MARK KAPPEL

252 West 76th Street
Suite 6E
New York, NY 10023
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

10-22-21 - Skylar Campbell will be joining the Houston Ballet as a principal dancer in January 2022.

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.

11-21-20 - Pacific Northwest Ballet has announced that Angelica Generosa and Dylan Wald will be promoted to principal dancers, and Cecilia Iliesiu will be promoted to soloist.

11-16-20 - Ethan Stiefel has been appointed the new artistic director of American Repertory Ballet in New Jersey.

10-15-20 - The Tony Awards Committee announced that Sidi Larbi Cherkaoui (Jagged Little Pill), Sonya Tayet (Moulin Rouge! The Musical), and Anthony Van Laast (Tina - The Tina Turner Musical) have been nominated for the Best Choreographer Award for their work during the 2019-20 Broadway theatre season.

9-10-20 - American Ballet Theatre has announced that Joo Won Ahn, Aran Bell, ,Skylar Brandt, Thomas Forster, Calvin Royal III, and Cassandra Trenary have been promoted to the rank of principal dancer, and Gabe Stone Shayer has been promoted to soloist.

7-14-20 - Jakob Feyferlik will join the Dutch National Ballet as a principal dancer beginning with the 2020-2021 season.

6-22-20 - Julian Mackay will be joining the SanFrancisco Ballet as a principal dancer beginning with the 2020-2021 season.

4-22-20 - The San Francisco Ballet has announced that Wona Park and Max Cauthorn have been promoted from soloist to principal dancers, and Ellen Rose Hummel, Diego Cruz, Lucas Erni, and Myles Thatcher have been promoted to soloist. Nikisha Fogo will be joining the San Francisco Ballet as a principal dancer.

4-15-20 - Pittsburgh Ballet Theatre has announced the appointment of Susan Jaffe as the company's new artistic director.

DIARY

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

By Mark Kappel

Continuing its Winter Streamings series, Ballet West will be presenting each act of George Balanchine’s Jewels, a unique neo-classic work, that is not narrative but finds its story-telling in the jewel-theme presented in the ballet’s costume and scenery designs.

Having been premiered in 1967 by the New York City Ballet, Jewels was, and is, unique in that other choreographers who have tried to match Balanchine’s achievement have not been able to do so.

The first act of Jewels’ three acts is Emeralds, which is designed in green jewel-tone, and is an homage to the ballet style that was born in Paris with allusions to many of the Romantic Era’s well-known classics. The choreography is elegant and courtly, and is choreographed to music by Gabriel Faure.

The ballet is a showcase for its four principal dancers, and additional three soloists and corps de ballet dancing precise and intricate choreography that combines both solemnity and joy. Before his passing Balanchine also had second-thoughts about Emeralds’ ending and added a short section of choreography that featured the cast in adagio choreography culminating with the three principal male dancers on their knees striking a bold chord.

Dancing the two principal pairs were Sayaka Ohtaki and Tayler Gum, and Katherine Lawrence and Rex Tilton, who all captured the spirit of Balanchine’s choreography and his allusions to the French ballet. The same came be said for the dancers in the Pas de Trois – Katie Critchlow, Christopher Sellars, and Lindsay Bond -- and Ballet West’s corps de ballet.

Ballet West put its best foot forward in Emeralds -- now to look forward to the streaming performances of Rubies and Diamonds in the coming weeks.

Paris Opera Ballet Virtual Ballet Gala

January 30, 2021

By Mark Kappel

After a series of on again and off again openings and lockdowns from the beginning of this current season the Paris Opera Ballet staged a virtual ballet gala which began streaming on January 30, 2021. As is customary the gala performance opened with the Defile of the company’s dancers and student dancers in a choreographed ceremony by Albert Aveline and Serge Lifar to music by Berlioz. The fact that all of the dancers and student dancers were masked reminded one of the reality of the COVID-19 crisis we are experiencing. In spite of this unfortunate aspect of the Defile it was a majestic and optimistic image.

The remainder of the dance pieces on this gala program were few in number and also were danced by casts that were also few in number. But nevertheless it was diverse programming.

Following the Defile was Victor Gsovsky’s Grand Pas Classique, a neo-classical stand alone pas de deux with adagio, variations, and coda – with suitably showy and virtuoso choreography – choreographed to music by Daniel Auber. Valentine Colasante and Hugo Marchand danced Grand Pas Classique with style and exacting technique – and simply spot-on wonderful dancing.

For contrast was Jerome Robbins’ In The Night, choreographed to Chopin nocturnes -- dark, romantic, and moody set against a starry night. The three couples express their romantic attachment in different ways and Robbins expresses them well in the emotional shadings of their relationships. They are passing strangers – a bit nostalgic and a bit sentimental.

The cast of Ludmila Pagliero, Mathieu Ganio, Leonore Baulac, Germain Louvet, Alice Renavand, and Stephane Bullion successfully expressed the darkness in Robbins’ choreography.

And for more contrast was William Forsythe’s The Vertiginous Thrill of Exactitude, a romp choreographed to Schubert music. Dazzling quick in attack and neo-classic in style, Forsythe’s choreography challenges the five dancers who dance in this ballet, and the cast of Amandine Albisson, Ludmila Pagliero, Paul Marque, Hannah O’Neill, and Pablo Legasa overwhelmingly met those challenges.

What the Paris Opera Ballet offered were quite a few appetizers in this virtual gala which were well presented and well danced, and one looks forward to more expansive streaming dance programs in the future.

Ballet West Dances The Green Table

January 30, 2021

By Mark Kappel

Ballet West has joined what has become a growing number of American ballet companies that are offering digital and streaming performances instead of live performances due to COVID-19 restrictions all over the United States. Openings its series Ballet West is streaming a unique ballet that was choreographed in the earlier part of the 20th century which makes a significant choreographic statement as well as a social statement. That ballet is Kurt Joos’ The Green Table.

Joos was a master choreographic innovator combining modern dance and theatre in Germany at a time when dance was moving in the realm of the abstract. Joos had a story to tell when he created The Green in Table in 1932 which was about the futility of peace negotiations at an historical moment when Europe was in economic and political crisis.

As choreographer Joos included modern dance vocabulary and organic movement, and as a librettist he included theatrical conventions in telling his story and expressing his emotions about a crisis that was taking place in Germany and other parts of Europe. He opened and closed this dance piece with diplomats talking past each other as they tried to negotiate solutions that would bring peace – all sitting at a green table.

In between thee effective tableaux Joos effectively used the figure of Death as a ghost involving himself and presenting himself in the midst of the people suffering through the ravages of war with each heroic character being depicted in an everyman persona. Yet all is displayed in the form of a dance play and performed by a theatrical ensemble with every character being an important component in telling Joos’ story.

Ballet West took this ballet into its repertoire in 2017 and among its dancers found excellent dance/actors who could interpret what Joos described as a Dance of Death in 8 Scenes. There were heroic performances by Beau Pearson as Death, Chase Connell as the Standard Bearer, Christopher Rudd as the Profiteer, and Beckanne Sisk as the Old Mother. Maturity and artistry came through.

Also in its simplicity, The Green Table is danced to a piano score composed by Fritz Cohen which is played by two pianists.

The Green Table had often been in the active repertoire of the Joffrey Ballet – but it is not a ballet that makes an appearance in the repertoires of ballet companies often. In this streamed presentation Ballet West affords the opportunity to experience an important dance theater piece from the early 20th century.

Sarasota Ballet’s Digital Program 4 – A Tribute To Paul Taylor

January 29, 2021

By Mark Kappel

Presented on January 29, 2021, the Sarasota Ballet’s Digital Program 4 was a testimonial to one of America’s modern dance innovators, Paul Taylor. Hard to believe that we only lost Taylor in 2018 when it seemed like he was always around with his company and also creating new works. Taylor was best known for his clever and humorous works but even in his most solemn moments, his dance works were entertaining, playing on the strengths of his dancers, and have been challenges for dancers to dance.

The Sarasota Ballet’s Digital Program 4 presented two of Taylor’s works which are representative of Taylor’s range.

Brandenburgs, choreographed to J.S. Bach’s Brandenburg Concertos No. 6 and 3, is Taylor in his classic modern dance style. The ensemble surrounds one male dancer evolving into sculptural movement and in inventive stage patterns danced to Bach’s intricate music. There are moments of solemnity but mostly this is a dance work celebrating dance.

But for the contemplative male solo, Brandenburgs is a joyous work and was enthusiastically danced by the cast led by Ricardo Graziano with Danielle Brown, Katelyn May, Ellen Overstreet, Yuri Marques, Lenin Valladares, Ivan Spitale, Yuki Nonaka and Daniel Pratt.

Company B was given its premiere by the Houston Ballet as part of a celebration of American music and choreographers sponsored by the Kennedy Center. Taylor created a work that was closely tied to Washington DC in that it reflected the American spirit and the sacrifices made by Americans during World War II.

Company B is choreographed to songs sung by the popular singing group, The Andrews Sisters, and each section of this dance piece is a vignette telling a story that is inspired by each song’s lyrics – all nostalgic memories.

Company B is another Taylor ensemble piece, however outstanding in Tico-Tico was Ricki Bertoni, in Boogie Woogie Bugle Boy was Yuki Nonaka, and particularly nostalgic was There Will Never Be Another You danced by Kate Honea and Richard House.

The Sarasota Ballet’s dancers acquitted themselves well in these two Paul Taylor dance pieces which make for a particularly entertaining dance performance.

National Ballet of Canada – Classical Gems

January 28, 2021

By Mark Kappel

For its third digital presentation, seen on January 28, 2021, the National Ballet of Canada turned to excerpts from two 19th century ballets, and an excerpt from a familiar neo-classical “classic” ballet. In this rather short, less than 20-minute presentation, there was a great deal of excellent dancing to view.

The first of the classical excerpts was the Act I Pas de Quatre from Peter Wright’s production of Giselle which the National Ballet of Canada had in its repertoire since 1970. In most productions of Giselle, the Peasant de Deux, is danced by two dancers, but some stagers in an effort to provide more dancing opportunities for male dancers in performances of Giselle have expanded this to include four or six dancers or even more. This excerpt is rarely performed on its own – and is perhaps overlooked as an audience pleaser. No matter what the point of view this part of the ballet is an opportunity to show off some virtuoso dancing as well as being a component of the plot presented in Giselle.

Here danced by Jeannine Haller, Skylar Campbell, Miyoko Koyasu, and Siphesihle November this Pas de Quatre from Giselle is a display of virtuosity, and an opportunity to show off these well-trained classical dancers.

In that same vein also presented was the Le Corsaire Pas de Deux, often performed out of context of this full-length ballet, which was danced by Jurgita Dronina and Francesco Gabriele Frola. Unfortunately only the adagio and two variations were presented. However even in this shortened version the dancers give an admirable performance – emphasizing experienced showmanship.

The presentation ended with the Finale from Harald Lander’s Etudes, a neo-classical ballet, which was created for the Royal Danish Ballet, and meant to be a showcase for the technical skills of the company’s dancers. The ballet traces the codified ballet steps from class room exercises to performance, choreographed to music by Charles Czerny which were composed to train musicians in technical mastery. Applied to the ballet is the same test for the dancers, and the exhilarating finale of Etudes brings the entire company onto the stage for an appropriately stirring end to this ballet.

Even in these excerpted forms all three of these dance pieces are classical gems.

Circle in the Square Theatre: A Comprehensive History

By Mark Kappel

Circle in the Square Theatre: A Comprehensive History by Sheila Hickey Garvey, published by McFarland & Company, is what its title suggests. A comprehensive history of a resident theatre company occupying an important place in the artistic development of theatre in New York City. And this is a history with many details profiling the people who were responsible for the Circle in the Square Theatre’s founding and its path to where it is today – with a detailed chronicle of productions and back stories that influenced this company’s development. At the same time Garvey’s book also adds to the historical record of the development of New York’s other notable non-profit theaters.

Author Sheila Hickey Garvey was trained at the Circle in the Square’s theater school, ultimately taught there herself, and was also a member of the theater’s Board of Directors – an inside view of an important arts institution in New York City.

The Circle in the Square’s early years were in locations in Greenwich Village after its founding in 1951 – its founding co-directors, Theodore Mann and Jose Quintero (a partnership that only lasted for 12 years) – including a special relationship with Carlotta Monterey O’Neill (Eugene O’Neill’s widow) which resulted in the Circle in the Square’s acclaimed productions of O’Neill’s plays.

Garvey’s book provides details of this warring family’s relationships – both working with Circle in the Square and in outside theatrical projects – revealed in biographic facts about these influential theatrical personalities. The Circle in the Square’s history is closely tied to its productions of O’Neill’s plays and this book includes significant background information on O’Neill, his plays, and the Circle in the Square’s productions of them.

The Circle in the Square’s first venue was a nightclub that was renovated into an arena stage which became the Circle in the Square’s signature. The company’s first presentation was a production of Dark of the Moon by Howard Richardson and William Berney with Jose Quintero as its director and Charles Curtis, a member of the Doris Humphrey-Jose Limon Dance Company, as the play’s choreographer.

However experiencing one of its “down” periods, the Circle in the Square Theatre closed in 1954, and then reopened in 1955, after having survived the continuous artistic battles between Mann and Quintero. However fortunes changed when the Circle in the Square presented its production of Eugene O’Neill’s The Iceman Cometh – and in 1956 produced the first Broadway production of O’Neill’s Long Day’s Journey into Night – which was a theatrical coup.

Many other important theatrical productions followed but it became clear that producing off-Broadway was not to be commercially viable, and the Circle in the Square followed the path taken by other New York theatre companies and was transformed into a non-profit entity.

That transformation was expedited in 1968 when Mayor John Lindsay’s office made an offer to the Circle in the Square to be an occupant in a new building that would be built in the Times Square Theatre District. Lindsay intended to clean-up this area of New York City, and was allowing skyscrapers to be built – and changing zoning variances to accomplish this goal – but the proviso was that these skyscrapers had to include a new theater in their plans. Not only would this change the Circle in the Square’s physical location, but also becoming a Tony Award eligible theatre bringing further prestige to itself and its productions.

In 1972 the Circle in the Square Theater and theater school made the bold move from being an off-Broadway non-profit theater to a Broadway location when under the artistic direction of Theodore Mann and managing director, Paul Libin, occupying a below street level space of the Uris office building that also housed what is now the Gershwin Theatre.

The Circle in the Square continued its policy of presenting major stars in revivals of classic American plays and new plays – its first production in its new home was O’Neill’s Mourning Becomes Electra. The Circle in the Square functioned from one financial crisis to another, experimenting with subscription seasons of plays that didn’t always appeal to its audiences – much less interest from critics – and critics even began to question the Circle in the Square’s arena stage set up – and also there were disputes between the Circle’s artistic and business leadership – and the Circle’s Board of Directors. Also time was consumed with the necessary lobbying for private and paltry government subsidies.

Also Circle in the Square had competitors who began operating in the Broadway theatre district and the Circle in the Square experienced a decline from 1990 onwards with the departures of its founders, frequent changes in artistic and business management, productions that were not met with acceptance by audiences and critics, and continued failed fundraising efforts.

Paul Libin resigned in 1990 to pursue commercial theatrical enterprises, and Theodore Mann searched for other partners as business and artistic managers. Jose Quintero returned to teach at the Circle in the Square School but that association was short-lived.

There were working relationships with Josephine Abady – and after bankruptcy was declared Mann had resigned – and Gregory Mosher was appointed artistic director. But in 1997 the Circle in the Square, as a non-profit theatre, suspended operations while the Circle in the Square School continued to operate.

Thereafter Mann and Libin rented out the theatre functioning as commercial producers.

Circle in the Square as a non-profit theatre had an incredible history with a goal towards becoming America’s National Theatre while also fending off competition from other non-profit theaters operating in New York City, and also the ups and down of New York City’s economy, changing theatrical tastes, and fundraising challenges. Its notable history is explored in detail in Garvey’s book which is a must read for Board members of non-profit arts institutions and for creatives working in the theatre.

San Francisco Ballet Opens Its Digital Season With A Midsummer Night’s Dream

January 22, 2021

By Mark Kappel

The San Francisco Ballet’s 2021 season has been impacted by the continuing Covid-19 crisis, and not being able to offer live performances the San Francisco Ballet is presenting a digital series. Opening the digital series is the company’s production of George Balanchine’s A Midsummer Night’s Dream which Balanchine had created for the New York City Ballet in 1962. The San Francisco Ballet’s company premiere of this ballet was in 1985.

The San Francisco Ballet was fortunate in being able to film a performance of A Midsummer Night’s Dream in March of last year just before state regulations made it impossible for live performances to be presented. It is this film of A Midsummer Night’s Dream that is being shown to open the digital series.

Based on William Shakespeare’s masterful comedy of mismatched lovers, and choreographed to Felix Mendelssohn’s music, Balanchine’s personal vision is apparent in every aspect of this ballet. There is a German Gothic veneer in Balanchine’s choreography and the general tone of the ballet, but in contrast the San Francisco Ballet is performing this ballet with the designs by Martin Pakledinaz which are fanciful and mystical.

Balanchine adapted the play’s libretto into two acts but most of the exposition and story takes place in the first act in which Oberon plays a trick on Titania to obtain the guardianship of a Changeling Boy, and does so with one of the local rustics, Bottom, being transformed into donkey – with whom Titania falls in love. There are also sub-plots in which two other mismatched couples are sorted out, as well as the marriage of Theseus and Hippolyta. Adding to and creating the confusion is Puck, who manufactures chaos everywhere as he tries to implement Oberon’s master plan.

The second act of the ballet celebrates the marriages of all in a divertissement – the kind of plotless neo-classical ballet that Balanchine is famous for. Dominating the divertissements in Act II is a pas de deux, a real gem, which is part of a suite of these celebratory dances and was beautifully danced by Frances Chung and Ulrik Birkkjaer.

In many respects performances of Balanchine’s A Midsummer Night’s Dream are ensemble efforts as there is a long list of characters that participate in the ballet’s complicated plot.

Sasha De Sola as Titania and Esteban Hernandez as Oberon were suitably elegant and regal. Cavan Conley as Puck and Lucas Erni as Bottom provided the humorous moments. Vladislav Kozlov as Titania’s Cavalier was an attentive partner, and the mismatched lovers, Sarah Van Patten as Helena, Elizabeth Powell as Hermia, Myles Thatcher as Lysander, and Luke Ingham as Demetrius provided both comic and poignant moments. Suitably grand was Sasha Mukhamedov as Hippolyta and Tiit Helimets was courtly and noble as Theseus.

Overall this was a charming and spirited performance of Balanchine’s A Midsummer Night’s Dream.

Boston Ballet’s Look Back, Focus Forward

January 21, 2021

By Mark Kappel

It is very fortunate that the Boston Ballet has not left any gaps in terms of its digital series and is now presenting an overview program, “Look Back, Focus Forward”, which includes two short works and excerpts from a work by choreographer Leonid Yakobson, tour footage from the Boston Ballet’s international tours, and a background look at the creation of a new work for the company.

Leonid Yakobson was born in St. Petersburg in 1904 and from 1926 through 1975, he was associated with what is now known as the Mariinsky Ballet. In 1970 he formed his own company, Choreographic Miniatures, and he worked with major Russian ballet stars including Mikhail Baryshnikov (for whom Yakobson created the solo, Vestris), and Natalia Makarova – among others.

In this program Yakobson’s Vestris, was included -- a short solo inspired by the ballet icon, Auguste Vestris, who was part of the Vestris dynasty of dancers in the 18th century – a piece including the combination of characterization and virtuoso dancing. Choreographed to music composed by Gennadi Banshchikov, Vestris and was given its world premiere in Moscow in 1969. This virtuoso solo presents many challenges as the dancer must not only dance but also portray Vestris and reflect his many moods – comic and sad.

The work was taken into the Boston Ballet’s repertoire in 2019 and was here beautifully danced by Derek Dunn.

Yakobson’s Pas de Quatre, performed by the Boston Ballet at the City Center Fall for Dance Festival in 2015, was inspired by the 1845 lithograph of the star ballerinas of their day in the 19th century. Music by Vincenzo Bellini serves as the musical foundation for this piece which eliminates the competitiveness of the four dancers as depicted in Anton Dolin’s Pas de Quatre – even the dancers join hands throughout the piece but for the solo variations, with the choreography inspired by the Romantic choreographers of that time period. It is a delicate piece with the cast of Ji Young Chae, Ekaterina Chubinidze, Maria Baranova, and Nina Matiashvili, dancing the choreography with correctness and clarity.

The third of the Yakobson works was Rodin, which is inspired by the works of French sculptor Auguste Rodin. For this piece Yakobson chose the music of Debussy and Berg to choreograph to and each of the three duets presented here were derived from famous Rodin sculptures.

The Eternal Spring was danced by Sun Woo Lee and Abigail Merlis, The Kiss was danced by Maria Alvarez and Alec Roberts, and The Eternal Idol was danced by Emily Entingh and Michael Ryan. These duets were costumed in plain leotards with the choreography being a metaphor for what each one of Rodin’s sculptures represented.

There is also an overview of the Boston Ballet’s international and domestic tours which includes excerpts from Jiri Kylian’s Bella Figura (danced by Sarah Wroth, Altan Dugaraa, Rie Ichikawa, Yuri Yanowsky, Erica Cornejo, Paul Craig, and Kathleen Breen Combes), and the Pas de Deux from George Balanchine’s Symphony in Three Movements (danced by Lia Cirio and James Whiteside).

The program is bookended by rehearsal footage of Ken Ossola’s new work, Zoom In, a piece that Ossola choreographed via Zoom – and in the rehearsal room, Paul Craig and Maria Alvarez. The rehearsal process and discussion is a teaser for this piece’s presentation in this digital series in the future.

National Ballet of Canada – Digital Series – Power and Passion

January 14, 2021

By Mark Kappel

Continuing its digital series the National Ballet of Canada, on January 14, 2021, presented excerpts from three full-length narrative ballets that the company has acquired for its repertoire – two of them being co-productions with other ballet companies.

Three choreographers’ works which were presented in this presentation reflected an interest and commitment by the choreographers – John Cranko, Christopher Wheeldon, and John Neumeier -- in telling stories through dance.

The National Ballet of Canada had been the first ballet company in North America to acquire John Cranko’s Onegin in 1984, and has also performed this ballet in New York. Cranko adapted Pushkin’s narrative into a ballet in 1969 for the Stuttgart Ballet employing little known music composed by Tchaikovsky for its score – creating a compelling ballet – with a compelling story -- that has been performed by ballet companies all over the world.

