco Ballet premiered Rhoden’s dance piece. As highlighted in the program notes Rhoden’s piece is about love and relationships, and throughout the piece there are loners and intruders that break up couples as noted by the final moments of the piece which was a pas de deux after which the female dancer leaves the male dancer along on stage before the final curtain.

Choreographed to the music of an eclectic group of composers including Johann Sebastian Bach, Philip Glass, and Michael Nyman, Rhoden has created an up-to-the-minute and non-stop dance piece danced by the quick and agile cast of Frances Chung, Angelo Greco, Esteban Hernandez, Sasha De Sola, Benjamin Freemantle, Jennifer Stahl, and Ulrik Birkkjaer.

Myles Thatcher, Dwight Rhoden, and Mark Morris all use contemporary ballet or modern dance in their pieces but come up with individual perspectives in their pieces.

Ballet West – Winter Streamings – Emeralds from Jewels

February 6, 2021