The excerpt from this ballet that was presented was the first pas de deux of two danced in Act I of Onegin. This pas de deux captures the character and arrogance of the diffident Onegin (danced by Evan McKie) and the young Tatiana (danced by Svetlana Lunkina) who is quite taken by this mysterious man. Even this excerpt shows Cranko’s theatricality in setting the tone for how this relationship would be developing through the course of this story ballet and was well danced and acted by McKie and Lunkina.

Also presented was the Act II Pas de Deux from Christopher Wheeldon’s The Winter’s Tale – a co-production with the Royal Ballet – based on Shakespeare’s play, and choreographed to a commissioned score by Joby Talbot.

It is in Act II that Perdita (danced by Jillian Vanstone) and Florizel (danced by Naoya Ebe) express their love – and are given a blessing to marry. This was young love blooming with each character trying to win each other’s affections through the danced choreography. Although the choreography itself did not consistently express those affections and emotions, those affections and emotions were expressed transparently by both Vanstone and Ebe.

Another co-production in the National’s repertoire is John Neumeier’s Anna Karenina, based on Leo Tolstoy’s novel, and choreographed to music by Tchaikovsky. Given its company premiere by the National Ballet of Canada in 2018 it is in this excerpt that Anna Karenina (danced by Heather Ogden) is pulled in two directions by her infatuation with Vronsky (danced by Guillaume Cote) and her son.

Neumeier has a unique story-telling style which often doesn’t define the exact era or place which the story needs to be clearly told. The dancers are in contemporary dress, with minimalist scenery in the midst of the stage space, and in this instance doesn’t present the social constraints that Anna Karenina was condemned to. Still the passion was there!

Certainly this presentation by the National Ballet of Canada, even in these short excerpts, exemplifies that the company’s dancers have the gift of being dance actors.

National Ballet of Canada – Digital Series

January 8, 2020

By Mark Kappel

As in many parts of the world, ballet companies in Canada are not able to perform due to COVID-19 lockdowns and restrictions and like those other ballet companies, the National Ballet of Canada is presenting a digital series of performances which includes excerpts of works – and a few new works – that are in the company’s repertoire.

The first presentation in this series includes excerpts from three familiar and known contemporary ballets and dance pieces that have found their way into the repertoires of many ballet companies.

The presentation opens with one of the movements from Alexei Ratmansky’s Piano Concerto No. 1 which had been given its world premiere by American Ballet Theatre as part of Ratmansky’s Shostakovitch Trilogy. The National Ballet of Canada acquired this work in 2015.

In this homage to Shostakovitch’s music Ratmansky responds to the music in a Balanchine manner and has created choreography that must be danced with speed and clarity. The excerpt performed by the National Ballet of Canada’s dancers (Elena Lobsanova, Brendan Saye, Tina Pereira, and Skylar Campbell) gave the necessary correctness and technical proficiency that this ballet’s choreography required.

What followed was an excerpt from Jiri Kylian’s Petite Mort, choreographed to music by Mozart, which makes choreographic statements about relationships between men and women. This excerpt began with a group of female dancers moving around on the stage in large skirts that were on wheels, and then followed by a series of duets with intricate and sometimes off-kilter choreography – a hallmark of Kylian’s style.

Here danced by the cast of Tina Pereira, Spencer Hack, Hannah Fischer, Brendan Saye, Greta Hodgkinson, Guillaume Cote, Elena Lobsanova, and Jenna Savella, the dancers moved with intent and emotion to Mozart’s music.

The program closed with an excerpt from Wayne McGregor’s Chroma. McGregor’s choreography pulsates and mirrors that same momentum in Joby Talbot’s music – choreography that is noted for its ensembles although in these excerpts there were showcases for individual dancers and sections for only male dancers that tested their skills.

McGregor’s choreography is influenced by contemporary, modern dance – and Merce Cunningham – comprised of angular and relentless movement – all of which was well danced by the cast of Skylar Campbell, Christopher Gerty, Tanya Howard, Svetlana Lunkina, Siphesihle November, Heather Ogden, Brent Parolin, Tina Pereira, Brendan Saye, and Alexander Skinner.

Also it is important to note that presentation of the National Ballet of Canada’s digital series will be available for view for a period of 30 days – and there is more to come with the National Ballet of Canada dancing works that vary from the classical to the contemporary – including excerpts from full-length ballets.

Sarasota Ballet’s Digital Program 3

January 1, 2021

By Mark Kappel

The Sarasota Ballet will be presenting digital/livestream performances for the remainder of its season having to make a decision about these plans when safety guidelines and strategies regarding COVID-19 were not consistent.

As in previous Digital Programs, the Sarasota Ballet’s artistic director, Iain Webb, is on hand to provide pertinent details and information about each piece that is danced, and all is beautifully photographed – producing the atmosphere of a live performance in a theatre.

The Sarasota Ballet’s Digital Program 3 is a program of excerpts and highlights – with one exception – celebrating the choreographers whose works have important places in the company’s repertoire.

The one exception presented as part of this program – the ballet presented in full – was Peter Darrell’s Othello, telling the tale in Shakespeare’s play choreographed to the First Movement from Liszt’s Faust Symphony. Othello was created for the New London Ballet, a company established by Galina Samsova and Andre Prokovsky, in 1971. As Darrell’s ballets are rarely performed, this is an opportunity to examine the work of a choreographer whose works are on the brink of being forgotten. Fortunately the Sarasota Ballet acquired Darrell’s Othello and has kept the ballet in its active repertoire.

Darrell successfully distills this Shakespeare tragedy with choreography in the classical style but with subtle dramatic gestures which illuminate the plot, his interpretation of the plot, and draw the characters. He has reduced the number of characters to five -- Darrell includes the title character (danced by Ricardo Rhodes), Desdemona (danced by Danielle Brown), Iago (danced by Ricardo Graziano), Cassio (danced by Daniel Pratt), and Emelia (danced by Janae Korte). And the mysterious scarf is the sixth character.

Darrell successfully creates the power, control and tension between all of these characters – and especially so in how Iago plots to destroy the relationship of Othello and Desdemona – which leads to the ballet’s tragic end.

Particularly notable is Ricardo Graziano as Iago as he portrays this sinister and calculating character – and steals the ballet in its final moments when he is on his knees and rocking back and forth understanding the tragedy he has caused.

Peter Wright was represented by a short work and an excerpt from a longer work on this program. The short work was The Mirror Walkers Pas de Deux, which he created for the Stuttgart Ballet in 1963. Choreographed to a section of Tchaikovsky’s Suite No. 1, Wright’s response to this music is to the point which reflects the rhapsodic moments in Tchaikovsky’s music – and danced by Ryoko Sadoshima and Richard House expressively.

Also danced was the Pas de Quatre from Wright’s Summertide, choreographed to Mendelssohn’s Second Piano Concerto – which was danced by Ellen Overstreet, Ricardo Rhodes, Harvey Evans, and Thomas Leprohon. There are hints of Ashton’s Symphonic Variations and Monotones, and even hints from Balanchine’s Apollo, and Tudor’s The Leaves Are Fading – uncluttered and enhanced by Dirk Bird’s evocative designs.

Also included in this program was the Pas de Deux from Kenneth MacMillan’s Concerto, choreographed to Shostakovich’s Second Piano Concerto, which had been created for the Deutsche Oper Berlin in 1966. Danced to the adagio movement of Shostakovich’s piano concerto, MacMillan’s choreography is an example of less is more – its strength, calm, and clarity are hallmarks in this ballet which was danced by Ellen Overstreet and Richard House in the appropriate understated manner.

Christopher Wheeldon has also been well represented in the Sarasota Ballet’s repertoire and for this program the Sarasota Ballet danced a Pas de Deux from Wheeldon’s The American, choreographed to music by Antonin Dvorak. This was choreography intended to establish a mood and this was reflected in the expressive dancing by Katelyn May and Yuri Marques.

There were also two solos as part of this program. Dominic Walsh, who has been the company’s resident choreographer, was represented by his solo, Clair de Lune, which he choreographed as a world premiere for the Sarasota Ballet in 2011. One is focused on its sentiment and Chaplinesque quality as the male dancer (Ivan Spitale) drops flower petals on the stage – the modern choreography purposefully expresses a lost soul.

Spitale also danced the other solo on the program which was the Merman solo from Matthew Bourne’s The Infernal Galop which Bourne created in 1989, choreographed to songs by Charles Trenet. In a more obvious comic approach Spitale portrays a Merman being admired by three sailors – danced to the soundtrack of Trenet’s song which expresses the romantic nature of the sea. It is fortunate that the Sarasota Ballet has acquired one of Bourne’s works as his works are only danced by his own company.

The Sarasota Ballet’s Digital Program 3 is not only substantial but also entertaining and spotlights the company’s efforts to curates the works of the past, and encourage the choreographers of the present.

NBC10 Boston Presents The Boston Ballet's The Nutcracker

December 27, 2020

By Mark Kappel

NBC10 Boston presented highlights from the Boston Ballet’s The Nutcracker, choreographed by the company’s artistic director, Mikko Nissinen, and lavish costume and scenery designs by Robert Perdziola, a production which the company has been dancing since 2012. By viewing this presentation on bostonballet.org, one will get more than the mere essence of this magical production of The Nutcracker.

Hosted by Today’s Hoda Kobt with NBC10 Boston’s Colton Bradford as narrator in the role of Drosselmeyer, one is guided through the important plot points in Act I of The Nutcracker and Clara’s dream journey to the Nutcracker Prince’s Kingdom.

It is at a Christmas Eve Party at the home of the Silberhaus Family that Clara is given a Nutcracker as a gift from Drosselmeyer who conjures Clara’s dream from the Battle of the Mice where the Nutcracker defends her honor until Clara intervenes herself, and Clara and the Nutcracker Prince venture on to be guided by the Snow King and Snow Queen to further their journey to the Nutcracker Prince’s Kingdom where Drosselmeyer’s dolls come to life and the Sugar Plum Fairy and the Nutcracker Prince dance the familiar Grand Pas de Deux.

Nissinen’s production tells the story effectively and offers many opportunities for moments of great dancing. This was notable in the Act II Grand Pas de Deux danced with great elegance by Ji Young Chae and Tigran Mkrtchyan, the Snow King and Snow Queen of Paul Craig and Seo Hye Han, and Viktorina Kapitonova as the Dewdrop in the Waltz of the Flowers.

Also notable was Mia Steedle as Clara who reacted with spontaneity as the story was revealed and also Paulo Arrais in his brief moments as Drosselmeyer.

These highlights were culled from a video from one of the Boston Ballet’s The Nutcracker performances from 2019. Fortunately the Boston Ballet is presenting it in a digital format that will allow balletomanes all over the world to see it.

English National Ballet – Nutcracker Delights

December 24, 2020

By Mark Kappel

Facing safety guidelines in regard to live performances in London, English National Ballet presented Nutcracker Delights – an abridged version of its production of The Nutcracker in December only to have the remaining performances cancelled due to further restrictions. Fortunately Nutcracker Delights was filmed on December 18 and 19, 2020 and it is now being streamed by English National Ballet through the remainder of the holiday season.

English National Ballet’s production of The Nutcracker was staged by Wayne Eagling, one of the company’s previous artistic directors, with designs by Peter Farmer – and it premiered in 2010.

In this version Simon Callow provides the narration illuminating the animated presentation of the Christmas Party in Act I in which Drosselmeyer conjures his tricks and gives the Nutcracker Doll to Clara. Clara falls asleep and begins dreaming – to be awakened to find the Nutcracker Doll involved in a battle against the Mouse King – defending Clara. In caring for the Nutcracker’s wounds, the Nutcracker transforms into a Prince.

Throughout the Snow Scene, the Nutcracker Prince and the Mouse King engage in battle again after which Drosselmeyer travels them to a different land by way of an air balloon. It is there that Drosselmeyer becomes the major domo in presenting the divertissements which include the Spanish, Chinese, and Russian Dances, the Waltz of the Flowers, the Grand Pas de Deux, and Finale – and thereafter Clara finds herself back in her room realizing it was all a dream.

In spite of how the story of The Nutcracker is presented in this unconventional manner, the story is told effectively, and there is plenty of dancing to keep an audience interested, involved, and entertained.

Erina Takahashi and Joseph Caley provide an elegant and superlative performance in the Grand Pas de Deux, and Natascha Mair (as Clara) and Aitor Arrieta (as the Nutcracker Prince) give charming performances and interpretations of their characters – and James Streeter is a magical and charismatic Drosselmeyer.

Thanks to English National Ballet for giving us this holiday treat!

Bavarian State Opera Ballet’s Swan Lake

December 24, 2020

By Mark Kappel

The Bavarian State Opera Ballet has offered a free streamed performance of the company’s production of Swan Lake during the holiday season. This production was staged by Ray Barra in 1995 but has been adapted by Thomas Mayr for the 2020/2021 season to meet COVID-19 safety guidelines allowing for these performances to take place in front of audiences.

In this production of Swan Lake Barra has chosen to tell the story of Swan Lake in a traditional manner with a few added dramatic punctuations. The ballet opens with a Prologue in which Odette is put under a spell by Von Rothbart and is transformed into a swan, and Prince Siegfried is also affianced to Charlotte, one of the courtiers, and they are both looking forward to their engagement party. However Siegfried is not totally committed to his engagement and at the end of his Act I solo Von Rothbart steps out of the shadows where his white swans appear. Siegfried has first meeting with Odette, vows his true love, and they part.

At the engagement party, Siegfried rejects Charlotte, and Von Rothbart appears mysteriously with an entourage of black swans one of which is Odile, disguised to look like Odette. Siegfried ultimately vows his eternal love to Odile. Although Odette ultimately forgives Siegfried for his transgression both determine that there is no alternative but to drown themselves in the lake – with Siegfried’s mother finding Siegfried’s dead body at the conclusion of the ballet. The concept is that of betrayal and a romantic illusion.

Barra has restored the original adagio of the Black Swan to a place in Act I where Siegfried and Charlotte dance a pas de deux, and the Act I Pas de Trois has been enlarged to a Pas de Six which includes the participation of Benno (danced by Dmitrii Vyskubenko). In the equivalent of Act III included only are the Spanish, Russian, and Italian Dances – and assisted by the subtle but effective designs by John Macfarlane each scene transitions mysteriously from one to the next.

As with any performance of Swan Lake, the success of the performance weighs heavily on the shoulders of the dancers dancing the roles of Odette/Odile and Prince Siegfried. With strong classical dancing performances and strong characterizations Ksenia Ryzhkova as Odette/Odile and Jinhao Zhang as Prince Siegfried brought this production to life – with equal quality performances from the rejected Charlotte as danced by Lauretta Summerscales and Von Rothbart portrayed by Emilio Pavan.

In spite of fewer dancers on the stage, this production of Swan Lake succeeds.

Irish Repertory Theatre – Meet Me In St. Louis

December 22, 2020

By Mark Kappel

The Irish Repertory Theatre’s 2020-21 season is being produced on a livestream platform – a solution created by the world’s battle with the corona virus – while also solving the problem about being visible during this difficult time.

The Irish Repertory Theatre has proven itself to very adept at producing these livestream presentations and although there have been changes in the proposed season presentations, the Irish Repertory Theatre is responding to the needs of its audiences in a nimble and audience-friendly manner – as reflected in its revival of Eugene O’Neill’s A Touch Of The Poet which was transferred from live rehearsals into a livestream event with the actors all filmed in isolated locations and editing their performances together.

This method has been used again for the Irish Repertory Theatre’s holiday presentation, a stage musical version of the holiday film, Meet Me In St. Louis, adapted and directed by one of the Irish Repertory Theatre’s co-artistic directors, Charlotte Moore, who was a cast member in the original Broadway production of Meet Me In St. Louis which premiered on Broadway in 1989. This same adaptation was presented by the Irish Repertory Theatre in 2006.

This stage version is based on the popular 1944 film version and on Sally Benson’s The Kensington Stories following the everyday lives of the Smith Family in St. Louis anticipating the opening of the 1904 St. Louis World’s Fair. Turning the family’s life and future plans upside down is the possibility that the family might be facing a move from St. Louis to New York due to the family patriarch’s promotion at his law firm ---and also missing the experience of the St. Louis World’s Fair. Not to mention complicating the love lives of Rose and Esther Smith.

The story is introduced by narrator Charlotte Moore, setting the scene and the tone of the Smith Family on Kensington Avenue – and a wonderful story-teller she is.

The close-knit Smith Family is ruled over by Alonzo Smith (Rufus Collins) and Anna Smith (Melissa Errico) who cope with the day to day adventures of their large family, Agnes (Austyn Johnson), Tootie (Kylie Kuioka), Esther (Shereen Ahmed), Rose (Ali Ewoldt), Lon )William Bellamy), and Grandpa (Jay Aubrey Jones) – expanding the family with Esther’s boy next door, John Truitt (Max von Essen), Rose’s impulsive suitor, Warren Sheffield (Ian Holcomb), and Lucille Ballard (Kerry Conte), who is Lon’s love interest – and also trying to bring order to chaos is Katie (Kathy Fitzgerald), the Smith Family’s maid. All played by a superlative cast with superlative singing voices and bringing the necessary nuances to the characters they are portraying.

We experience the surprises of the younger children’s Halloween trick or treating, and eavesdropping on the older children as they try to sort out their love interests – happenstance meetings, and also a bit of plotting – and secrets kept and unkept. Ultimately when faced with the possibility of moving to New York and how unhappy the Smith Family has become, Alonzo Smith makes the stunning decision to remain in St. Louis recognizing that St. Louis is just as a promising a city as New York -- and providing the Smith Family with a very Merry Christmas.

All of the story is revealed in Hugh Wheeler’s book and with songs by Hugh Martin and Ralph Blane – familiar tunes including “The Trolley Song”, “The Boy Next Door” and “Have Yourself a Merry Little Christmas”.

In another technological achievement in filming each actor individually and then editing those performances together, the Irish Repertory Theatre has given us a much needed tonic and nostalgia for the season in these exceptional times – and also a merry little Christmas when we needed one.

The Nutcracker at Wethersfield

December 20, 2020

By Mark Kappel

With the ghost of the corona virus hovering over us all, and local political and health officials enforcing restrictions on all of the performing arts, Ballet Collective, directed by New York City Ballet soloist, Troy Schumacher, has taken on the challenge of choreographing a “New Covid-19 Compliant Nutcracker” which had been performed on the Wethersfield Estate in Amenia, New York and will be offering a free streamings from December 23-27, 2020.

Employing a host of furloughed New York City Ballet dancers, and imaginative designers, and filmmakers, Schumacher has re-imagined and reconceived The Nutcracker in an effort to keep this holiday tradition alive.

The traditional story of The Nutcracker ballet is presented in a site specific and immersive manner as this livestreamed version moves from one location to another on the Wethersfield Estate telling the story and serving as foundation for each of the plot points in the ballet. You feel like a participant in this production of The Nutcracker as you are motoring up to the door of the house, following the primary characters through the rooms of the historic Wethersfield Estate Mansion (built in 1938), through the snow-covered walkways to discover the dancing Snowflakes – and then to a tent where guests are able to sit at tables covered with sweets and the dancers are performing in a stage area in a tent.

Schumacher’s conception focuses on Clara (Erica Pereira) receiving the Nutcracker from her godfather, Drosselmeyer (Julio Bragado-Young) at an intimate Christmas Eve Party in which everyone seems to be wearing designer clothes. Suddenly mice appear and chase Clara through the rooms of the mansion -- the Nutcracker champions her cause against the Mice, then leads us on through snowy walkways to the Snow Scene, and the Land of the Sweets where the Sugar Plum Fairy dances her variation to be followed by Chocolate, Marzipan, Candy Cane Dances with the Dewdrop (Mira Nadon) leading the Waltz of the Flowers, and the traditional Act II Grand Pas de Deux (Adagio and Coda) danced regally by Sara Mearns as the Sugar Plum Fairy, and Tyler Angle as Her Cavalier.

Schumacher has adapted choreography to fit in the round stage space astutely and stylishly.

Schumacher, the dancers and all of the people in support who helped make this production happen should be given a salute as they have enabled audiences to see live dance performances during this challenging time.

Norwegian National Ballet Dances

The Nutcracker

December 20, 2020

By Mark Kappel

American ballet companies have not been alone in presenting livestream/digital performances of The Nutcracker. The Norwegian National Ballet’s production of The Nutcracker is now being presented in a version produced by NRK-TV which has been made available for international viewing as of December 20, 2020.

The Norwegian National Ballet’s The Nutcracker has been conceived by Jon Bausor and Kaloyan Boyadjev – with choreography by Boyadjev – scenery designs by Bausor, and costumes designed by Bausor and Bregje Van Balen – and this production was given its premiere by the Norwegian National Ballet in 2016.

The story is set in Oslo in 1905 at a time when Norway was asserting itself on the world stage. The choreography and libretto is typical of those danced by Russian companies most notable that the Battle of the Mouse King and the Nutcracker does not come to a conclusion at the end of Act I as the Mouse King and his Mice Army re-appear in Act II to be thwarted by the Nutcracker for a second time. Also Clara was played by two dancers – the younger Clara who is a guest at her own family’s Christmas Eve Party and an older Clara who appears in Act II and dances with the Nutcracker Prince.

One of the unique aspects of the libretto is that Drosselmeyer is the magician and major domo in this production of The Nutcracker as he presents Clara with her Nutcracker doll and repairs it when it is damaged. But it is he who presents the entertaining divertissements in Act II. In fact, connecting the two acts is a Spanish fan, a Russian Wife Doll, a Chinese porcelain plate with a picture of a dragon, a French music box – and a book – The Arabian Nights, which are presented as gifts in Act I – and become the Spanish Dance, the Russian Dance, the Chinese Dance, Marzipan, and Arabian Dance in Act II.

The older Clara and the Nutcracker Prince dance the Grand Pas de Deux at the end of Act II, and it is the younger Clara who awakes from her sleep to realize it was all a dream.

All of these concepts are enhanced by the sumptuous designs, and the story is illuminated by the acting performances of Erle Ostraat as the younger Clara, and Ole Willy Falkhaagen as Drosselmeyer.

Also there was the superlative dancing from Whitney Jensen as the older Clara and Richard Castellanos as the Nutcracker Prince.

In all the Norwegian National Ballet’s production of The Nutcracker is an imaginative version of this perennial classic – with choreography that is notable for its simplicity and its clarity.

Pittsburgh Ballet Theatre Presents Fireside Nutcracker

December 18, 2020

By Mark Kappel

Among the major American ballet companies that are presenting productions of The Nutcracker, some are presenting them in livestream performances that are of archival videos and others are presenting a hybrid of archival videos, live performances and/or abridged versions.

The Pittsburgh Ballet Theatre – from December 17-31, 2020 – is presenting what is described as its Fireside Nutcracker which is an abridged version of The Nutcracker employing narration and live performances on location and the empty stage of an auditorium, which are edited into a film. All aspects of this version of The Nutcracker are linked by the narrative story which is imparted with eloquence and alacrity – and an appropriate German accent -- by Brett Sullivan Santry as he reads the story in a comfy chair by a fire place. This enterprise has been overseen by the Pittsburgh Ballet Theatre’s new artistic director, Susan Jaffe.

The Pittsburgh Ballet Theatre’s current production of The Nutcracker was staged by its previous artistic director, Terry Orr, and was given its world premiere in 2002. In this version the traditional story of The Nutcracker is told except for the slight change in plot as details of Drosselmeyer’s background are intricately interwoven into the plot of the ballet. In the past Drosselmeyer was involved in a misstep and a Mouse Queen cursed his nephew upon her death which was to disfigure his nephew’s face. The only method of removing the curse is if a young maiden falls in love with him which is a variation on Beauty and the Beast – and The Phantom of the Opera – as the nephew wears a mask to prevent his disfigurement from being seen. Also Drosselmeyer is not only a watch maker but he is also magician which is where the magic comes in.

The production’s Act I remains the traditional Christmas Eve celebration in the Stahlbaum’s house, followed by the depiction of the battle between the Nutcracker Prince and the Rat King, then the Winter Fairy guides Marie and the Nutcracker as they travel on to the Snow Scene after which the Snow King and Snow Queen chaperone Marie to Act II’s Land of the Sweets. Act II includes the Spanish, Russian and Arabian Dances, the Waltz of the Flowers, and the Grand Pas de Deux for the Sugar Plum Fairy and her Cavalier – and then Marie awakening to realize that it was all a dream. But to his surprise Drosselmeyer’s nephew realizes that the Mouse Queen’s curse has been lifted and his disfigurement has vanished.

What is unique about this production are the historical markers placed within the ballet including the presence of the influential families in Pittsburgh – the Kauffman and Heinz Families – as guests that have been invited to the Act I Stahlbaum Christmas Eve Party, and two of the children wearing the Carnegie Family tartan kilts.

Dancing the roles of Marie and Drosselmeyer’s Nephew were Diana Yohe and Joseph Parr with standout performances by Gabrielle Thurlow and William Moore as the Snow Queen and Snow King, and Jessica McCann as the Sugar Plum Fairy, and Yoshiaki Nakano as her Cavalier elegantly dancing the Act II Grand Pas de Deux -- Steven Annegarn exhibiting his charm and magic as Drosselmeyer.

The film approach that the Pittsburgh Ballet Theatre has chosen to present its production of The Nutcracker combines ingenuity and practicality, and makes for an appropriate holiday entertainment.

Boston Ballet Presents The Gift

December 17, 2020

By Mark Kappel

For its second livestream of the current season, the Boston Ballet is presenting a unique and ambitious program. With the overall title of The Gift this program includes the world premiere of Nutcracker Suite with sections created by seven Boston Ballet dancers choreographing to the Duke Ellington and Billy Strayhorn jazz arrangement of Tchaikovsky’s The Nutcracker score – and opening the program with the traditional Grand Pas de Deux from Mikko Nissinen’s production of The Nutcracker. The presentation is a unique example of collaboration.

Mikko Nissinen’s production of The Nutcracker had its Boston Ballet premiere in 2012 with new designs by Robert Perdziola. Performed live on film with piano accompaniment was the Act II Grand Pas de Deux – here danced by Viktorina Kapitonova and Tigran Mkrtchyan, with elegance – appropriate for this moment in time.

Nutcracker Suite is an interpretation of Tchaikovsky’s score for The Nutcracker arranged by Ellington and Billy Strayhorn. Their jazz gloss over Tchaikovsky’s music has been used for dance interpretations in the past since the music was premiered in 1960.

However in this version seven of Boston Ballet’s dancers provided choreography for each section: Chyrstyn Fentroy (Overture), Gabriel Lorena (Toot Toot Tootie Toot – Dance of the Reed Flutes), Haley Schwan (Peanut Brittle Brigade – March), Paul Craig (Sugar Rum Cherry – Dance of the Sugar Plum Fairy), My’Kal Stromile (Entr’acte), John Lam (The Volga Vouty – Russian Dance), Arianna Hughlett (Chinoiserie – Chinese Dance) and in the Arabesque Cookie (Arabian Dance), some of these dancers have choreographed sections for their colleague dancers. To end Nutcracker Suite, all seven choreographers contribute to the Dance of The Floreadores (Waltz of the Flowers) for the entire cast of dancers.

The choreographers’ contributions are distinct in style from jazz to classical ballet to modern dance – to a little bit of Bob Fosse. But overall it is a collaborative effort – with the Boston Ballet’s dancers providing spirited dancing to the spirited choreography and music. And then there is the illusion to William Forsythe’s In The Middle, Somewhat Elevated with a gift box suspended in mid-air over the stage space.

All of the dancers dance with masks on and have been rehearsed with safety guidelines in mind – and Ernesto Galan deserves much credit for the editing of the video sections that are included in The Gift.

This is a very different dance presentation – and the one hour running time of the Boston Ballet’s livestream grabs an audience’s attention in the midst of the holiday season.

Estella Scrooge – A Christmas Carol With A Twist

December 15, 2020

By Mark Kappel

Livestream and digital platforms have evolved into becoming the most utilized outlet for the development of new work – theatre, dance, and music – and currently available on livestream access is a new musical, Estella Scrooge – A Christmas With A Twist which combines theatre, and state of the art film and animation.

Estella Scrooge’s composer and lyricist, Paul Gordon has established his musical credits in adapting classic novels to the musical stage, and here collaborates on the book based on a story by Gordon, John Caird, and Sam Caird – and is also directed by – John Caird. Also a stellar cast’s performances were captured and filmed individually, one day at a time, one scene at a time and one acter at a time -- in keeping with socially distancing guidelines.

Estella Scrooge is a modern fable based on Charles Dickens’ famous 1843 novel, A Christmas Carol, which also incorporates characters and plot lines from other Dickens’ novels -- Great Expectations, Little Dorrit, and Bleak House.

Estella Scrooge (Betsy Wolfe) is a Wall Street business woman, who is the CEO of Bleak House, a health insurance and investment company. She has climbed the corporate ladder protecting the profit motive and is described as a Barbie with a razor blade smile, and had been inspired by her aunt, Marla Havisham (Carolee Carmello) who has molded Estella to be a weapon to hurt men – and anyone who impedes her success. What is made clear Estella particularly enjoys exploiting people and has a particular joy in authorizing foreclosures.

A hotel owner in her hometown of Pickwick, Ohio has defaulted on his mortgage and Estella wishes to lower the boom on Christmas Eve in person. Estella discovers that she would be victimizing her childhood sweetheart, Pip Nickleby (Clinton Duncan) who has transformed the property into a refuge for the sick and homeless. A snowstorm forces her to take refuge at this hotel – and experiencing what her ancestor Ebenezer did, she is visited by ghosts and characters from the past – and many of them from Dickens’ other celebrated novels. An alternative intervention for our modern and pandemic times.

Estella is installed in Harthouse’s Honeymoon Suite, which is believed by Harthouse’s residents to be haunted. Estella is introduced to an entourage of spirits by the ghost of Marla Havisham and Her Demonettes, with the Spirit of Christmas Past, Sissy Jupe (Sarah Litzsinger), the Spirit of Christmas Present, Ebenezer Scrooge (Danny Burstein), and the Spirit of Christmas Yet To Come, Mr. Merdle (Patrick Page). With the help of these spirits and the group of misfits that are residents of Harthouse Estella Scrooge sees the light.

What is most important is that Estella Scrooge is a highly entertaining musical with a tuneful and memorable score and performed by an excellent cast which would be difficult to single out for their individual performances. Also one of the stars is the clever technology that sets the stage for the absorbing story-telling in this musical.

Estella Scrooge is a wonderful alternative to the many Christmas television movies – with a lot more heart and far more entertaining.

The Richmond Ballet’s The Nutcracker

December 14, 2020

By Mark Kappel

The Richmond Ballet is another one of the major American ballet companies that are presenting their productions of The Nutcracker on livestream/digital platforms. This presentation gives the Richmond Ballet a greater visibility considering that its touring engagements are few and far between. The Richmond Ballet’s fortunes changed when in 1984 the company was transformed into a professional ballet company, and is currently directed by Stoner Winslett.

The Richmond Ballet’s production of The Nutcracker was conceived by Stoner Winslett – and its designer Charles Caldwell, with artistic direction and choreography by Winslett. This presentation is from a live performance from last year and is enhanced with interesting features on how this production of The Nutcracker reaches the stage.

This production includes the traditional Act I Christmas Eve Party at the Silberhaus home where family friend Dr. Drosselmeyer, accompanied by his nephew at the party, presents Clara with a Nutcracker doll. Upon falling asleep on the living room sofa, Clara dreams about the Nutcracker defending her against the army of mice led by the Mouse King. The scene is transformed as Clara and the Nutcracker Prince are taken to the Snow Scene and the Sugar Plum Fairy’s Kingdom.

It is in this Kingdom that the Sugar Plum Fairy dances the famous Sugar Plum Fairy variation which includes the participation of four student dancers – and following are the familiar national dances – with the exceptional Bear leading the Russian Dance.

However the ballet ends in an apotheosis in which Clara awakes from her slumber – realizing that her adventures were part of a wishful and intriguing dream.

Throughout the production Charles Caldwell has included magical transitions from one scene to another which adds to this polished performance of The Nutcracker ballet.

Matthew Frain’s Dr. Drosselmeyer is a bit younger version of this character than seen in other productions but nevertheless is the character that brings this story to life.

Also notable are Kyla Williams as Clara, Carter Bush as Drosselmeyer’s Nephew, Abi Goldstein and Mate Szentes as the Snow Queen and Snow King, and Cody Beaton as the Sugar Plum Fairy, and Fernando Sabino as the Sugar Plum Fairy’s Cavalier.

In viewing the Richmond Ballet’s The Nutcracker one will be able to experience a traditional production of the ballet as well as enjoy the feature videos that explains all of the chaos that is inherent in putting on a production of this magnitude.

Ballet Arizona’s The Nutcracker Suite

December 12, 2020

By Mark Kappel

For those of you who are missing performances of The Nutcracker this holiday season, there are productions of The Nutcrackers being presented on livestream and digital platforms – opportunities to binge on The Nutcracker and to see productions of The Nutcracker one would not usually have the possibility to view.

Ballet Arizona is currently presenting artistic director Ib Andersen’s The Nutcracker Suite, excerpting the ballet and representing the well-known ballet’s essence. Company principal dancer, Jillian Barrell is on hand as a narrator who relates the story of the Stahlbaum Family’s Christmas Eve Party during which Drosselmeyer presents Clara with a Nutcracker -- who comes to her defense when she is attacked by an army of mice led by the Mouse King – and the Nutcracker is transformed into a young prince who accompanies her to the Land of the Sugar Plum Fairy.

It is from there that Ballet Arizona’s dancers take over beginning with the Snow Scene led by the Snow Queen (Rochelle Anvik) and Snow King (Ethan Price) and there are the notable divertissements from Act II of this ballet including the national dances, the Waltz of the Flowers, and the Grand Pas de Deux danced by the Sugar Plum Fairy (Tiffany Chatfield) and her Cavalier (Luis Corrales).

As the dancers perform with masks on one is very much aware that they danced live to be filmed on the stage of the Dorrance Theatre in Phoenix, Arizona -- and even with those masks on one feels their joy in dancing again – dancing Andersen’s choreography which is styled in the classical vocabulary, a bit of Balanchine, and also a bit of Vassily Vainonen.

There is much to be admired here in the valiant efforts exemplified here by Ballet Arizona’s artistic team, management and dancers to bring us this much needed entertainment during this difficult time.

Pennsylvania Ballet – The Nutcracker

December 9, 2020

By Mark Kappel

The benefit of American ballet companies turning to livestream and digital platforms to present performances has made it possible for balletomanes all over the world to view performances of the annual productions of The Nutcracker that are danced by ballet companies throughout the United States. In the recent past the only pathway to viewing all of these productions would be to travel from one city to another during the month of December which would be an expensive and time-consuming luxury.

The Pennsylvania Ballet is one of the companies that is presenting its production of The Nutcracker in a digital format– an archival performance dating back to last year. These viewings will be from December 16-25, 2020.
The Pennsylvania Ballet has been dancing The Nutcracker since 1968 – George Balanchine’s production of The Nutcracker with choreographic additions and revisions in Act I by many choreographers – and it was 1987 that the Pennsylvania Ballet began performing all of George Balanchine’s choreography for its production of The Nutcracker with new costume designs by Judanna Lynn, and scenery designs by Peter Horne. The staging itself is a duplicate of the staging that is currently performed by the New York City Ballet – and is definitely reverential.

My experience with Balanchine’s The Nutcracker has been limited to the New York City Ballet’s performances of this version – but not so this year – and the Pennsylvania Ballet’s performance of this unique production of The Nutcracker reflects how Balanchine’s choreography has now been absorbed into the artistic DNA of dancers all over the world.

Balanchine’s production of The Nutcracker is hybrid of new and traditional choreography, and Balanchine also has moved well-known variations and dances to different parts of the ballet – and has also moved music and added music. The only added piece of music that is significant is a piece of music that Tchaikovsky composed for another one of his ballet scores, The Sleeping Beauty, which in Balanchine’s production is used as underscoring for a scenery change. Also the Act II Grand Pas de Deux only consists of the adagio and the coda – the Sugar Plum Fairy variation from the Grand Pas de Deux is danced earlier in Act II, and there is no male variation for the Sugar Plum Fairy’s Cavalier.

However the story is presented in a traditional manner from the Act I Christmas Party hosted by the Stahlbaum Family to the Battle of the Mice, the Snow Scene, and then on to the Land of the Sweets.

Herr Drosselmeier remains a focal point in this production as he still brings the magic and gifts – particularly the gift of the nutcracker to Marie – to the Act I Christmas Party and he also escorts Marie to the Land of the Sweets. Also included in Act II is the charming mime section for the Little Prince as he interprets, mimes, and dances in retelling his exploits of defending Marie in the battle against the mice and the Mouse King – ultimately leading to the Mouse King’s demise.

Balanchine’s choreography presents technical challenges for the dancers and in this performance the Pennsylvania Ballet met those challenges from the principal dancers to the soloists to the corps de ballet and the student dancers.

Lillian DiPiazza was commanding as the Sugar Plum Fairy with Sterling Baca displaying the courtly decorum of the Sugar Plum Fairy’s Cavalier. Also Mayara Pineiro danced the role of the Dewdrop meeting the challenges of the choreography in an effortless manner as she led Act II’s Waltz of the Flowers – and then there was Jermel Johnson showing off his virtuosity as the soloist in the Act II Candy Cane divertissement. Charles Askegard brought mystery and charm in his interpretation of the role of Herr Drosselmeier.

Also charming were Audrey Tovar as Marie and Rowan Duffy as Fritz who are transformed into the Little Princess and the Little Prince in The Nutcracker’s second act.

The Pennsylvania Ballet’s digital presentation of George Balanchine’s The Nutcracker is a unique opportunity to experience what the Pennsylvania Ballet’s audiences in Philadelphia already recognize -- that the Pennsylvania Ballet has made Balanchine’s production of The Nutcracker its own.

Stuttgart Ballet Presents Angels and Demons

November 28, 2020

By Mark Kappel

Although performances of the Stuttgart Ballet have been disrupted by off and on lockdowns caused by COVID-19, the Stuttgart Ballet presented a livestream of a live performance of a triple bill of ballets on November 28, 2020 – under the title of Angels and Demons – two of those dance pieces being company premieres.

The two opening pieces were paired to some degree as both of them were choreographed by Jiri Kylian – and both having had their world premieres by the Netherlands Dance Theatre. Falling Angels, choreographed to music by Steve Reich, was given its company premiere by the Stuttgart Ballet in 2017. It is danced by an ensemble of female dancers who are put through their paces in what could not be purely defined as modern dance but certainly influenced by it. The athletic, ritualistic, and repetitive movement is organic with the opening minutes positioning the dancers in lighted square spaces – all socially distanced. Falling Angels ultimately closes with a climactic moment.

Also an ensemble piece, and here presented as a company premiere, was Petit Mort, which opens with the male cast members brandishing swords which become one of the props of choice as the swords are manipulated, and tossed – symbols of war and conflict. In the piece’s choreography there is the contrast of femininity and glamour reflected by the female dancers – but in the group dances and the handful of duets, the conflict is what is reflected – and this is all effectively accomplished even being choreographed to music by Mozart.

The closing dance work on the program was a piece in contrast as it had a story to be told as surreal as it was. Although a company premiere for the Stuttgart Ballet at this performance, it was the oldest of the works on this triple bill program having been given its world premiere in 1946.

Roland Petit’s Le Jeune Homme et la Mort, depicts a young Bohemian man evaluating his current life and what was before him. He has a mysterious visitor who later reveals herself to be a death figure and she leads the young man to suicide and death. This story by Jean Cocteau is both surreal and absurd, and Petit’s theatrical choreography plus the scenography, and Bach’s mournful Passacaglia and Fugue, creates the mood of this forbidding fable.

Petit was masterful in creating these theatre dance pieces which are enhanced by their emotional grip provided by the acting and dancing performances of the cast members. Ciro Ernesto Mansilla as the Young Man, and Hyo-Jung Kang as Death brought the necessary in-depth interpretation to the characters in this piece – which is typical of the dancers of the Stuttgart Ballet.

Angels and Demons is not the typical livestream performance that Stuttgart Ballet has presented in the last few months, and it is notable for a hugely successful combination of master choreographers with their works danced by excellent and expressive dancers.

National Theatre Presents Death of England: Delroy

November 27, 2020

By Mark Kappel

Somehow there was a sense of irony that the latest National Theatre offering’s performances were disrupted by a COVID-19 lockdown after being open for only two weeks – but fortunate that the play being presented, Death of England: Delroy, was livestreamed on November 27, 2020 and there are plans for the National Theatre to present more performances of this play in London next year.

Death of England: Delroy, written by Clint Dyer and Roy Williams, is a one-actor play about Delroy – as a sequel to an earlier play in which Delroy is only mentioned as a friend of the leading character, Michael, a white British bloke, who is experiencing how England is spiraling out of control.

Delroy was raised by his Jamaican-born mother who is a caregiver attendant. As he drinks beer – he tells the stories of meeting his girlfriend, Carly (the sister of his best friend, Michael), the path to being upwardly mobile and an unapologetically capitalist in his career as a bailiff – bragging that he even has the responsibility of paying a mortgage -- becoming unemployed, and how he spends his daily life one beer at a time. He is pro-Brexit and has questioned the motives of Black Lives Matter.

He is just a bloke but a black working class bloke. Even though Delroy has experienced racial profiling since he was 15 years old and identifies himself as British, a recent experience changes his political views.

That political transformation occurs when he is arrested on his way to the hospital where Carly is going into labor. His life implodes as he experiences being a victim of the police, and going through the enigmas of the British court system. A story set against the landscape of the killing of George Floyd and the COVID-19 crisis.

Michael Balogen as Delroy reveals his emotions and frustrations – in a one-way chat with the audience -- as this situation seems to repeat itself over and over again without a solution and resolution describing what he calls English amnesia. In his story-telling Balogen commands the stage space and reveals himself totally – it is a virtuoso performance that fortunately is archived on film.

Clint Dyer and Roy Williams wrote this play in just six months and it is a play of the moment – and is universal -- and has its resonance not only in Balogen’s performance but also by how Dyer has directed the play.

If time and opportunity allows, one has only about 24 hours to experience this compelling play – and Michael Balogen’s equally compelling performance – on the National Theatre’s Youtube platform.

ABT Today: The Future Stars Now

November 23, 2020

By Mark Kappel

American Ballet Theatre has come in a bit late to the current trend of producing and presenting livestream performances which because of the spread of the corona virus has now become an important platform for arts organizations to have visibility during this crisis.

Therefore when on November 23, 2020, American Ballet Theatre presented a digital program entitled, ABT Today: The Future Stars Now, it was a most welcome addition to what has become the norm of livestream performances.

ABT Today: The Future Stars, hosted by Tamron Hall, included four filmed pieces created by four different choreographers, one of whom has worked with American Ballet Theatre in the past, and others that were having their first works performed by American Ballet Theatre – and it also served to highlight American Ballet Theatre’s outreach programs, its ballet school, with cameo appearances by company members, staff members, and teachers. There were also highlights of an upcoming livestream program featuring the ABT Studio Company.

Gemma Bond, a former member of American Ballet Theatre, has collaborated with American Ballet Theatre in the past, and for this digital presentation she created a new work entitled Convivium, which was choreographed to John Harbison’s Variations for Clarinet, Violin, and Piano. This piece for four dancers (Breanne Granlund, Katherine Williams, Thomas Forster, and Carlos Gonzalez) was filmed at the Silver Bay YMCA Conference Family Retreat Center in Silver Bay, New York and was Bond’s second work for American Ballet Theatre. Bond’s piece was introspective employing a contemporary ballet vocabulary – and was filmed in black and white which added to the gravity of this piece which reflected how the plague that is effecting people in the arts.

Christopher Rudd, creating his first work for American Ballet Theatre, choreographed Touché, a duet for Calvin Royal III and Joao Menegussi, choreographed to Que Te Mate el Desierto by Woodkid, and Giuseppe Tornatore Suite by Ennio Morricone. This piece was also filmed in Silver Bay, New York. As he stated Touché was his choreographic statement confirming the normalization of gay couples – and with the use of modern dance and snapshot images, and a sculptural duet at the end of Touché, Rudd ended the piece with a kiss, and expressed humanity and empathy.

Pam Tanowitz and Jeremy Jacob collaborated on David, a work influenced by Godard’s Contempt, which was danced by David Hallberg. Choreographed to music by Lawrence Baldwin and Luigi Boccherini. The choreography for this filmed solo is representative of Tanowitz’s influences from Merce Cunningham with the random inclusion of classical ballet vocabulary. Filmed on the grounds of the Philip Johnson Glass House in New Canaan, Connecticut, Tanowitz used the concrete foundations Hallberg to support the dance positions and images required, and created a quiet and contemplative dance piece.

Providing some balance in terms of mood was Darrell Grand Moultrie’s first work for American Ballet Theatre, Indestructible Light, which was created and filmed at P.S. 21 in Chatham, New York. As a celebration of American Jazz music, Moultrie created his work to songs composed by Duke Ellington, Count Basie, Neal Hefti, and Billy Strayhorn, providing a musical contrast to the other works in this livestream program. The choreography, which was a mashup of jazz movement and classical vocabulary, was aimed at entertaining the viewing audience – and projected a feeling of optimism which is definitely needed in these difficult times.

Indestructible Light was danced by Anabel Katsnelson, Erica Lall, Betsy McBride, Jacob Clerico, Melvin Lawovi, and Duncan McIlwaine with elan, exuberance, and a spirit – which also reflected that their need to dance was just as important as it was for the audience to see dance in performance.

ABT Today: The Future Starts Now proved to be a showcase for the talented young and mature artists in the company’s ranks – and also a bold artistic statement to say that American Ballet Theatre is relevant even though the company is not currently giving public in-person performances.

Sarasota Ballet’s Digital Program II

November 20, 2020

By Mark Kappel

The Sarasota Ballet celebrated the work of Frederick Ashton in its Digital Program I, and for its Digital Program II, which premiered on November 20, 2020, the Sarasota Ballet is celebrating the work of one of Ashton’s contemporaries, George Balanchine.

Only one of the pieces presented on this program was performed in its entirety, and all of the pieces were choreographed by Balanchine for the New York City Ballet representing a wide range of his work.

The first two pieces on the program have strong influences from Auguste Bournonville – notable for the fact that Balanchine had been a balletmaster for the Royal Danish Ballet.

The program opened with Tarantella, a high-speed, high-energy, virtuoso duet which had particular allusions to Bournonville’s ballet, Napoli. With tambourine in hand, the two dancers compete for the audience’s attention with the short blasts of dancing, frequently playing to the audience, and were danced by Kate Honea and Yuki Nonaka with the combination of elegance, swagger, and over the top spirit.

Equally inspired by Bournonville was the ballet Donizetti Variations, and in this livestream the exuberant Pas de Deux was danced by Katelyn May and Yuri Marques which was danced with technical proficiency – and I find that Donizetti Variations is one of those Balanchine works that isn’t as often as danced by ballet companies as it should be. It is a neglected gem.

In tune with Balanchine’s more modernist period, presented were the three opening themes from The Four Temperaments, which was choreographed to commissioned music composed by Paul Hindemith. In these excerpts Balanchine’s angular and linear choreography was performed in an understated manner in the First Theme danced by Ellen Overstreet and Daniel Pratt, the Second Theme danced by Lauren Ostrander and Ivan Spitale, and the Third Theme danced by Janae Korte and Richard House.

In the more popular vein – in terms of the mainstream music that the ballet was choreographed to – was the Second Movement from Western Symphony a reference to the fantasy or dream ballets in movie musicals and choreographed to traditional American western songs. The Second Movement of Western Symphony is the adagio movement of the ballet – danced by Katelyn May and Ricki Bertoni with a bit of tongue and cheek humor.

In that same vein were the excerpts from Who Cares?, Balanchine’s homage to George Gershwin and his music. The New York City Ballet premiered the ballet in 1970, and it was revised and transformed over a period of years.

The excerpts presented here included the ballet’s highlights including The Man I Love romantically danced by Kate Honea and Riccardo Rhodes, Stairway to Paradise danced by Janae Korte, Embraceable You danced by Lauren Ostrander and Richard House, Who Cares? danced by Janae Korte and Ricardo Graziano, Fascinating Rhythm danced by Kate Honea, My One & Only danced by Lauren Ostrander, and Liza danced by Ricardo Rhodes, and Honea, Korte, Ostrander and Rhodes enthusiastically dancing I Got Rhythm.

This program provides a balletomane with an appreciation of Balanchine’s range as a choreographer – and also how entertaining his work can be – and the Sarasota Ballet’s performances of these works reflect different interpretations of them. Such performances are notable examples of how much Balanchine’s style is accessible by ballet companies the world over.

Boston Ballet Dances Forsythe Elements

November 19, 2020

By Mark Kappel

The Boston Ballet’s visits to New York have been rare. But just as other major American ballet companies are presenting themselves in livestream performances as part of their 2020-2021 seasons – the Boston Ballet is making it possible for the company to be seen in specially prepared livestream performances for nation-wide and international audiences.

Directed by Mikko Nissinen since 2001, the Boston Ballet’s repertoire includes the 19th century and 20th century full-length classics as well as the works of many of the significant contemporary choreographers of the day.

The first of the Boston Ballet’s livestream programs was premiered on November 19, 2020 focusing on the Boston Ballet’s partnership with choreographer William Forsythe which was initiated in 2016. An aspect of this partnership has been Forsythe working with the Boston Ballet’s dancers in adapting and/or revising his works to suit the strengths of the company’s dancers which has resulted in the Boston Ballet having unique versions of his works to dance.

This program includes excerpts from many of Forsythe’s signature works and works that are less familiar, as well as a discussion of his choreographic philosophy and how he works with dancers with six of the Boston Ballet’s dancers. Some of the excerpts were specially filmed in Boston Ballet’s studios and others are from the Boston Ballet’s archival videos – and even though these excerpts are seen in short clips, they exemplify how Forsythe has pushed dancers to their limits – mixing classical ballet with modern and post-modern dance – and refashioning roles for individual dancers. Also this survey of Forsythe’s work owes much to the camera work, and video editing work of Ernesto Galan.

The program opens with the “Impossible” ensemble section from Playlist (EP) filmed in Boston Ballet’s studio and closes with additional excerpts from Playlist (EP) – “Surely Shorty”, “Vegas”, “Sha La La Means I Love You”, and “This Will Be (An Everlasting Love)” – as captured in an archival performance video. In this piece Forsythe interprets pop music of the recent past.

Pas/Parts 2018 is also presented in two separate excerpt sections with a section of the piece captured in Boston Ballet’s studio danced by Maria Alvarez, Lia Cirio, Irlan Silva and Paul Craig, and then in further excerpts of an ensemble dance, two duets (danced separately by Emily Entingh and Lasha Khozashvili, and a second duet danced by Ji Young Chae and Seo Hye Han), a trio (danced by Isaac Akiba, Misa Kuranaga, and John Lam), and a solo danced by Isaac Akiba.

Created for the National Ballet of Canada in 1991 and given its company premiere by the Boston Ballet in 2011, the Boston Ballet danced The Second Detail during its most recent New York engagement. With music by Forsythe’s frequent collaborator, Thom Willems, this is Forsythe in what is the most familiar ground – with the excerpts being one of the work’s ensemble dances in which dancers are moved around as if on a chess board.

In contrast was the excerpt from Artifact 2017 which combines theatre, the spoken word and dance and in this excerpt the dancers are congregated on stage in two groups clapping as they underscore the spoken word. At least in this section of Artifact 2017 Forsythe exposes his whimsical side.

What followed were excerpts from two of Forsythe’s creations for the Paris Opera Ballet. First Blake Works I choreographed to the music of James Blake, instilled with Forsythe’s improvisational approach to choreography and given its company premiere by the Boston Ballet in 2019. Most notable for their performances in Blake Works I were Chrystyn Fentroy and Roddy Doble in “The Colour In Anything” and Lia Cirio and Patric Palkens in “F.O.R.E.V.E.R.”

Perhaps most distinctive is In The Middle, Somewhat Elevated, a familiar Forsythe signature work given its company premiere by the Boston Ballet in 2002, choreographed to music by Thom Willems in collaboration with Lesley Stuck, and in the short excerpts were solos danced by Chyrstyn Fentroy and Irlan Silva, and a duet danced by Patrick Yocum and Lia Cirio.

The added chat with Forsythe and six Boston Ballet dancers from all ranks of the company is revealing in terms of how Forsythe communicates to the dancers he works with – and also how he accommodates them as well.

The Boston Ballet’s Forsythe Elements allows one to observe Forsythe’s world and his creative process, and also to reflect on Mikko Nissinen’s artistic vision for the company which has established a creative collaboration such as this.

Royal Danish Ballet’s Cinderella

November 18, 2020

By Mark Kappel

Due to a COVID--19 lockdown in Denmark, the Royal Danish Ballet has cancelled live performances but is substituting a livestream of Gregory Dean’s production of Cinderella which was performed by the company in September of this year.

Cinderella has become a staple of ballet companies’ repertoires and some productions have been understated while others have included revised librettos which infuse psychological aspects of the Cinderella story – it is a story that is universal and seems to have its roots in most cultures.

Gregory Dean’s version of Cinderella is a version with reverence – choreographing to Sergei Prokofiev’s well-known score and following a traditional libretto. In Act I there are references to Cinderella’s anxieties about her sadly missed father, the stepsisters are played by female dancers, and also in Act I’s dancing lesson, Dean provides a choreographic homage to Bournonville’s Le Conservatoire.

In Act III Cinderella forgives her stepmother and her stepsisters for their behavior – a gracious Princess.

Dean’s choreography is classical, traditional, and neoclassical, and the choreography only gives the outline of the principal characters. With the Royal Danish Ballet’s tradition of mime and acting, Dean leaves it to the company’s dancers to flesh out the characters. Also enhancing this production are the costume and scenery designs by Jon Morrell which are opulent and decorative, but yet are also simple and not overwhelming.

In this performance Dean dances the role of the Prince in an elegant manner, and Ida Praetorius dances and plays the title role with clarity and humility. Also notable were Camilla Ruelykke Holst and Wilma Giglio as the Stepsisters, Astrid Elbo as the Good Fairy, and Christina Michanek as the Evil Stepmother.

This livestream of the Royal Danish Ballet’s Cinderella was a welcome surprise during a time when we all need an uplifting experience.

Teatro Colon’s Presents Coppelia

November 2, 2020

By Mark Kappel

Fortunately the Teatro Colon is continuing its presentations of ballet livestreams and the latest one is that of the 19th century comic classic, Coppelia which was seen on November 2, 2020.

Choosing productions of the 19th century repertoire is an art form as a curator – pick the best production, most appropriate for the company, and also what will be enjoyable for an audience to experience. In its series of livestreams that art form has been practiced not only in the choice of productions of the 19th century classics but also in full-length ballets created during the 20th century. Teatro Colon’s director Paloma Herrera has been masterful in choosing repertoire for the Teatro Colon.

The Teatro Colon’s production of Coppelia is performed in a staging by former American Ballet Theatre balletmaster, Enrique Martinez, who staged Coppelia for that very company in 1968. His production was replaced – and I think missed – although there have been a few ballet companies that did acquire Martinez’s production. Here lovingly staged by Dalal Achcar, you can see why this production of Coppelia is unique in possessing all of the elements that explain why the ballet has endured and has been enjoyed by audiences.

Choreographed by Arthur Saint-Leon, Coppelia was premiered by the Paris Opera Ballet in 1870 during France’s participation in the Franco-Prussian War which necessitated many of the Paris Opera Ballet’s male dancers to be drafted in the French Army – and therefore one of the principal roles, Franz, was first danced by a female dancer. The story for Coppelia, was inspired by a tale written by E.T.A. Hoffmann about a mechanical doll that comes to life. This was a time when prototypes of robots were being exhibited in world fairs in Europe’s capital cities – and then there was Mary Shelley’s Frankenstein depicting a scientist who brings a human being back to life.

However the libretto of the ballet focuses on the lovers, Swanhilda and Franz, who play a horrible trick on Dr. Coppelius, as Swanhilda impersonates his mechanical doll, Coppelia, bringing the doll to life and creating a bit of chaos in Dr. Coppelius’s workshop. And this was all brought on by Franz’s flirtation with the Coppelia doll with whom he became infatuated with from afar, which was sitting on the balcony of Dr. Coppelius’ house – but in this comic ballet with a lilting score by Leo Delibes, all ends well.

Martinez’ production of Coppelia has charm and with its traditional staging it also has authenticity. In Act I Martinez established the feeling of community, and with that exuberance, and the music played as well as it was, you have a joyous production of this classic ballet.

In this livestream performance of Coppelia the mischievous Swanhilda was brought to life by Macarena Gimenez with youthful innocence and technique to spare in executing the choreography, and Juan Pablo Ledo was the besotted and happy-go-lucky Franz. Julian Galvan gave an empathetic and sympathetic performance as Dr. Coppelius as he displayed Dr. Coppelius’s pain – but then turning around to forgive all.

The mime was performed with conviction, and the ensemble danced the mazurka and czardas with spirit, gusto, and sparkle.

This is a production of Coppelia well worth experiencing.

Irish Repertory Theatre Presents A Touch of The Poet

October 29, 2020

By Mark Kappel

The Irish Repertory Theatre’s 2019-20 season was interrupted by the required lockdown in March of this year, and had triumphantly moved forward with an online series of presentations throughout the spring and summer. As these unforeseen circumstances continue, the Irish Repertory Theatre, directed by Charlotte Moore and Ciaran O’Reilly, is still actively involved in producing online performances.

From October 27-November 1, 2020 the Irish Repertory Theatre is presenting its unique online revival of Eugene O’Neill’s A Touch of The Poet, a rarely seen O’Neill gem. This revival had been scheduled as the Irish Repertory Theatre’s spring season offering and the Irish Repertory Theatre has transformed this revival into a special and virtual production under the expert directorial hand of Ciaran O’Reilly.

For this production the actors’ performances have been recorded in different locations and merged together by video editor Sarah Nichols with a scenic backdrop designed by Charlie Corcoran and costumes designed by Alejo Vietti.

The plot of A Touch of The Poet unfolds in the space of one day, July 27, 1828 – an integral date that is the ghost of this play’s plot as it is the date of a particular battle during the Napoleonic Wars. A Touch of The Poet focuses on tavern owner, military major, and former aristocrat, Cornelius Melody (played by Robert Cuccioli), an Irish immigrant who has earned notoriety for being a war hero.

With the Melody Family now fallen on hard times, Melody’s wife, Nora (played by Kate Forbes) – loyal to her philandering husband – demeans herself on a daily basis attending to Melody’s personal needs, working extraordinary hours to keep the tavern running in spite of minimal financial return, and is often sent off to seek financial relief for the family – his daughter Sara (played by Belle Aykroyd) is unhappy with the status of her family and doesn’t approve of Melody’s machinations, tendency towards manipulation, or his notion of celebrity.

In the meantime Sara is trying to climb up the social ladder with an advantageous marriage which is foiled by Melody’s making advances towards the potential husband’s mother. This latter event proves to be pivotal in not improving the family’s fortunes, and lies told within the family are exposed – with Melody emerging as a flawed Shakespearean character.

O’Neill was never a playwright who wrote concisely or expeditiously, and one has to follow O’Neill’s lead as the plot of his plays are revealed – as the characters reveal themselves in the same manner. A Touch of The Poet deals with themes that are also exposed in other of O’Neill’s plays – love and pride, in particular. However A Touch of The Poet is a play of the moment as it is set in the time of anticipating a Presidential Election, a family in turmoil, lies and secrets, financial sacrifices and failures – and those who seek celebrity status.

Fortunately the Irish Repertory Theatre has found a path in realizing this play with an amazing use of technology which comes close to recreating the intimacy of a stage performance in spite of the fact that the actors have been isolated and gave their performances in different locations – and were edited together for this online performance.

The result is a more than satisfying theatrical experience without distractions, with immediacy, being true to the playwright’s vision, and wonderful performances by all of the cast members.

Sarasota Ballet’s Digital Program I

October 24, 2020

By Mark Kappel

At this time there is a worldwide challenge in terms of being able to see live performances by ballet companies. Although many ballet companies in Europe, and in other parts of the world, are emerging from their state of hibernation and are performing again, in the United States there are major hurdles preventing ballet companies from performing.

The Sarasota Ballet, based in Sarasota, Florida, is among a selected few of American ballet companies that have turned to the digital platform to present performances as part of its 2020-2021 season – live performances that have been filmed for this purpose with strict health guidelines, and presenting the performances to a much wider audience than would be possible otherwise.

From October 23-27, 2020 the Sarasota Ballet is presenting its first digital program of the season which is a reflection of the niche in specialized repertoire that the company has been performing since artistic director Iain Webb took over the Sarasota Ballet -- with the assistance of his associate director and his wife, Margaret Barbieri – and that is to celebrate the choreography of the esteemed British choreographer, Frederick Ashton. And this program includes excerpts from larger works, and full performances of more intimate works – some familiar and not so familiar.

The program opens with excerpts from Ashton’s Les Patineurs which is a depiction of a Victorian skating party filled with virtuoso choreography and many moments filled with style and grace. Premiered in 1937, Les Patineurs is a work of its time yet is a throwback to the 19th century. Yuki Nonaka leads the cast as the athletic and high-flying Blue Boy with Lauren Ostrander and Janae Korte as the Red Girls, and Nonaka joining Kate Honea and Katelyn May for the Pas de Trois.

The following two works are performed in full, the first of which is Monotones II danced to music composed by Erik Satie with the choreography inspired by the world’s interest in space travel – a moment of human aspirations in a new world in the 1960’s -- and danced by Ricardo Graziano, Ellen Overstreet, and Ricardo Rhodes with precision – and followed by the expressive Meditation from Thais, danced to the music from Massenet’s opera, danced exotically by Katelyn May and Ricardo Rhodes.

Kate Honea dances the amusing solo, La Chatte Metamorphosee En Femme, danced to music by Offenbach, in which Honea impersonates an impertinent and self-involved cat. On this occasion Ashton provides a bit of parody and self-deprecating humor.

During his career Ashton staged many productions of the 19th century classics and also added his own choreography in these productions when he thought appropriate. These additions were choreographed in a manner to be expertly meshed with Marius Petipa’s classic choreography. One such example is Aurora’s Act II Variation from The Sleeping Beauty, here danced with elegance by Marijana Dominis.

Also notable for Ashton’s signature is an excerpt from his full-length Romeo and Juliet which he staged for the Royal Danish Ballet in 1955– the full-length ballet now rarely danced but had been danced by English National Ballet. The excerpt presented from Romeo and Juliet is the Balcony Scene Pas de Deux for which Ashton created simple and youthful choreography to express the feelings of these young lovers danced with reverence by Ellen Overstreet and Ricardo Graziano.

To end the program is Ashton’s Façade, -- an entertainment with poetry by Edith Sitwell and the music of William Walton – circa 1931. The ballet is a series of dance and theatrical portraits from the time period that Facade was choreographed in. Only excerpts performed here in this digital program but included was the stylized Tango that is the ballet’s final section which was led by Marijana Dominis and Ivan Spitale with suitable tongue in cheek humor.

Iain Webb is also seen as narrator and presenter providing information about each ballet and its history. There is also additional bonus content including video of Anthony Dowell coaching the Sarasota Ballet’s dancers in Ashton’s Thais, and Dowell answering questions asked by the company’s dancers.

Overall the production values of this digital program are well-thought out and concise offering more than just a dance performance.

On The Roof – A Look Inside Fiddler on the Roof in Yiddish

By Mark Kappel

When the revival of Fiddler on the Roof in Yiddish premiered at the Museum of Jewish Heritage in 2018, it was a significant theatrical event. Although Fiddler on the Roof had a long engagement after its Broadway premiere in 1964 -- and Fiddler has been revived on Broadway many times since – but with the exception of the last two Broadway revivals, the revivals were recreations of the original production with Jerome Robbins’ direction and choreography protecting the authenticity this musical’s universal message and appeal – enhanced by the music of Jerry Bock, lyrics by Sheldon Harnick, and Joseph Stein’s brilliant adaptation of Sholem Aleichem’s source material, Tevye and his Daughters. All relating Aleichem’s story which takes place in the Pale of Settlement of Imperial Russia in 1905.

Besides performing Fiddler on the Roof in Yiddish – which employed a translation authored by Shraga Friedman for a production in Israel in 1965 – one of the important ingredients was the insight brought to the production by its director, Joel Grey, a veteran of the Broadway musical stage.

In On the Roof – A Look Inside Fiddler on the Roof in Yiddish by Samantha Hahn, one of the young cast members of this production, published by Vanguard Press, the reader has in her or his own hands a diary of how this remarkable revival came to be, and the creatives who fashioned this unique revival.

The book contains interviews with cast members describing their auditions and how they coped and fit into the new concept of Fiddler as it was evolving. The author of the book, Samantha Hahn, won the role of Beylke, one of Tevye’s younger daughters. The interviews reflect how the family of actors evolved, got closer, and shared the success – together. The process is told in great detail – and it finally came together when the curtain went up.

If you wish to experience how a musical production is rehearsed and prepared, actors finding their characters and directors guiding them through the process, and the mechanics of performing multiple times each week, On The Roof – A Look Inside Fiddler on the Roof in Yiddish by Samantha Hahn is must read – and it is an excellent antidote to the current pandemic!

Mary Coyle Chase – Pulling Harvey Out Of Her Hat

By Mark Kappel

Probably the mere mention of Denver playwright Mary Coyle Chase would not inform one as to who she is and what she is famous for – but she is best known as the author of the stage and screen comedy, Harvey.

Mimi Pockross has written an entertaining and absorbing biography of Mary Coyle Chase, Pulling Harvey Out Of Her Hat – The Amazing Story of Mary Coyle Chase, published by Rowman and Littlefield, which includes details about Chase’s association with Harvey, but also creates and informs a profile of this playwright which is much more than merely being the creator of Harvey.

Harvey is a comedy about the unique relationship of Elwood P. Dowd, challenged by his personal dependance on alcohol, and his imaginary friend, Harvey, who is a 6 foot, one and a half inch rabbit.

Chase received the Pulitzer Prize for Drama in 1945 for Harvey, and wrote 14 plays, 3 screenplays, and two award-winning children’s’ books – major achievements for anyone but also an even notable achievement for a woman at the time – especially for someone whose humble beginnings were with her immigrant Irish parents – being special in many ways and persistent in wanting to fulfil her ambitions.

Born in 1907, the fourth and last child of Frank and Mary McDonough Coyle, Chase was part of a family that settled in Denver -- the city and its life would become the inspiration for Chase’s plays. Because of her upbringing Chase found herself mocking the upper classes in her writing, and fortunately. Denver offered enough theatrical offerings for Chase to become a lifelong fan of the theatre.

Coyle grew up in the 1920’s when women got the vote and the day-to-day assistance of washing machines, refrigerators, and vacuum cleaner, and the rage of silent movies being transitioned to talkies.

She was hired by the Rocky Mountain News -- the beginning of her career in journalism and ultimately met her future husband, a fellow journalist, Robert Chase – and they were married in 1928.

The Federal Theatre Project presented Chase’s Me Third in Denver in 1936, a time when the theatrical community was hard hit by the Great Depression. But this success was another signpost in Chase’s career as she also turned her writing talent in the direction of plays.

In Chase’s career and networking on behalf of her career there was always a Denver or Colorado connection including Antoinette Perry who assisted Chase in getting one of her plays produced on Broadway. That connection and others would assist Chase as she broadened her Broadway career.

It took Chase two years to write “The Pookah” which evolved into Harvey. In that play Elwood P. Dowd is a problem child – embarrassing his sister Veta at society teas and not having any luck in finding a suitable mate – and then there is Dowd’s alcoholism and his imaginary friend Harvey, an oversized rabbit. When Veta seeks psychiatric help for her brother confusion occurs at the sanitarium. The solution is a Formula 977 shot but Veta decides that she loved her brother the way he was – even with all of his eccentricities.

Chase’s networking and persistence made it possible for Harvey to be directed by Antoinette Perry, as was the involvement of Brock Pemberton who had produced Chase’s unsuccessful and first Broadway play. Harvey opened on Broadway in 1944 – becoming an international hit that ran on Broadway for 4-1/2 years and won Chase many accolades and also some financial security for herself and her family. And Harvey was revived on Broadway as recently as 2012 by the Roundabout Theatre Company with Jim Parsons as Dowd.

Chase’s life, thereafter, focused on Harvey forcing her to travel quite a bit and trying to dealt with the problems of her chaotic family life – more income and more problems as well.

The residual and ancillary projects related to Harvey included the film version with the role of Dowd originally offered to Bing Crosby who turned it down. Other leading Hollywood actors who were considered included Cary Grant, Rudy Vallee, Joe E. Brown, Gary Cooper Jack Benny, Jack Haley and James Cagney. But chosen was Jimmy Stewart who had played the role of Dow as a replacement in the Broadway production of Harvey – and who would later appear in Broadway and London revivals of Harvey as well as a television version.

Also inevitable would have been a musical version of Harvey. Rodgers & Hammerstein tried in vain to get Chase to agree to a musical – as well as Leonard Bernstein and Danny Kaye. But Harvey was transformed into a musical with music by Leslie Bricusse which was produced in Toronto in 1981 with Donald O’Connor as Elwood and Patricia Routledge as Veta. This new musical version of Harvey was entitled Say Hello Harvey and after receiving lukewarm reviews in Toronto, Broadway plans were cancelled. Unfortunately after Say Hello Harvey’s closure – Chase returned to Denver and suffered a heart attack and passed away.

In coping with her success Chase developed a problem with alcohol that she managed to combat by creating a demanding daily routine for herself. Three were more plays on Broadway including Mrs. McThing which had been created primarily for children. She also wrote sketch material for television and her plays were adapted for television as well.

Chase coined many definitions of a play, one of them being “A play,” she explained, “begins with an idea, one’s ‘raw material” that the playwright can easily keep twisting.”

In Mimi Pockross’ concise biography of Mary Coyle Chase has rediscovered a playwright of the recent past who deserves recognition and attention.

Teatro Colon – Cinderella

September 28, 2020

By Mark Kappel

The story of Cinderella is universal and in some form it is familiar in every culture. Cinderella has been presented in film, in the theatre, the musical stage, opera – and in ballets – many different versions of the latter – and confirmed its permanent place in the repertoires of ballet companies all over the world since the latter half of the 20th century.

On September 28, 2020 the Teatro Colon in Buenos, Argentina, presented a livestream performance of its production of Cinderella, choreographed to the score by Sergei Prokoviev – by Ben Stevenson – as staged by Dominic Walsh.

The first production of Cinderella, with the Prokofiev score, was danced by the Mariinsky Ballet in 1945 with choreography by Rostislav Zakharov. Significant productions have included those by Frederick Ashton and other choreographers, and in his production Stevenson has used the Ashton blueprint and British music hall traditions in having the Ugly Sisters played by male dancers. And Stevenson’s production has been danced by such major ballet companies as the Houston Ballet, English National Ballet, American Ballet Theatre, and the National Ballet of Canada among others.

Stevenson’s production keeps the magic in the Cinderella story – telling the story with comedic mime when appropriate and courtly politeness when appropriate -- and also giving principal and supporting characters their dimensions in the choreographic sections of the ballet. Stevenson has also used clever stagecraft to create the magical transformations. This is grand ballet and danced in the grand manner.

For the Teatro Colon this production dates back to October 2019 and in this livestream the title role was danced by Macarina Gimenez and the Prince was danced by Maximiliano Iglesias – both of whom were royal in their own manner and danced the choreography impeccably and joyously. Paulo Marcilio and Julian Galvan played the Ugly Sisters with adept comedic skill without playing any of the mime and pratfalls in an over the top manner. Also Jiva Velazquez as the Jester also offered virtuosity in this performance of Cinderella.

Fortunate that the Teatro Colon continues to present in free livestreams the many ballets it has in its video archives.

Eubie Blake – Rags, Rhythm, and Race

By Mark Kappel

Eubie Blake had an accomplished career as a composer, and performer as part of what was a long career.

In their book, Eubie Blake – Rags, Rhythm, Race, Richard Carlin and Ken Bloom proved to be gifted storytellers in putting a spotlight on Blake’s unique and compelling life. A booked filled with details about Blake’s achievements in his profession, and his personal history.

With his life spanning nearly 100 years Blake observed and experienced changes in society – from the original ragtime era – back to a ragtime revival – vaudeville to Broadway to television to films – and as a recording artist in every form of media – piano rolls to streaming audio.

Blake was born in 1887 in Baltimore, Maryland, from poor and humble beginnings. His father was a former slave and his religious mother was an orphan. As a pianist he performed in brothels in Baltimore, and sometimes taking on legitimate engagements such as being a working pianist performing on the white vaudeville stage – and by 1921 – in collaboration with Noble Sissle – Blake authored a surprise hit on Broadway, Shuffle Along, breaking the racial barriers of the day. He is also is the composer of classics songs including “I’m Just Wild About Harry”.

And as often is the case – everything old is new again – and Blake was in fashion, out of fashion, and then back in fashion culminating a notable career until his death in 1983.

The important year in Blake’s story was in 1915 when he met a talented lyricist, Noble Sissle – and then moving to New York in 1916 to pursue his career. The first collaboration by Blake and Sissle was in 1915 “It’s All Your Fault” which was written for Sophie Tucker – and detailed where the efforts of Noble and Sissle to network with the top musicians in New York City during a time period when music was flowering.

It was onward to Blake’s vaudeville period where Blake found himself performing stereotypical songs and performances of them which presented formidable challenges – with the addition of prejudice when it came to the payment of black artists.

The 1920’s was a period of a great economic boom, and social change which enabled blacks to improve their economic status – and also made an impact on New York’s culture. It was in that atmosphere that laid the groundwork for the production and success of Shuffle Along. And in this biography there is a history and the many details of Shuffle Along’s journey to Broadway.

Among the details of Shuffle Along’s journey included Blake’s affair with Shuffle Along’s leading lady, Lottie Gee, and the great names of the past who joined Shuffle Along’s family including Josephine Baker and Bill “Bojangles” Robinson.

However the next Blake and Sissle collaboration, Chocolate Dandies, was not a major success as it was felt that black musicals were not as trendy as they had been – and were losing their appeal. Both Blake and Sissle suffered financial losses after Chocolate Dandies and differences between this successful pair would emerge as Sissle wouldn’t agree to close the show to reduce the losses.

Survivor that he was Blake continued to work during the Great Depression and began a partnership with lyricist Andy Razaf, and also bringing back Shuffle Along with revisions and a new title, Shuffle Along of 1933. It seemed that black theater survived the 1930’s in spite of financial problems, and theatre productions left stranded by agents and producers.

Blake got through the 1930’s and the period after World War II working for the Federal Theatre Project – finding a new lyricist partner in Milton Reddie – worked for the USO and brought Shuffle Along to the stage again to entertain the troops – and after the war there were revivals of Shuffle Along that were not financially successful nor critically well received. Blake also got by with new projects and with renewed interest in his music, he turned his efforts towards recording and concert performances.

And as for racial barriers, Carlin and Bloom stated that “working prejudice to your own ends was no sin to (Eubie) Blake, who realized that his first responsibility was to entertain his paying customers.”

Blake was honored on Broadway in 1978 with the opening of Eubie!, a musical revue that celebrated his music and the lyrics of his collaborators which was conceived and directed by Julianne Boyd with choreography by Billy Wilson and Henry LeTang – and starring among others Gregory and Maurice Hines – which I remembered as a remarkably entertaining theatrical event. Unfortunately it was not a financial success nor was the national tour that followed.

As Blake kept a collection of his contracts, royalty statements and other financial documents Carlin and Bloom had a huge number of primary source materials to allow them to tell Blake’s story. This biography of Eubie Blake is filled with exhaustive detail, a fascinating story – and on a parallel basis also providing a history of the music scene in New York in the early 20th century. With that in mind, Eubie Blake – Rags, Rhythm, and Race is an interesting and absorbing read and also a reference book on the development of the careers and music of black composers and musicians in the 20th century.

Fame – 30th Anniversary UK Tour

September 25, 2020

By Mark Kappel

Based on the livestream performance being presented by the Shows Must Go On series of Fame The Musical, it may live forever – as exemplified by the 30th anniversary UK tour. This is not a musical that has become a classic as it toured the United States and but only found an off-Broadway home for itself in 2003 for a brief run -- but was never seen as a success in this part of the world. However Fame has been performed internationally, in high schools, colleges, and community productions in the United States, and has managed to broaden its audience.

Based on the 1980 film about a group of students and their experiences at New York’s High School of the Performing Arts, it was adapted for the stage by Jose Fernandez (Book), Jacques Levy (Lyrics), and Steve Margoshes (Music) and the only song included from the film is the title song. There is also a new story, characters renamed and transitions between scenes that make more dramatic sense than the touring production of Fame that I had seen in Toronto in 1998. Similarly there is little or no connection with the television series that was adapted from the film version.

The story is set in the 1980’s as the promising, and anxious, new students arrive at the High School of the Performing Arts to begin their journey with the goal of becoming professional performers – but also artists. Driven by task master teachers these students are also making their way through the process of growing up – facing life crises, adjustments, competition, and ultimately comradeship that probably would have taken them through their lives.

In this revival directed and choreographed by Nick Winston, the characters are clarified through the lyrics of the songs they sing, and the actors are all casted in roles based on their strengths as performers.

Two standout performances were given by Mica Paris as one of the High School’s teachers, Miss Sherman, in particular singing “These Are My Children”, and Stephanie Rojas as the sympathetic Carmen, who leaves the High School to pursue a professional career before she is prepared and dies of a drug overdose – her exuberant performance of the title song is one of the highlights of this touring production of Fame.

There are also notable performances by Jorgie Porter as the stuck-up ballerina Iris, Jamal Crawford as the naturally talented Tyrone, Keith Jack as Nick, Mollie McGuire as Serena, and Albey Brookes as the comical Joe Vegas.

Fame is a musical of the time it takes place in and the references to entertainers, clothes, and the arts scene in New York might be puzzling for today’s audiences. But this production is filled with high energy which is aided by Nick Winston’s focused direction and energized choreography.

Curve Leicester – My Beautiful Laundrette

September 10, 2020

By Mark Kappel

The Curve Leicester, in the United Kingdom, is offering free livestream theater performances of plays that have been performed at this theatre in the recent past. These livestreams are of archival videos but exemplify the high quality of theater productions that are presented at the Curve and in the major regional theatres in the United Kingdom.

Catching my attention was the livestream of a stage version of the film, My Beautiful Laundrette, a successful film that premiered in 1985 with a screen play by Hanif Kureishi, who has adapted this stage version. At the time the film premiered the plot mirrored the conflicts between the British and their immigrant counterparts – mostly those who were first generation British with parents emigrating from Middle Eastern and South Asian countries – during the disruptive Margaret Thatcher era. This stage version is just as relevant today as the United Kingdom is still grappling with these same problems decades later.

In My Beautiful Laundrette, British Pakistani, Omar (played by Omar Malik) transforms his uncle’s laundrette into a successful business. This all comes about when Omar’s father seeks to secure Omar’s future by having Omar’s uncle initiate him into the business world. After being harassed by a gang, Omar recognizes a school friend, Johnny (played by Jonny Fines) as a gang member, and their previous friendship allows for the situation to be diffused. Love blooms between Omar and Johnny as they renovate the launderette forming a bond between two people who are as different as they could be.

Although the focus of My Beautiful Laundrette is on the relationship between Omar and Johnny, the play explores the dynamics of Pakistani families, gender equality, and fitting into British life -- adjusting but not adjusting – and also combatting racism – and a world that is changing around them. Family dynamics also play a part as Omar’s father and uncle are pressuring him into marriage – and all seem oblivious to the differences in the new land that they have chosen to live in. Business, business, business – and money – are what is spoken about.

Enhancing this stage play – and the cultural clash – is the music by Tennant/Lowe of the Pet Shop Boys, and the able direction of Nikolai Foster – and the performances of the excellent actors in the two key roles in the play – as well as the performances of the supporting actors.

Besides the link of Kureishi as the screen play writer of the film version of My Beautiful Launderette, another link is Gordon Warnecke, who played the role of Omar in the film – and in this stage version portrays the role of Omar’s father.

Although the story in decades old, this stage version of My Beautiful Laundrette provokes thought in regard to how much progress we have made in regard to solving the many problems that plague our society.

Ballet in the Cold War – A Soviet American Exchange

By Mark Kappel

Ballet in the Cold War by Anne Searcy, published by Oxford University Press, examines the cultural exchanges between the United States and the Soviet Union during the height of the Cold War – in particular examining the Bolshoi Ballet’s American tour in 1959; American Ballet Theatre’s Soviet Tour in 1960; the Bolshoi Ballet’s American Tour in 1962; and the New York City Ballet’s Soviet Tour in 1962 – and as an Epilogue, which mentions cultural interchanges between the United States and Russian in the early part of the 21st century.

Cultural exchanges between the United States and the Soviet Union during the Cold War were propaganda experiments with specific goals. Russian ballet companies’ tours were funded by its government, were set up by private booking agencies (particularly Sol Hurok) and in contrast the tours for American ballet companies in the Soviet Union were set up with the assistance of private artistic intermediaries, American government officials (primarily the State Department), and private citizens in the mix. These tours were aimed to support economic and political efforts from nation to nation but as Searcy states, “to make their mark on this diplomatic, economic, and military chess board”.

Clearly both the Soviet Union and the United States saw the use of exposing the admirable aspects of their cultures abroad as an effective propaganda tool.

Ballet in the Cold War focuses on the spider webs of the cultural and political agreements that made these exchanges possible between the United States and the Soviet Union, the government bureaucracies that were employed to make them possible, and express and represent the cultures of each country on these tours – to win hearts and minds. As in the instance of countries entering into such agreements in the early part of the 21st century, the goal is for these cultural exchanges is bypassing governments and their political and economic points of views – aiming directly at the people of each nation.

The tours during the Cold War also reflected the artistic divergence that occurred in the ballet world in the Soviet Union with changes in the training of the dancers, introducing gymnastic movement in the choreography, and in the Soviet Union the arts were also used domestically for propaganda purposes even to the point of changing the endings of well-known 19th century classics and re-writing history through the plots of newly-commissioned full-length ballets. In contrast in the United States there was a diversity of training, and ballet companies were developing Americana ballets which were created to present American exceptionalism based on its own stories – while also moving in the direction away from narrative ballets to abstract ballets.

In her description of the Bolshoi Ballet’s first American tour in 1959 there is analysis of the choreographic attitudes and persuasions represented in the “new” full-length ballets that were presented. Included in the repertoire were two 19th century classics, Swan Lake, and Giselle, and the two “Soviet ballets”, Romeo and Juliet, and The Stone Flower. Searcy analyzes the librettos of both ballets and in the book are labeled as “drambalets”, and emphasizing that Prokofiev’s music for both ballets were composed for narrative purposes, and included leitmotifs in the score.

Also it appeared that American dance critics did not take to these new “Soviet ballets” and their choreography, and instead focused on the strengths of the dancers.

This first American tour grew into a social and political event with tickets selling well and attracting celebrities as the Bolshoi Ballet offered curiosities and snob appeal – also the human interest stories of the Russian dancers taking in the tourist spots in New York including a performance of Broadway’s West Side Story.

If nothing else the Bolshoi Ballet’s American tour in 1962 did not change the hearts and minds of American dance critics. In particular there was the controversy over including the ballet, Spartacus, as part of its tour repertoire and analyzing the ballet for its propagandist values. But the Bolshoi Ballet sold tickets – these tours were Hamilton-like events and curiosities.

In contrast American Ballet Theatre’s tour of the Soviet Union in 1960 presented how the Soviet government bureaucracy could dictate repertoire, forming a unique triangle of negotiations with Lucia Chase of American Ballet Theatre, the State Department and Russia’s Goskontsert – representing propaganda and artistic politics. Many of the ballets danced during the tour could be described as those that were born of the Americana ballet movement in the United States with the purpose of establishing an American counterpart to the repertoires of Russian ballet companies – creating “classic” ballets employing the music of American composers and American stories – and incorporating vernacular American dance. And as the Bolshoi Ballet performing in the United States, American Ballet Theatre was a novelty in the Soviet Union, an “event” and its tour was greeted with a range of reviews – but also appreciative audiences.

The New York City Ballet’s Soviet tour in 1962 seemed to be interpreted as a major artistic event in which Balanchine came back to the Soviet Union – to re-conquer that part of the world after pursuing his artistic career elsewhere. Critics debated Balanchine’s artistic philosophy and with the exception of Balanchine’s Americana ballet, Western Symphony, the repertoire was dominated by Balanchine’s neo-classic ballets.

In examining the facts and politics behind these tours, there seems to be an over analyzation concerning decisions about the aspects of these tours including repertoire, styles of ballet, and how the dance critics in both parts of the world reported on these performances. This is not to mention the social and historical contexts in which the ballets presented were most important in how much of a shock they may have been on these tours – but not much different as Soviet choreographers had the opportunity to observe the work of Western choreographers during company tours. And also there were the examples of American choreography in American films.

Searcy has made the effort to be exhaustive in her research, but the comparison of apples and oranges, which company was better than another, which choreography was better than another – and the same comparison of the dancers -- can be obscured by the artistic walls that were torn down as a result of these tours.

Teatro Colon – The Nutcracker

August 24, 2020

By Mark Kappel

Rudolf Nureyev first staged his version of The Nutcracker for the Royal Swedish Ballet in 1967 and in 1971 it was restaged for the Teatro Colon in Buenos Aires. This production was frequently seen in New York during Nureyev’s heyday as an international guest artist dancing in his production of The Nutcracker with the Royal Ballet, the Deustsche Oper Berlin, and the Paris Opera Ballet.

Unfortunately Nureyev’s production of The Nutcracker is rarely seen these days and it was opportune for many reasons that the Teatro Colon offered a livestream performance of its own production on August 24, 2020.

As his source material Nureyev drew from Vasily Vainonen’s Mariinsky Ballet production of The Nutcracker and Nureyev’s vision was to focus the story on Clara’s dream – not always a pleasant one which culminates in the sparking Waltz of the Flowers in the Second Act. But as in any small child’s dream, Clara (danced by Macarena Gimenez) associates the many divertissements in the Second Act with her family members making this dream a very personal connection. And distinguishing this production of The Nutcracker from others, it is one dancer who plays the dual roles of Herr Drosselmeyer and the Prince (danced by Maximiliano Iglesias), a dual role that Nureyev created for himself – making himself the hero of his own version of The Nutcracker.

Nureyev does rearrange the scenes in his The Nutcracker with the First Act ending with the Snow Scene, and the Battle Scene appearing in the Second Act before the Spanish, Tea, Marzipan, Russian, Arabian Dances, and Waltz of the Flowers climaxing in a unique version of the Grand Pas de Deux, which is truly a test of the principal dancers as they dance Nureyev’s complicated and decorative choreography.

As the designer of the costumes and scenery, Nicholas Georgiadis enhances Nureyev’s conception with his elaborate and colorful designs.

At a time when in many countries in this world, there won’t be performances of The Nutcracker this year, the Teatro Colon’s livestream of this holiday entertainment is most welcome.

Victorians on Broadway

By Mark Kappel

The Victorian Age in Great Britain was a time of social and economic change as Queen Victoria and her husband, Prince Albert, influenced social morays, and were proponents of scientific endeavors and advancement, yet at the same time, there was more than a bit of hypocrisy in regard to social behavior – and there were the social and economic consequences of the Industrial Age.

In looking back on recent Broadway musicals – at least those in the latter part of the 20th century – it is notable how many of them were based on Victorian novels, stories and memoirs – The King and I, Oliver!, Sweeney Todd, and Jekyll and Hyde – among them.

In Victorians on Broadway by Sharon Aronofsky Weltman – published by the University of Virginia Press – Weltman explores this very question. Was this development a trend and what British literature written between 1837 and 1886 – including those of Charles Dickens, Charlotte Bronte, and Robert Louis Stevenson – were adapted to the musical stage. But foremost was how the Victorian literature was transformed and revised to weed out the prejudices of the Victorians, channel Charles Dickens in their adaptations, and find their feet on the stage with a sense of twentieth century American values.

Examined is how much does the Broadway musical find its roots in its precursor genre – the Victorian melodrama – as well as classic stories – and reflected how the theatre creative teams’ goals were to find a way to tell these stories in an effort to make then more appealing to an audience that had romanticized this time in history – or were simply using these reworks as a marketing tool as most audiences would be familiar with these titles that they had read during their school years.

Among the musicals analyzed was the 1943 musical, One Touch of Venus, based on the Victorian novel, The Tinted Venus, which represented a revaluing of Victorian literature – and in this instance Americanized the plot. In the course of describing One Touch of Venus, its antecedent was analyzed through versions of the source material and using Virginia Woolf’s definition of “middlebrow” as a jumping off point. The point was that One Touch of Venus was looking forward and backward at the same time.

It is Weltman’s contention that during the second half of the 20th century, that the need to affirm Americanisms dissipated and it was easier for Americans to appropriate British culture. An example of this was The King and I – from 1951 – which retained 19th century settings through Victorian prisms to reflect American concerns about imperialism, slavery and religion. In the British musical, Oliver!, which sanitized the antisemitism in the musical’s original source, Charles Dickens’ Oliver Twist, the challenge was to solve the dilemma of how the character of Fagin might be portrayed to make him more palatable to contemporary audiences. Yet the subplot of Nancy being battered by the ugly villain Bill Sikes still speaks to audiences of today.

Another Dickens story that has been fashioned into a Broadway musical is Rupert Holmes’ The Mystery of Edwin Drood – Dickens’ unfinished mystery novel – which was constructed as a musical within a musical taking place in the theatrical environment of a Victorian Music Hall – embracing immersive theatre – and requesting the audience to act as a jury to choose the murderer among other plot points – with each performance having a different ending depending upon the audience’s choices.

Weltman analyzes other adaptations of Drood to film and television, accepting the fact that dramatic license is allowed because it would be impossible to know what Dickens had intended to conclude his mystery novel. Yet at the same time, as in all of his novels, Dickens journaled social and economic conditions of the time – and Dickens’ thoughts were translated by Holmes in Drood.

There was a similar analysis of Stephen Sondheim’s Sweeney Todd, a musical theatre piece that straddles the definition of a Broadway musical and an opera. It is Weltman’s view that Sondheim and his collaborator Hugh Wheeler made the story more Victorian by injecting Dickensian even though the tale’s antecedents which represented Sweeney Todd as a villain and murderer – the primary antecedent being “The String of Pearls”. However Sondheim’s musical is closely based on Christopher Bond’s version of Sweeney Todd and Sondheim/Wheeler recreated Todd as a victim making the story a tragedy and injecting the themes of social injustice. The original production of Sweeney Todd’s designs also set the story during the Industrial Revolution and how Victorian norms and social injustices were acerbated during that time period.

And then there is Frank Wildhorn’s Jekyll & Hyde, adapted from Robert Louis Stevenson’s novel, as the final result of many adaptations and its appeal for its sexcapades, murder – and a bit of science fiction. And Paul Gordon’s adaptation of Charlotte Bronte’s Jane Eyre which was adapted for the Broadway stage in the grand operatic manner. And not for the better in terms of further elucidating the original stories that the musicals were based on.

In spite of the source material not all of the musicals mentioned achieved the status of a “Broadway Hit”, and after all Broadway is a commercial enterprise.

Weltman’s overview is that “Victorian” and “Dickensian” are euphemisms reflecting what Broadway musical creatives drew from the stories of the period that they adapted for Broadway. Perhaps not being entirely familiar with that period of British history and its diversity, that the work of Charles Dickens was what an audience could hang its hat on. But then again these musicals were not history lessons, they were entertainments based on stories that were known universally – and dramatic license was taken in order to make them stage worthy.

Also Weltman seems to describe Broadway musicals as “middlebrow” entertainment but, of course, that could be argued by the fact that Broadway was the source of American popular music – and then there is the musical sophistication of the greats who have written for Broadway including Leonard Bernstein, Stephen Sondheim, and so many others.

But Weltman does approach this material from a different point of view than other analysts have and it is worth the time to consider it all based on her exhaustive research.

Teatro Colon’s Le Corsaire

July 26, 2020

By Mark Kappel

Teatro Colon continues to make available free livestreams of its ballet performances, and on July 26, 2020, Teatro Colon presented Anne-Marie Holmes’ production of Le Corsaire, a production of this ballet that has been danced by many ballet companies around the world including American Ballet Theatre.

The ballet, Le Corsaire, is based on a poem by Lord Byron that romanticizes pirates who kidnap a Greek Princess, who is then swept away to be a member of a Pasha’s harem. She is ultimately rescued by a band of pirates – with the rescue accomplished with a lot of braggadocio and swash buckle. The ballet is filled with pyrotechnic dancing, spectacular scenic effects – including a shipwreck -- and a bit of tongue and humor – and definitely lots of dancing.

There are many set pieces of interest including in Pas de Deux in Act I and the Odalisque trio, then in Act II the virtuoso Pas de Deux – which in this production is danced as a Pas de Trois – and the Jardin Animee divertissement in the Third Act.

In this performance the role of Princess Medora was danced by Nadia Muzyca, with her pirate protector, Conrad, danced by Federico Fernandez. Jiva Velazquez as Ali (all notable for their virtuoso dancing in the Act II Pas de Trois), and also in excellent support were Maximiliano Iglesias as Lankendem, Emanuel Abruzzo as Birbanto, and Emilia Peredo Aguirre as Gulnare.

However most notable is how the Teatro Colon dancers portray the character roles in a naturalist acting style and with earnest commitment – most notably Julian Galvan as the Pasha.

All in all Le Corsaire makes for a great show – and Teatro Colon dances and presents the ballet with gusto.

Kaye Ballard – The Show Goes On

July 15, 2020

By Mark Kappel

Most documentaries about entertainment personalities only scratch the surface – and often the subjects of the documentaries are not participants or cooperative in revealing their lives’ adventures to the public. Fortunately the documentary, Kaye Ballard – The Show Goes On, directed by Dan Wingate, is a candid reflection of a versatile entertainer who may now be marginally known to the public but deserves the acknowledgement of her talents and her contribution to the Broadway theatre and other forms of entertainment.

Catherine Gloria Balotta hailed from Cleveland, Ohio, and transformed into Kaye Ballard when she began her career working as a band singer – touring with Spike Jones – and then moving on to Broadway where she was particularly noted for appearing the original cast of the musical, The Golden Apple. She did appear in other Broadway musicals – most notably Carnival, The Pirates of Penzance, and created the leading role in Molly -- and even in a few movies – and she toured in musicals such as Gypsy and Minnie Boys – but didn’t seem to receive acknowledgement for her contributions to Broadway.

She was also known for her performances in such New York nightclubs as Bon Soir and The Blue Angel, and composers, who would become the leading lights of Broadway, wrote special material for her nightclub acts. She introduced such songs as Bart Howard’s “Fly Me To The Moon” and John Kander and Fred Ebb’s “Maybe This Time” as well as being known for her tour de force interpretation of “Lazy Afternoon” in The Golden Apple. And she was a comic, a singer, a musician a talk show personality, and frequently appeared on television variety shows and game shows.

However she may be best known for her television series, The Mothers-In-Law, and featured roles in other television series.

Having seen her as Hattie Walker in the Paper Mill Playhouse’s revival of Stephen Sondheim’s Follies, and making the song, “Broadway Baby” her own in 1998, and in her own one-woman cabaret show, Hey Ma, I’m Kaye Ballard in the intimate Promenade Theatre in 1984, Kaye Ballard was a great entertainer.

The documentary also takes note of her almost opportunities. She toured in Gypsy but never got to do it on Broadway, missing out on movie roles and other stage roles – she was praised for her record album of Fanny Brice songs when the musical Funny Girl was being developed but wasn’t considered for the role of Fanny Brice in that legendary musical, and it was rumored that she was to have been in final consideration to star in Hello, Dolly! But those are the what-ifs.

We lost Kaye Ballard in 2019 at the age of 93, but we see her larger than life in Kaye Ballard – The Show Goes On with interviews and anecdotes – and many television clips. Laudable are the many luminaries in the entertainment business who sing her praises in this documentary – which I think sets the record straight.

English National Ballet Dances Cinderella In The Round

July 8, 2020

By Mark Kappel

In what is to be the last transmission of its livestream series, the English National Ballet presented its production of Christopher Wheeldon’s Cinderella, in a performance that was restaged to be performed at the Royal Albert Hall – in the round. This livestream was presented on July 8, 2020.

Christopher Wheeldon created his version of Cinderella as a co-production of with the Dutch National Ballet – premiered in 2012 -- and the San Francisco Ballet – which the San Francisco Ballet premiered and performed in New York in 2013 -- and the English National Ballet acquired this production in 2019. The ballet was choreographed to Serge Prokofiev’s score with a libretto provided by Craig Lucas, and enhanced with scenery by Julian Crouch, and Basil Twist creating the puppetry.

The collaboration of these creatives went back to the original sources for the story of Cinderella which provided a back story for Cinderella’s relationship with her mother. A young Cinderella is seen playing with her mother and father only to experience her mother’s death – which is presented in juxtaposition to the royal palace life experienced by Prince Guillaume and his friend Benjamin as children.

Familiar in this production of Cinderella is seeing Cinderella buckling under the thumb of her Stepmother Hortensia (danced by Tamara Rojo) also living with her two stepsisters, Edwina (danced by Emma Hawes) and Clementine (Katja Khaniukova) – and with Cinderella’s father rather ineffectual. Prince Guillaume comes into Cinderella’s life when he decides to explore his kingdom incognito swapping his clothes with his friend Benjamin (danced by Jeffrey Cirio).

However how was Cinderella to obtain her opportunity to meet Prince Guillaume again at the ball – which is made possible not by a Fairy Godmother – but with the assistance of four masked and dark-colored costumed men who act as a Greek Chorus, support Cinderella, and make a little of the magic in this story.

The remainder of the new libretto follows the fairy tale and the ending is familiar.

Wheeldon creates many choreographic episodes and the seasonal divertissements although not all of the dancing moves the narrative forward – in many respects the transformation of Wheeldon’s Cinderella to fit the in-the-round staging at the Royal Albert Hall was a positive as compared to the proscenium stage version giving it a larger space to perform the ballet.

Any production of Cinderella focuses on the dancers playing the title role, and in this instance Prince Guillaume. These roles were solidly performed by Alina Cojocaru in the title role and Isaac Hernandez as Prince Guillaume – in a partnership that was genuine and supportive.

Christopher Wheeldon’s Cinderella is a very different approach to this familiar story, and English National Ballet’s performance of the ballet in the playground of the Royal Albert Hall gives Cinderella an added twist.

Stuttgart Ballet Presents Work by Martin Schlapfer

July 4, 2020

By Mark Kappel

Continuing in its livestream performance series, the Stuttgart Ballet is currently presenting a new work choreographed by Martin Schlapfer, artistic director of the Vienna State Opera Ballet, which was premiered by the Stuttgart Ballet in February 2020.

Martin Schlapfer had danced with the Basel Ballet, and has been the artistic director of two ballet companies in Germany -- Mainz and Dusseldorf -- and will begin his commitment to the Vienna State Opera Ballet later this year. He has rarely choreographed dance pieces for companies other than the ones he has directed, and Taiyo To Tsuki, was his first ballet he had created for the Stuttgart Ballet.

Taiyo To Tsuki is choreographed to Franz Schubert’s Third Symphony and Toshio Hosokawa’s Ferne Landschaft III: Seascapes of Fukuyama, and is a large ensemble work. However the work is a meshing of two parts which are also reflected in the two musical pieces that the ballet is choreographed to.

The first part of the ballet, which is choreographed to Schubert’s music, is a choreographic hybrid of classical ballet, contemporary ballet, and some modern dance, and yet is random responding to the joy in in Schubert’s music. The ballet stops in its tracks when there is a stark change in mood – mostly of impending doom – upon the introduction of Hosokawa’s modern music. The dancers dance solos in anguish or are grouping together hoping to support and console each other from a force they can’t control and in the final moments, the dancers are looking up to what might be the impression of a gloomy sky.

Schlapfer’ Taiyo To Tsuki does bring out the best in the Stuttgart Ballet’s dancers who are participants in an ensemble cast including Hyo-Jung Kang, Miriam Kacerova, Anna Osadeenko, Rocio Alernan, Jessica Fyfe, Daiana Ruiz, Veronika Verterich, Vittoria Girelli, Fernanda De Souza Lopes, Friedemann Vogel, David Moore, Roman Novitzsky, Danielle Silingardi, Adrian Oldenburger, Martino Semenzato, Matteo Miccini, Timoor Afshar, Christopher Kunzelmann, and Moacir de Oliveira.

San Francisco Ballet Ends Its Livestream Season With Its Opening Night Gala

By Mark Kappel

June 30, 2020

The San Francisco Ballet concluded its livestream series on June 30, 2020, with a presentation of the company’s Opening Night Gala which took place on January 16, 2020. It is a common practice for ballet companies to present fund-raising galas but this was a unique opportunity to experience a gala that would be presented by one of the major ballet companies in the United States – and only seen live if you were lucky enough to be in San Francisco to see it in person.

The program items for this gala included the familiar and also a few premieres – and excerpts from ballets that are in the San Francisco Ballet’s repertoire. There were a few classical ballet excerpts and pas de deux on this program but the theme that dominated was contemporary ballet.

The Opening Night Gala opened with the Men’s Regiment from George Balanchine’s Stars and Stripes, an Americana ballet that is danced to music by Sousa. This is one of the few instances when Balanchine utilized a male corps de ballet in this manner – Lucas Erni led this excerpt with the appropriate swagger.

Following was one of the world premieres on the program, Val Caniparoli’s Foreshadow, a work inspired by Leo Tolstoy’s Anna Karenina with Tiit Helimets as Vronsky, Elizabeth Powell as Kitty, and Jennifer Stahl as Anna Karenina. This was not a literal story ballet but a very contemporary approach in its presentation and its choreography, in which these three important characters were represented in an abstract manner – portraying the emotions fixed on the conflicts between them.

British choreographer David Dawson has choreographed a full-length production of Swan Lake which makes minimum references to Marius Petipa’s original choreography and in which the dancers are presented in simple costuming as well. On display in this performance was the White Swan Pas de Deux from Dawson’s Swan Lake – danced by Sofiane Sylve and Carlo Di Lanno – which had allusions to the original but was mostly expressed in contemporary ballet choreography.

Esteban Hernandez and Max Cauthorn danced the quirky and comic, Jockey Dance, choreographed by August Bournonville, which showed off both of these dancers’ abilities as virtuosos and their comic talents.

A company premiere was Danielle Rowe’s For Pixie an expressive and emotionally raw duet choreographed to Nina Simone’s rendition of “Wild Is The Wind” with Dores Andre and Joseph Walsh expanding their artistic horizons in this modern dance piece.

Traditional gala pieces included in this Opening Night Gala were Le Corsaire Pas de Deux danced by Misa Kuranaga and Angelo Greco, Victor Gsovsky’s Grand Pas Classique danced by Wona Park and Wei Wang, and the Balcony Scene from Helgi Tomasson’s Romeo and Juliet danced by Mathilde Froustey and Joseph. Walsh. The performances of the dancers sparked all three of these pas de deux.

Another world premiere was Myles Thatcher’s 05:49 which was choreographed to words and music with a projection of a digital clock as a backdrop counting down the seconds and minutes. Thatcher’s choreography advanced the idea of conflicts in the relationship of two people well danced by Sasha De Sola and Benjamin Freemantle.

Culled from the San Francisco Ballet’s repertoire were a Pas de Deux from Justin Peck’s Hurry Up, We’re Dreaming danced by Sarah van Patten and Henry Sidford, and Yuan Tan and Vitor Luiz dancing a Pas de Deux from Yuri Possokhov’s The Bells, the latter choreographed to the Second Movement of Rachmaninoff’s Piano Sonata No. 2 In both pas de deux relationships were explored as well as the interpretation of the music.

An addition to the program was a solo choreographed for Yuan Tan by Yuri Possokhov to commemorate Tan’s 25th anniversary with the San Francisco Ballet. Performed in a studio only with an older woman, Su Zhang, present, the piece was an exploration of Victor Osadchev’s music, and a reflection of the difficult times we are living in at present.

Closing this program was the Finale from the Diamonds Act from George Balanchine’s Jewels – triumphantly led by Sasha De Sola and Tiit Helimets but saluting the entire the company – the end of this rare experience in being able to see one of the San Francisco Ballet’s annual gala evenings.

Bridge Theatre Company’s A Midsummer Night’s Dream

June 26, 2020

By Mark Kappel

In continuing its free livestream series, NT Live is presenting a performance of the Bridge Theatre Company’s production of William Shakespeare’s A Midsummer Night’s Dream, one of the Bard’s most popular comedies, as seen on June 26, 2020.

The Bridge Theatre Company’s revival is directed by Nicholas Hytner and reflects his personal touch. His production is performed in contemporary dress, with contemporary references incorporated into Shakespeare’s text, current music recordings, and a bit of a gender bender which offers a few surprises. Also this is an immersive theatre experience with audience members very much a part of the performance and interacting with the actors on stage.

The first few moments of A Midsummer Night’s Dream present Duke Theseus expressing his views on the marriages of what could become mismatched lovers, Helena, Hermia, Lysander and Demetrius – while concurrently Theseus is planning his wedding to Hippolyta. We find some lovers more persistent than others – or in some instances, desperate.

In the Fairy Kingdom, Titania and Oberon are battling over who will be the custodian for an Indian boy, and in this instance that is where Hytner explores Shakespeare text in a different manner and offers a few surprises. The written text for Oberon is now spoken by Titania, and the written text for Titania is now spoken by Oberon. In the course of events it means that Titania who is then in control of pulling a trick over Oberon, and it is Oberon who lands up in bed with Bottom, who has been transformed into a donkey. When Oberon and Bottom wake up, it is a double surprise – and a major surprise that they have landed up in bed together. This surprise only reinforces Puck’s words, “what fools these mortals be”.

With the assistance of Titania, the mismatched lovers are properly connected to each other, Titania and Oberon reconcile, Theseus marries Hippolyta, and it is at their wedding celebrations that the Mechanicals present their play which is infused with contemporary references and rouses the audience at the end of the play. The circus atmosphere of this production reveals itself not only with Cirque du Soleil acrobatics but also the banter with the audience.

In this production the same actors play both Titania and Hippolyta – differentiated with skill by Gwendoline Christie -- and Oberon and Theseus with humor and charm by Oliver Chris. Both show their command of the stage, as does David Moorst as Puck, when on the ground or suspended above – and also notable is the good-natured Bottom as played by Hammed Animashaun.

I am more of a traditionalist when it comes to productions of William Shakespeare’s plays, but if you are interested in a different perspective of one of Shakespeare’s best comedies, Nicholas Hytner has directed a production that is definitely worth a look.

Pacific Northwest Ballet Dances Balanchine’s Dream

June 25, 2020

By Mark Kappel

Pacific Northwest Ballet’s finale for its livestream season is George Balanchine’s A Midsummer Night’s Dream which was first performed by Pacific Northwest Ballet in 1997, staged by Francia Russell, with fanciful new designs by Martin Pakledinez.

Balanchine choreographed very few narrative ballets, and relatively fewer full-length narrative ballets, and his ballet adaptation of Shakespeare’s A Midsummer Night’s Dream is a reflection of Balanchine’s unique approach to the use of music and story-telling. Balanchine’s two-act version encapsulates the exposition in the first act, and the second act is a wedding celebration that is reminiscent of the wedding acts in Marius Petipa’s 19th century classics.

Employing Felix Mendelssohn’s familiar music and giving his Dream a German gothic veneer, Balanchine tells the story of the battle between Titania and Oberon over a Changeling Boy, and when Titania refuses to give up the Changeling Boy, Oberon proceeds to use trickery to get his way. Oberon’s scheme is to use the essence of a flower which will trick Titania to fall in love with Bottom who has been transformed into donkey. When Titania realizes what has happened, she makes up with Oberon and the Changeling Boy is placed into Oberon’s custody.

However there is also the subplot of mismatched lovers in which Oberon employs Puck to match up the lovers appropriately and with all of the problems resolved, Theseus proposes marriage to Hippolyta, and the wedding rituals are held as Act II begins. Act II then is primarily a divertissement including all of the wedded couples and an additional couple dancing a special pas de deux as part of the celebration.

There are a great many principal roles in Balanchine’s A Midsummer Night’s Dream. Kyle Davis as Oberon is confident and regal, as is Laura Tisserand as Titania (well partnered by her Cavalier, Joshua Grant), and then there is the jittery and sometimes incapable Puck danced with humor by Jonathan Poretta.

Also notable were Benjamin Griffiths as Lysander, Lindsi Dec as Helena, William Yin-Lee as Demetrius, and Rachel Foster as Hermia -- as the mismatched lovers - Dylan Wald as Theseus, Elle Macy as Hippolyta, and Lesley Rausch and Jerome Tisserand in the Act II Pas de Deux.

A performance of Balanchine’s A Midsummer Night’s Dream is a company effort and Pacific Northwest Ballet brought life to Balanchine’s Dream.

English National Ballet – A Different Production of Manon

June 24, 2020

By Mark Kappel

Continuing in its livestream series, the English National Ballet presented a performance of Kenneth MacMillan’s Manon on June 24, 2020 with a little bit of a twist.

The English National Ballet tours a great deal in the British provinces and performing a ballet such as Manon with complicated scenery is not practical. When acquiring Kenneth MacMillan’s Manon in 2003, the Royal Danish Ballet commissioned a minimalist design from Mia Stensgard, which is now serving the English National Ballet’s ability to tour Manon. The English National Ballet acquired Manon in 2008. Besides performing Manon on tour the English National Ballet has also performed its production of Manon in London – allowing a comparison with the Royal Ballet’s original production – which premiered in 1974 – and with new dancers to interpret the principal roles in the ballet.

The story of ballet is that of a young woman, Manon, who is recruited to be a courtesan by her brother. However Manon becomes infatuated with a young student, Des Grieux, and the plot thickens when Manon betrays Des Grieux, then portrays her brother, and ultimately Manon’s brother is shot and killed after his arrest for crimes. Manon, herself, is complicit in those crimes and her fate is to be condemned to prison camp in Louisiana. Accompanied by Des Grieux, he attempts to save Manon once again after she kills the goaler after he has made unwanted advances, and Des Grieux and Manon attempt to escape through the Louisiana swamps where Manon meets her death.

For Des Grieux love is blind, and filled with misguided passion.

MacMillan was very influenced by figure skating when he created the choreography for Manon and that influence is very much in evidence in the passionate pas de deux danced by Manon and Des Grieux. Although the story of Manon is the loss of innocence, and making mistakes of her own choice, it is a tragedy.

In dancing the title role in English National Ballet’s production of Manon, Alina Cojocaru, is reprising a role she also danced with the Royal Ballet where Manon was premiered in 1966. In comparing her performances in this ballet dancing it with both companies, Cojocaru’s performance is much freer in the English National Ballet’s production -- and far more detailed and emotionally expressive. Joseph Caley shows his ardency and passion as Des Grieux as a wonderful partner and foil for Cojocaru’s Manon. Jeffrey Cirio is appropriately sinister and shows his avarice as Lescaut, and Katja Khaniukova as Lescaut’s Mistress is coy. Throughout the ballet you can see how the dancers transform these characters through their dancing and portrayal of the characters.

Sadly, what are huge distractions are the costume and scenery designs by Mia Stensgard which at times are too abstract and do not depict historical accuracy, nor the atmosphere of each locale. Fortunately MacMillan’s ballet, Manon, survives these distractions.

English National Ballet Dances Song of the Earth

June 17, 2020

By Mark Kappel

Continuing its livestream series, the English National Ballet is presenting Kenneth MacMillan’s enigmatic work, Song of The Earth, choreographed to Mahler’s music of the same name. The livestream of this ballet premiered on June 17, 2020.

MacMillan had hoped to create Song of the Earth for the Royal Ballet, but the Royal Opera House rejected the idea of the use of Mahler’s music for a ballet. However MacMillan persuaded his colleague, John Cranko, then artistic director of the Stuttgart Ballet, to commission Song of the Earth, where it premiered in 1965 – and in a bit of irony, the Royal Ballet acquired Song of the Earth in 1966 not long after the Stuttgart Ballet world premiere.

Mahler set to music ancient Chinese poems which contemplate life, and MacMillan interpreted these themes in his ballet represented by a man and a woman with a Messenger of Death hovering over their lives. In MacMillan’s interpretation of Song of the Earth, The Woman loses The Man to death but The Woman, The Man, and the Messenger of Death are united in the end. These themes are choreographically represented in abstract form with the dancers costumed in simple designs. Of the three principal dancers only the Messenger of Death is costumed in black.

The English National Ballet acquired Song of the Earth in 2017 and in this performance the role of the Man was danced by Joseph Caley, the role of the Woman was danced by Tamara Rojo, and Jeffrey Cirio danced the role of the Messenger of Death. The emotion of Mahler’s music kept these dancers afloat emotionally in this metaphorical work.

MacMillan’s Song of the Earth is an acquired taste but nevertheless seeing new dancers in the principal roles of the ballet and what they bring to it is of great interest.

Queen’s Theatre Hornchurch’s The Hired Man

June 15, 2020

By Mark Kappel

Queen’s Theatre Hornchurch is one of many small theatre companies in the United Kingdom and is currently livestreaming its recent production of the musical, The Hired Man. This livestream performance premiered on June 15, 2020.

The Hired Man is based on a novel by Melvyn Bragg (who has written the book for this musical) focusing on turn of the 19th century rural England – Cumbria to be specific – exploring the world of his grandfather who began working as a young teenager and served in World War I. With a score by Howard Goodall, this musical, which had first premiered in 1984, has taken up a life of its own.

The Hired Man focuses on two periods in the life of the married couple of Emily and John – the first one early in their marriage when John is hired out to work for a local landowner, and their marriage is put in jeopardy by Emily’s affair with one of village’s residents, Jackson. The second one is during the years immediately before, during, and after World War I, a period of time when John has given up farm work and has pursued a better paying job as a coal miner. John volunteers to serve in World War I – and his son soon follows in his footsteps as a miner and then volunteering for the war effort. The impact from the war to end all wars results in a shattering impact on this hardworking family.

Emily and John find their way through life supporting each during the best times and the worst of times – and also find support from John’s family.

Director Douglas Rintoul’s concept for The Hired Man is that of an intimate experience for the actors on stage and the audience – further enhanced by most of the actors who also play musical instruments – they play the score and provide the accompaniment for the actors.

The Hired Man’s score has music that evokes the atmosphere of where the story takes place with lyrics that often tug at the heartstrings and are emotionally expressive.

Lauryn Redding playing the leading lady role of Emily and Oliver Hembrough, as John, Emily’s husband, represent the heart of The Hired Man bringing home the emotions and aspirations of the working people that they portray who are struggling with the problems of everyday life. Also notable were Lloyd Gorman as Jackson, Samuel Martin as Isaac, and TJ Holmes as Seth.

The Hired Man represents the aspirations of Everyman, and is moving – and also entertaining.

Nottingham Playhouse Revival – The Madness of George III

June 11, 2020

By Mark Kappel

Alan Bennett explored fictional biography in his play, The Madness of George III, which examined a part of King George III’s reign and his battle with mental illness – what seemed to be the inability of George’s dysfunctional family, members of the British Parliament, and his hand-kissing courtiers to cope with George’s condition.

The Madness of George III was given its premiere by the National Theatre in 1991, and under the auspices of NT Live, the Nottingham Playhouse’s recent revival of this play is being presented in livestream performances beginning on June 11, 2020.

Bennett’s play is a mix of modern-day politics being overlaid on an historical occurrence pointing out the farce, the humor, and disruption of what these important historical incidents caused. Also this play is taken control of by the actor who plays King George III, as was the case with the originator of the role, Nigel Hawthorne.

Something is rotten in Great Britain when King George III begins to be exhibiting symptoms of mental illness – and also the stresses of ruling a country that was having its political and economic problems – and the major loss of the American colonies.

Bennett has written a sharp and targeted satire about governments’ political bungling and picturing the King and his wife, Charlotte, in a generally happy marriage referring to themselves Mr. and Mrs. King. However it becomes clear that King George is behaving even stranger than he usually behaves – described as the cork is too tight for the bottle – overseen by doctors who are not sophisticated enough to understand the psychological implications of the King’s illness and who also have their have their own political agenda which is to enable the Prince of Wales to be named Prince Regent and rule the country in place of King George III. That is until Dr. Willis comes along at the recommendation of one of the King’s courtiers who attends to the King’s psychological, as well as medical needs – and although not cured he is capable enough to function in his role as King.

In the Nottingham Playhouse’s production the role of King George III has been taken by Mark Gatiss with Debra Gillett playing George’s complicated wife, Queen Charlotte, and Adrian Scarborough playing the role of George’s physician Dr. Willis. Gatiss gives a virtuoso performance as the King. Gillett plays Charlotte in a wily manner, and Scarborough quietly and patiently projects Dr. Willis’ ability to handle the impossible problem of the King’s madness.

Equally as notable were Nicholas Bishop playing Prime Minister William Pitt as a persistent politician, and Wilf Scolding as the Prince of Wales as a bit of fop – and not particularly intelligent – and not an ingenious political opponent for the supporters of King George III

What is remarkable is that The Madness of George III is play for a time when there is political chaos and there is a populace trying to cope and understand why and how the political chaos has come about.

Stuttgart Ballet Presents Cranko’s Other Side

June 11, 2020

By Mark Kappel

Choreographer John Cranko is best known for his full-length narrative ballet and after presenting two of Cranko’s full-length narrative ballets in livestreams, the Stuttgart Ballet had presented Initials R.B.M.E. and on June 11, 2020 presented Cranko’s Concerto for Flute and Harp.

Choreographed to Mozart’s music of the same name, Cranko created this neo-classical ballet in 1966 and was last danced in New York by the Stuttgart Ballet back in 1979. It was refreshing to see this academic and classical ballet danced to the beautiful strains of Mozart’s music with Cranko’s special touch.

Cranko decided to choreograph this ballet at a time when the Stuttgart Ballet was rehearsing Peter Wright’s production of Giselle and he wanted to create a work for the male dancers that would not be used in Giselle. Therefore one of the unique aspects of Concerto For Flute and Harp is that the ballet has an all-male corps de ballet.

The focus of Concerto For Flute and Harp is Cranko’s clever use of the all-male corps de ballet with the dancers moving in and out of place to partner the two principal ballerinas in the piece – this was a splendid use of partnering. Overall the choreography has great simplicity and elegance – and always musical. It is choreography that matches well with Mozart’s music.

The cast was led by Alicia Amatriain and Friedeman Vogel with Ami Morita and David Moore in support – all excellent dancers in the classical idiom.

Especially grateful to the Stuttgart Ballet for arranging a livestream of this neglected Cranko ballet.

Perm Opera Ballet Presents Giselle

June 3, 2020

By Mark Kappel

On June 3, 2020, the Perm Opera Ballet is presenting a livestream performance of the company’s current production of Giselle, which dates back to 2008. “Edited” by Tatiana Legat, its choreographic sources are Jules Perrot, Jean Coralli, and Marius Petipa, with the libretto written by Theophile Gautier and Jules-Henri Saint-George, and music composed by Adolphe Adam.

Giselle is representative of the Romantic Era of ballet in the early 19th century and the story reflects the values of that time. Women are placed on pedestals by men, but actually men often do not treat women well – and in the instance of Giselle, it is an aristocrat who wrongs a young peasant girl, an indictment of the aristocracy.

Count Albrecht disguises himself as young peasant and romances a young peasant girl, Giselle in a small village. Giselle is also Hans’ object of affection – he being a local gamekeeper – and he discovers Albrecht deception and reveals it to Giselle and his fellow villagers. This revelation leads to Giselle’s death, and in the spirit world in Act II of this ballet, Giselle reveals herself to Albrecht as a spirit and protects him from the avenging Wilis, women who are jilted brides, and Giselle, in her generosity, forgives Albrecht for his betrayal.

For the dancers portraying the principal roles in Giselle it is the mastery of the Romantic style that is the main focus. However, their goal is also to bring these characters to life.

Although Polina Buldakova plays Giselle a little too self-knowingly, she gives a poignant performance, while Kirill Makurin’s Albrecht gives a few hints throughout Act I about who is through his demeanor and in demeaning Hans and his own servant – somewhat revealing that he is an aristocrat. Both Buldakova and Makurin bring out the spiritual moments, and empathy in the second act through their dancing and their acting.

Elena Khvatova is a suitably cold Queen of the Wilis while Sayron Pereira is an appealing and sympathetic Hans. Lyaisan Gistatullina and Denis Tolmazov danced the Peasant Pas de Deux in an appealing manner.

The Perm Opera Ballet is presenting here a traditional production of Giselle, with reverence to the ballet’s roots and the time period in which the ballet premiered. As many companies present versions of Giselle that try to resolve the ballet’s enigmas without much success, the Perm Opera Ballet’s Giselle is unique.

Perm Opera Ballet – La Fille Mal Gardee

June 1, 2020

By Mark Kappel

Most ballet audiences have often seen Frederick Ashton’s version of La Fille Mal Gardee, a ballet, based on one of the oldest ballets still being performed which had choreography from the original Russian production by Marius Petipa, but using the original scenario created by Jean Dauberval -- for his production in 1789 -- and music by Ferdinand Herold which had been orchestrated by John Lanchbery.

However, there are other versions of this ballet, and the Perm Opera Ballet presented a livestream performance of its production which was choreographed and staged by Kirill Shmorgoner. This livestream performance was viewed on June 1, 2020 and an opportunity to scrutinize a different, and just as entertaining as Ashton’s familiar version.

In the Perm Opera Ballet’s La Fille Mal Gardee the scenario is that of Colin who is romancing a village girl, Lise, but Lise’s mother, Marceline, who owns a farm, is hoping for a better match for her daughter with Nicaise, who is the dim-witted son of a large landowner. Although all is arranged for Lise and Nicaise to be married, Nicaise catches Lise and Colin together, and the marriage is called off. However, in the end, Marceline blesses the marriage of Lise and Colin – and all ends happily.

Shmorgoner follows the blueprint of Marius Petipa’s version – and in fact credits Petipa with the choreography for the Clog Dance, and also credits Alexander Gorsky for the Act I Pas de Deux. The score is composed by Peter Hertel with the addition of a section of music composed by Leo Delibes for the score of Coppelia, which is used for the finale in this version of La Fille Mal Gardee. Whatever the ingredients, the results are the same as Fille is a ballet with lots of charm and is also engaging.

Elizaveta Domracheva as Lise and Ivan Surodeev as Colin portrayed and danced their roles with technical and comic skills. Also, Ivan Sidelnikov as Marceline, and Prokhor Zelenin as Nicaise provided even more comic elements.

Perm Opera Ballet has provided an opportunity to see an alternative version of a familiar classic – but is a classic in its own right.

Teatro Colon Presents The Merry Widow

May 31, 2020

By Mark Kappel

All is not well in the mythical country of Pontevedro, and that is the heart of Franz Lehar’s comic operetta, The Merry Widow. Ronald Hynd transformed this popular operetta into a full-length ballet for the Australian Ballet in 1975 – and since -- this version of The Merry Widow has been performed all over the world.

Ronald Hynd and Robert Helpmann combined forces to fashion a libretto for The Merry Widow which is danced to a score orchestrated by John Lanchbery and Alan Abbott featuring the tunes and melodies from Lehar’s music from his operetta.

Teatro Colon of Buenos Aires, Argentina presented a livestream of its production of Ronald Hynd’s The Merry Widow on May 31, 2020.

As stated The Merry Widow begins with the dread and worry being experienced by Pontevedro’s Ambassador to France that Pontevedro is on the verge of bankruptcy and they are panicked in trying to find a solution to the country’s problems.

They come up with the scheme to pick a suitor for the hand in marriage of Pontevedro’s wealthy widow, Hannah Glawari, to keep her money in Pontevedro and make certain that the country’s government can remain solvent.

They focus on one particular eligible bachelor, Count Danilo, who had a brief flirtation with Hanna when they were young. But she was a peasant girl at that time and was not suitable for a match with an aristocrat of Pontevedro. However, their romance is rekindled in The Merry Widow, and although there are hurdles along the way, it all ends happily.

Hynd makes sure that the light comedy in The Merry Widow shines through, there is lots of dancing, lots of familiar music from Lehar’s score, and he also draws the characters well.

The Merry Widow suits the Teatro Colon well in terms of its style and elegance. But as all in full-length ballets – especially those that are comedies – the success of the ballet weighs on the shoulders of the principal dancers.

In this performance, Marianela Nunez, principal dancer of the Royal Ballet, appears as a guest artist in the role of Hannah with her Danilo being Alejandro Parente, an excellent comic actor and strong partner. This partnership brings an endearing and romantic quality that the ballet requires.

There is also a sub-plot in The Merry Widow, the Ambassador’s Wife, Valencienne and the Ambassador’s Aide, Camile, are having an affair, and Camile Bocca as Valencienne and Maximiliano Iglesias as Camile provide the technical feats and the extravagant comedy in the ballet.

The Teatro Colon’s performance of The Merry Widow was an outstanding one and fortunate that the Teatro Colon is making it available for the world to see on livestream.

Miami City Ballet Presents Its First Livestream – Firebird

May 30, 2020

By Mark Kappel

Many American ballet companies have arranged to have their performances presented as free livestreams. Miami City Ballet is the latest of those companies to do just that – and did so with its livestream performance of Firebird, a version choreographed by George Balanchine and Jerome Robbins, with new costume and scenery designs by Anya Klepikov, here viewed on May 30, 2020.

The original version of Firebird, choreographed by Mikhail Fokine, was premiered by the Diaghilev Ballets Russes – with a commissioned score by Igor Stravinsky. Many choreographers have tackled this score, recreating or inventing stories to fit the music.

Balanchine created his first version of Firebird in 1949, and in 1970 he revived Firebird with Marc Chagall designing new costumes and scenery, and Jerome Robbins contributing new choreography for the monsters’ dance. Balanchine made further revisions in 1972 and 1980 primarily to accommodate new designs for the title role. Also Balanchine chose to use the suite rather than the full score for Firebird.

The Miami City Ballet has acquired the latest version of the Balanchine/Robbins production of Firebird which is straightforward in its story-telling.

Prince Ivan is seen hunting in the forest and comes upon the magical Firebird. In exchange for being set free, the Firebird bestows one of her feathers – to be used to call upon the Firebird if Prince Ivan needs her assistance. That assistance is called upon when Prince Ivan falls in love with one of the princesses under the spell of Kastchei The Wizard, and Prince Ivan calls upon the Firebird to help him free his princess. The ballet ends in a wedding creating a beautiful tableau.

Although Balanchine’s choreography is neo-classic in nature, he does preserve the Russian inspiration in the story – most particularly in the folk dances in the ballet.

The role of the Firebird is a challenge for a dancer as the dancer must distinguish the Firebird from the better-known Swan Queen, and Nathalia Arja is able to do just that. This is her kingdom and she rules. Chase Swatosh as Prince Ivan characterizes the Prince as somewhat selfless and chivalrous at the same time, and Jordan-Elizabeth Long is an elegant Princess. Reyneris Reyes is suitably threatening as Kastchei The Wizard.

When the Miami City Ballet has performed in New York the company has chosen the repertoire to be simpler in design and it was invigorating in many ways to see the company dance in a story ballet for a change.

Royal Ballet – The Cellist

May 29, 2020

By Mark Kappel

Although not shown in the New York area as part of its cinema screening series, the Royal Ballet has offered a free livestream of Cathy Marston’s The Cellist on May 29, 2020.

Marston’s choreography has been showing up in repertoires of major ballet companies quite frequently of late. What all of her dance pieces have in common is her interest in story-telling – somewhat uncommon among choreographers of today. Marston’s choreographic vocabulary is modern dance with a slight nod to contemporary ballet – which doesn’t always meld together – but hints of Antony Tudor and Agnes de Mille.

Marston has been choreographing and re-staging works for many ballet companies in the United States and the United Kingdom, and The Cellist, was her mainstage Royal Ballet debut.

The central character in this dance piece is Jacqueline du Pre, a world-renowned cellist who was struck down by multiple sclerosis at a young age. The world witnessed this tragedy and also that of du Pre’s husband, Daniel Barenboim. Even in du Pre’s shortened career it was well known how important music was in her life.

In The Cellist, Marston has created a triangle of sorts – The Conductor (the placeholder for Barenboim), The Cellist (the placeholder for du Pre) and The Instrument (the placeholder for the Cello) symbolizing music as the driving force in their lives – even du Pre’s music is represented with the manipulation of vinyl records by the dancers, and the dancer playing the role of The Instrument is costumed in a shirt with strings on it.

Du Pre’s closeness with her family is depicted in The Cellist at the beginning of her life and also at the end of her life fashioned in a libretto created by Marston and Edward Kemp. Music was provided by Philip Feeney integrating sections of familiar works that du Pre played during her career.

In The Cellist Marston has isolated several clever images using the cast of dancers – including the dancers as an orchestra and an audience of du Pre’s admirers.

One was moved by the performance of Lauren Cuthbertson as The Cellist, and the partnering and expressiveness of Marcelino Sambe as The Instrument – and the empathetic portrayal of The Conductor by Matthew Ball. Also of special notice was Emma Lucano portraying The Cellist as a young girl.

Overall, The Cellist is a thoughtful, moving and sympathetic piece with ample experimentation – and congratulations to the Royal Ballet management for taking the chance on the choreographer, and the subject matter.

English National Ballet Dances Derek Deane’s Swan Lake

May 27, 2020

By Mark Kappel

Back in January of this year, the Shanghai Ballet danced Derek Deane’s production of Swan Lake at the David Koch Theater – a production of Swan Lake that Deane had originally staged for the English National Ballet in 1997.

The English National Ballet has included Deane’s production of Swan Lake in its livestream series capturing a performance in 2018 with Jurgita Dronina as Odette/Odile and Isaac Hernandez as Siegfried.

Deane’s pedigree is from the Royal Ballet and his production follows the structure of recent productions of Swan Lake danced by the Royal Ballet. The story is clear in the Marius Petipa and Lev Ivanov choreography and in his production of Swan Lake, Deane allows for the choreography to present the narrative.

One of Deane’s innovations is the prologue in which it is depicted how Odette is transformed from human form to a swan by Von Rothbart, and in an effective piece of theatre craft, the transformation is clear and clarifies the mystery of how Odette is trapped by Von Rothbart’s spell and needs Siegfried to vow his love to her to break that spell.

Siegfried is seduced by Odile, Von Rothbart’s niece disguised as Odette, and ultimately this ballet ends in the tragedy of both Odette and Siegfried drown themselves in a lake, thereby breaking Von Rothbart’s spell over the swans. This is a story that is mythical and also defines both good and evil.

In this performance Dronina manages most of the technical challenges in this dual role and presents straightforward characterizations of Odette and Odile, and Hernandez depicts a rather innocent Siegfried and displays himself as a good partner. Also attractive were Daniel McCormick, Rina Kanehara, and Alison McWhinney in the Act I Pas de Trois, and James Streeter as the malevolent Von Rothbart.

The swan corps de ballet is also a “star” unto itself in most performances of Swan Lake and the corps de ballet in this production certainly did shine.

Refreshing to see a traditional and unadorned production of Swan Lake – somehow the traditional tells the story very effectively, and fortunately the English National Ballet is dancing a production of Swan Lake that seems to be more unique with every year as stagers and choreographers often tinker with the story at hand by making arbitrary changes.

Pacific Northwest Ballet Dances Swan Lake

May 24, 2020

By Mark Kappel

Although more and more American ballet companies are getting on board in regard to presenting livestream performances, few of them are presenting full-length ballets. The companies, for the most part, are choosing to represent themselves with contemporary ballet dance pieces – and double bills of that same genre of dance.

For its most recent livestream presentation Pacific Northwest Ballet is putting on view its production of Swan Lake, credited to Kent Stowell, with the Marius Petipa and Lev Ivanov choreography included in this production, staged by Francia Russell, which had its premiere in 2003.

Notable for its evocative scenery designs by Ming Cho Lee, there is an interpretation that is revealed in this production of Swan Lake which is that Siegfried is not the brooding and tragic prince presented in most productions of Swan Lake. In this production Siegfried dances an optimistic solo in the middle of what is Act I and although Siegfried’s mother threatens him with the ultimatum that he must marry a Princess to be chosen from Princesses at a ball, Siegfried seems to be taking this obligation in stride. This Siegfried is not Hamlet on the Lake, is reverential, and less passionate.

In meeting Odette in the first Lakeside Scene, Siegfried is surprised but doesn’t seem to show urgency, and although he easily betrays Odette in being duped by Odile (Baron Von Rothbart’s daughter disguised as Odette) once again there is not the feeling of tragedy and loss when he returns to the lake in the hope of Odette forgiving him. This production ends with Odette once again falling under the spell of Baron Von Rothbart (played with a minimum of menace by William Yin-Lee) and remaining a swan, while Siegfried grieves for the emptiness he will face in his life – but more like Albrecht in Giselle rather than Siegfried in Swan Lake.

Stowell provides some new choreography in his production of Swan Lake and one odd change is transforming the Russian Dance into a “Persian Dance” – performed instead of the Polish Mazurka in the Ballroom Scene, and there is also the intrusive Jester – danced with all of the virtuosity that the role requires by Kyle Davis. Also notable is the well-danced traditional Act I Pas de Trois danced by Leta Biasucci, Angelica Generosa, and Benjamin Griffiths.

Seth Orza is an elegant Prince Siegfried, and as mentioned also reverential, and an excellent partner. Noelani Pantastico, as Odette/Odile, doesn’t always differentiate those two very different characters in her dancing and acting while dancing the dual roles with technical aplomb.

Pacific Northwest Ballet’s production of Swan Lake is simple and straightforward – and academic -- which might be better served with more narrative detail as only the outlines seem to be there but not with as much substance as I would have preferred.

Perm Opera Ballet Presents A Program Of Works By British Choreographers

May 23, 2020

By Mark Kappel

The Perm Opera Ballet has engaged many Western European choreographers to work with its dancers. For its latest presentation the Perm Opera Ballet is performing a triple bill of dance works choreographed by British choreographers which had its livestream premiere on May 23, 2020.

Opening this program is Frederick Ashton’s Les Patineurs, which was given its world premiere in 1937 by the Vic Wells Ballet, and its Perm Ballet premiere in 2014.

Choreographed to music composed by Giacomo Meyerbeer, with iconic designs by William Chappell, Ashton depicts a Victorian skating party in Les Patineurs – stylish and including virtuosity as well.

The style came from Ekaterina Poleshchuk and Oleg Kulikov in the White Pas de Deux, with the virtuosity supplied by Kirill Makurin in the Pas de Trois joined by Lyaisan Gisatullina and Ekaterina Pyatysheva.

Although the dancers did not perfectly capture Ashton’s style or the sharp execution required by Ashton’s choreography, the Perm Opera Ballet dancers danced Les Patineurs with the appropriate spirit.

The middle dance piece was Douglas Lee’s When Snow Was Falling, his second creation for the Perm Ballet which was given its premiere in 2015. British-born Douglas Lee had been a principal dancer of the Stuttgart Ballet and is now pursuing an independent career as a choreographer.

For When Snow Was Falling, Lee uses music by Bernard Herrmann (his film scores for Fahrenheit 451 and Twilight Zone) which creates a mysterious and grim soundscape for Lee’s equally grim choreography. Lee’s choreographic vocabulary in this piece is that of contemporary ballet – with the ladies in pointe shoes – with modern dance choreography as a ghostly presence – with random movement as the signature. Moody and circumspect, this ensemble work channels a hint of William Forsythe and Jiri Kylian, and brings out the Perm Opera Ballet dancers’ talent for dancing such choreography.

When Snow Was Falling was danced in earnest by the cast of Lyaisan Gisatullina Larissa Moskalenko, Anna Pushvintseva-Poistogova, Alexander Taranov, Roman Tarkhanov, Ivan Tkachenko, and Taras Tovstguk.

Kenneth MacMillan’s Winter Dreams, given its world premiere by the Royal Ballet in 1991, closed this triple bill program. Having had its Perm Ballet premiere in 2014, in this ballet MacMillan presents vignettes in which the characters in Anton Chekhov’s The Three Sisters are defined and drawn. It was not MacMillan’s purpose to literally tell the story in The Three Sisters but to make allusions to this familiar tragic comedy.

MacMillan chose to create this nostalgic work to Tchaikovsky piano music and traditional Russian music played by musicians on the stage.

The solos are choreographed as inner dialogues and the pas de deux are intended to reveal emotions and conflict. In spite of MacMillan’s inspired efforts, the characters are not consistently fleshed out. However, the Perm Opera Ballet dancers sort out the relationships in Winter Dreams by instinct.

Albina Rangulova (Olga), Polina Buldakova (Masha), and Anna Terentieva (Irina) bring the three sisters to life in the ballet’s naturalistic choreography and also emphasize the ballet’s few comic moments.

What is common in all of these ballets is that snow falls at some point – a clever way to link these ballets together in this program of dance.

Streaming Musicals Presents Marry Harry

May 22, 2020

By Mark Kappel

Having had its off-Broadway premiere by the York Theatre Company in 2017, Streaming Musicals presented – as a livestream – the film adaptation of the chamber musical, Marry Harry on May 22, 2020.

Marry Harry is a romantic musical comedy about two late bloomers who meet by chance in the East Village. They fall in love in less than 24 hours – get engaged – and in the course of springing this all on their single parents, it all becomes fuzzy and uncertain. In the end there is the feeling that the boy and girl will get together but that is also uncertain.

With a clever book by Jennifer R. Manocherian, and a score by Dan Martin and Michael Biello that hits all of the emotional buttons, Marry Harry tells its story in an empathetic and low-key manner – with characters all of us can identify with.

Structurally Marry Harry focuses on the relationship of Sherri (played by Diane Phelan) and Little Harry (played by David Spadora) who seem trapped in the plans laid out for them by their single parents, Francine (played by Veanne Cox) who is Sherri’s mother, and Big Harry (played by Paul Salvatoriello) who is Little Harry’s father. Both have their own businesses – Big Harry is the owner of a family restaurant where Little Harry is a cook – but has ambitions to be a chef.

Both Sherri and Little Harry have had relationships and ambitions that are packed in their emotional baggage. However, it seems they were destined for each other. There is also a chorus of Voices (Jesse Manocherian, Tony Melson, and Kim Steele) who comment on the action and offer advice to all of the characters who are drawn with clarity by these wonderful actors.

Under the adept direction of Bill Castellino, the nuances in Marry Harry are made evident and one has the opportunity to enjoy the ride.

Perm Opera Ballet Entertains With Don Quixote

May 20, 2020

By Mark Kappel

The Perm Opera Ballet of Perm, Russia, has been actively involved in making available livestreams of performances of the company’s extensive repertoire.

Presented on May 20, 2020 was a livestream of the company’s current production of Don Quixote, which premiered in 2004, and was staged by Yuliana Malkhasyants based on the Alexander Gorsky production of Don Quixote, plus additional choreography by Anatoly Simachev and Naum Azarin-Messerer.

Although Don Quixote is the name of the ballet, the story in the ballet version is his happening upon a small village in the midst of his quest to find his own true love, Dulcinea.

The plot focuses on the romantic pairing of Kitri, the daughter of an Innkeeper, and Basilio, one of the locals, and how their romance is interfered with by Kitri’s father who prefers a match with a local aristocrat, Gamache, but the Don meddles and defends Kitri’s match with Basilio, and ends with the marriage of Kitri and Basilio with the Don’s blessing and Kitri’s father’s blessing. And this ballet is a comedy yet structured as many Marius Petipa ballets are with exposition in the first act, a vision scene in the second act, and a wedding celebration in the third act. But as the plot of this ballet is rather thin, it is up to the dancers to outline the characters and dazzle in dancing the virtuoso choreography that showcases them.

In this performance the pairing of Polina Buldakova as Kitri and Kirill Makurin as Basilio serve up the dazzle and the laughs, and still have more to give in terms of the virtuosity required in the Third Act Grand Pas de Deux. However, there are also notable performances from Egor Shitikov as Espada the Matador, Anna Pushvintseva-Poistogova as the Street Dancer, Ekaterina Poleshchuk as Mercedes, Tomone Kagawa as Queen of the Dryads, and Ekaterina Pyatysheva as Cupid.

To bring off the comedic elements in Don Quixote you have to have capable character dancers as well, and in this performance they were Alexander Sokolov in the title role, Evgeny Gromov as Sancho Panza, Ivan Vinichenko as the hapless and abandoned suitor, Gamache, and Sergei Kreker as the over protective father, Lorenzo, the Innkeeper.

If you haven’t seen the Perm Opera Ballet before these livestreams will certainly give you an introduction to a ballet company that is not well known on the international ballet scene.

Dutch National Ballet Tribute to Hans van Manen – Part Two

May 16, 2020

By Mark Kappel

In continuing its livestream series on May 16, 2020, the Dutch National Ballet presented the second of its livestreams paying tribute to Hans van Manen, one of the company’s most influential artistic leaders and choreographers.

This program opens with Sarcasm, choreographed to music by Prokofiev which received its premiere in 1981. In Sarcasm van Manen depicts the conflicts of a warring couple – the male participant of the couple is a bit vain and a show-off, and the female counterpart in the relationship watches her male counterpart rant – and ultimately gets her say with a bit of taunting – and in the end some mutual understanding.

van Manen’s choreography expertly captures human body language effectively and here it is danced with the necessary earnestness by Anna Tsyganakova and Constantine Allen.

Following Sarcasm is Two Gold Variations, which had its premiere in 1999, and is choreographed to Jacob ter Veldhuis’ Goldrush Concerto. Just as in Sarcasm, in Two Gold Variations, van Manen examines the conflicts between men and women in groups and also in isolation. It is a woman who opens the piece and it is also a woman who closes the piece – in between the female/male couples arrive to participate in the large ensemble dance one at a time participating in energetic and emerging group dances which imply conflict and resolution.

The cast of Igone de Jongh, Jozef Varga, Young Gyu Choi, Pascalle Paerel, James Stout, Erica Horwood, Semyon Velichko, Milena Sidorova, Edo Wijhen, Wendeline Wijkstra, Roman Artyushkin, Tess Sturmann, Mathew Pawlicki-Sinclair, and Floor Eimers portray those conflicts and meet the technical demands of van Manen’s choreography.

This program ends with a short documentary on the rehearsals, and the making of van Manen’s Without Words – as well as short excerpts from the ballet itself – but most important it is watching van Manen in a laboratory interacting with the dancers and creating choreography for his own work.

The Dutch National Ballet succeeds for a second time in providing a showcase for an influential choreographer.

Stuttgart Ballet Dances Another John Cranko Signature Work

May 14, 2020

By Mark Kappel

John Cranko did not choreograph very many plotless ballets but one that was significant was his ballet, Initials R.B.M.E. This ballet was a tribute to some of his favorite dancers who were in Stuttgart when he was forming and fashioning the future of the Stuttgart Ballet. On May 14, 2020 this ballet was presented in a livestream of a recent performance by the Stuttgart Ballet.

The initials in Initials R.B.M.E. represent Richard Cragun, Birgit Keil, Marcia Haydee, and Egon Madsen whose talents inspired Cranko when he was creating his best-known narrative ballets. This plotless ballet was choreographed to Brahms’ passionate Piano Concerto No. 2. With the personal tributes to these dancers as his concept, and Brahms’ music what resulted was Cranko’s calming and comforting choreography which showed off the dancers he honored and is still proving an equally pleasing showcase for current Stuttgart Ballet dancers.

Notable in Cranko’s choreography for Initials R.B.M.E. are the fluid and intriguing patterns for the corps de ballet – yet classical and academic at the same time – punctuated by groups moving in and off the stage to support the principal dancers in each movement.

The group of Stuttgart Ballet dancers who led each movement of this ballet added their own interpretation to this tribute ballet. Adhonay Soares de Silva provided the flash in the R movement, Elisa Badenes led the B movement, Alicia Amatriain led the M Movement, and more of an onlooker than anything else, Moacir de Oliveira led the E Movement. All of these dancers appeared in all of these movements, and the ballet looked as fresh as it was when it was seen in New York for the first time in 1973.

Astana Opera Ballet – Coppelia

May 14, 2020

By Mark Kappel

The Astana Opera Ballet of Kazakhstan is currently directed by former Mariinsky Ballet principal dancer Altynai Asylmuratova. In what seems to be an effort to inform the world about the company and the repertoire that is being danced, there are several livestreams of the company’s performances that have been made available for free viewing.

The one of interest to me was the company’s performance of Roland Petit’s Coppelia, here staged by Luigi Bonino. Petit staged his production of Coppelia for the Ballet National de Marseille when he was director of the company – and that company performed Coppelia in New York in 1980.

Petit has embraced the story in the ballet but has made some revisions by re-planting the story in a small military outpost in France with lots of soldiers and the local village girls flirting with them and enjoying their company. This version of the ballet still focuses on the up and down relationship of Swanhilda and Franz with Franz becoming infatuated with the toymaker’s doll, Coppelia.

However, in this version Dr. Coppelius has been styled into a sophisticated man about town with his own infatuation for Coppelia. In fact, he sets up a dinner for himself and Coppelia – and ultimately dances with her in the style of a golden age Hollywood musical – with Dr. Coppelius being transformed into a Fred Astaire. All ends happily but this version of Coppelia is very French and that atmosphere is accentuated by the costume and scenery designs by Ezio Frigerio.

The roles of Swanhilda and Franz include more tongue in cheek humor than in traditional versions, and Petit’s choreography lends itself to more displays of virtuoso dancing.

Shugyla Adepkhan makes for a charming Swanhilda giving a wonderfully comedic performance, and Arman Urazov as Franz showcases his attempt to be a man of the word while also being a member of a community in a small French village. Both Adepkhan and Urazov are up to the virtuoso dancing that Petit requires.

Rustem Seitbekov’s Dr. Coppelius is suave and debonair rather the older characterizations of Dr. Coppelius seen in other versions of this ballet. He is a wonderful character dancer, expertly captures the style of Hollywood musical dancer, and makes the character of Dr. Coppelius sympathetic and also a bit tragic. In fact, Petit’s ends the ballet with Dr. Coppelius left alone with the scattered parts of his doll, Coppelia.

Petit’s Coppelia is, if nothing else, a brilliant example of how the elements of theatrics and entertainment can be combined to please an audience and also make them feel that experiencing it also means they are being exposed to a an equally vivid art form.

Also, the Astana Opera Ballet is a ballet company worth a look see!

Mariinsky Ballet: Raymonda

May 11, 2020

By Mark Kappel

During these weeks when livestreams of dance, music and theater performances have been presented in abundance, the Mariinsky Ballet has been livestreaming selective performances from its own archives.

One of them is the company’s production of Raymonda, which was livestreamed on May 11, 2020, a full-length ballet that is not in the repertoires of a large number of ballet companies.

Raymonda’s story takes place in Hungary during the Crusades. The Princess Raymonda is preparing for her wedding to Jean de Brienne. However, Abderakhman, a visitor from the Middle East, arrives at court and expresses his infatuation with Raymonda. Raymonda is somewhat flattered and also frightened at the same time – and because of that inner conflict she eagerly awaits the return of Jean de Brienne. At court Jean de Brienne confronts Abderakhman about his advances towards Raymonda and as her defender his action succeeds in banishing Abderakhman from the court – and a wedding celebration follows.

The Mariinsky ballet’s current production of Raymonda was staged by Konstantin Sergeyev in 1948, streamlining the story that is presented in this ballet. It is the choreography of Marius Petipa which is flavored with Hungarian folk dance and also flavors Alexander Glazunov’s music which was splendidly conducted by Valery Gergiev for this performance. Raymonda is a ballet in which the grand manner is a key ingredient in how the variations and ensemble dances are presented and performed.

Overall Raymonda is a joyous ballet and also presents many technical challenges – particularly for the dancer dancing the title role.

In this performance it was Viktoria Tereshkina taking on the title role and met all of the ballet’s challenges. There were not any technical hurdles she couldn’t manage. The same could be applied to Xander Parish dancing and playing the romantic hero, Jean de Brienne, and equally Konstantin Zverev as Abderakhman with menace and a bit of charm.

However, the Mariinsky Ballet’s production of Raymonda seems anachronistic, stuck in the Soviet era. That would also describe Simon Virsaladze’s costume and scenery designs.

But it is the dancing and the music that are the important ingredients in Raymonda, and in those respects, the Mariinsky Ballet’s production of Raymonda succeeds.

Dutch National Ballet Dances Swan Lake

May 10, 2020

By Mark Kappel

For the next two weeks the Dutch National Ballet is making available a livestream of the company’s current production of Swan Lake. This production was staged by former Dutch National Ballet artistic director, Rudi van Dantzig, with the assistance of Toer van Schayk who choreographed the Spanish, Neapolitan and Hungarian Dances in Act III, and also designed the costumes and scenery. van Dantzig’s Swan Lake was given its premiere in 1988, and was recently danced by the Hungarian National Ballet in New York.

Although the blueprint of this production of Swan Lake leans in the traditional direction, there are some revisions that van Dantzig has made not only in the choreography but also in the plot. Instead of Benno, Siegfried’s companion is renamed Alexander, and it appears throughout the production that the relationship between Siegfried and Alexander is more than friendship which adds to the drama when Siegfried is forced into making a decision about a bride he must marry. Also, it is Alexander who walks downstage holding Siegfried’s body after Siegfried has been drowned in the lake by Von Rothbart culminating in the dramatic conclusion of this version of Swan Lake.

Besides Toer van Schayk’s choreographic contributions, van Dantzig also included a Pas de Six (superbly danced by Vera Tsyganova, Jared Wright Jingjing Mao, Martin ten Kortenaar, Floor Eimers, and Timothy van Poucke) which is featured towards the beginning of Act III, and Odile appears in a short dance supported by a bevy of male dancers just before the beginning of the Black Swan Pas de Deux. Both Odette and Odile appear in the conflict between von Rothbart and Siegfried in Act IV as well – and that double image certainly emphasizes the psychological aspects of this ballet.

It is von Rothbart – cleverly and menacingly played by James Stout -- who propels the drama in this production of Swan Lake in both of the lakeside scenes, and at the end of the ballet, it is von Rothbart who commands the lake to overflow thereby killing Siegfried, and itis Alexander who grieves over Siegfried’s dead body.

Swan Lake often takes flight through the performances of the dancers in the principal roles. In presentation Maia Makhateli is a poetic Odette and a calculating Odile, quite deliberately delineating these characters in the choreography as handed down from Marius Petipa, and also through her acting skills. Daniel Camargo is both striking and empathetic in the role of Siegfried, and excellent partner. And the Dutch National Ballet’s corps de ballet adds a great deal portraying the swans, and also in the Act III national dances.

All of these elements add up to a performance of Swan Lake that communicates emotionally with an audience.

Broadway, Balanchine and Beyond – A Memoir – Bettijane Sills

By Mark Kappel

Bettijane Sills is perhaps best known as a soloist with the New York City Ballet during what might be described as the company’s golden age. However, she also worked on off-Broadway and Broadway theatre stages, and after her dancing career had ended in 1972, she turned to teaching.

In Broadway, Balanchine and Beyond – A Memoir – published by the University of Florida Press – and written with Elizabeth McPherson – Sills is quite frank in describing her experiences in both her professional and private lives – particularly in pondering her experiences working in the rarified world of the New York City Ballet.

Described are Sills’ experiences working as a child actor in New York City, working with the New York City Ballet with George Balanchine, Jerome Robbins, and Lincoln Kirstein at the helm guiding the company during her dancing career, and her personal life and yet another career as a teacher.

In her memoir Sills reflects on her great admiration for Balanchine in particular even though her professional experiences and her personal experiences with him had their contradictions.

Balanchine was Sills’ artistic father and also an influence on her personal life, complaining and expressing his concerns about her weight and not being a supporter of a dancer’s right to make private life choices that would be normal. And she didn’t have that “normal life” until after she left the New York City Ballet, got married and had a child.

Sills’ father was a musician, and her mother was stage struck and encouraged Sills to pursue a career in the theatre from a young age. All the while she also remembered her parents’ bickering and her mother’s high expectations for her. However, she pursued her education – both academic and in the arts – and caught the attention of the New York City Ballet’s artistic management which resulted in her being given a contract with the company.

Sills provides detailed descriptions of the styles and class content given by her many ballet teachers – including George Balanchine – and also provided a detailed account of her participation in the New York City Ballet’s first tour of the Soviet Union – the reaction of the audiences to the company and to Balanchine’s ballets – and also the travel and accommodations arrangements and problems.

However far more interesting were her descriptions of the ballets in which she created roles – particularly the differences in working with George Balanchine and Jerome Robbins as choreographers – and also how she coped with Balanchine’s indifference to her, and how he arbitrarily favored her at one moment and didn’t at another.

Sills described her problem with weight and binge-eating, and it appears that her being in Balanchine’s favor depended upon whether she was the perfect body type that Balanchine wanted for the New York City Ballet. Balanchine showed his disfavor to her by taking away roles or not using her in new roles depending upon his attitude concerning her weight problems.

Sills realized Balanchine’s obsession with youthful dancers – and that total allegiance to him was necessary – and then his arbitrary prejudice that for female dancers marriage and babies were not to be part of their lives. Although Sills described Balanchine’s control over the New York City Ballet as being a benign dictatorship there were moments when Balanchine was not benign.

After her career in dancing with the New York City Ballet, Sills turned to teaching and developed a philosophy of teaching – which is to provide a dancer with the basic foundations of training in all styles of dance – and ballet training is not meant to be safe and comfortable.

If nothing else Sills’ memoir is frank and revealing, and for any dancer, with the goal of being a professional in mind, would learn a great deal from Sills’ thoughts and fears.

English National Ballet Performs Rudolf Nureyev’s Romeo and Juliet

May 6, 2020

By Mark Kappel

The English National Ballet (then known as London Festival Ballet) commissioned a new production of Romeo and Juliet from Rudolf Nureyev which was premiered in 1977, and subsequently was performed in New York by London Festival Ballet in 1978 and La Scala Ballet in 1981. And on May 6th 2020 this production was livestreamed for a worldwide audience.

Primarily created as a vehicle for himself, yet Nureyev’s version focuses mostly on Juliet and her internal struggles dealing with her family loyalties, and her infatuation with Romeo. No doubt because Nureyev often danced 8 performances a week in the productions of the ballets he staged or created, they went from the extreme of enlarging the male principal roles in the ballets or reducing them. In Romeo and Juliet, Romeo is often a bystander watching the action rather than being involved in the intensity of the story being told.

It had been said that Nureyev sought out a Russian translated version of Shakespeare’s play before adapting a scenario for his production. The purpose of which was go to back to the text of the play for inspiration and adapting the libretto. Certainly, there are influences from Russian ballet productions of Romeo and Juliet and those productions he danced in the West. Nureyev saw Verona as a place suffering from the plague which is symbolized by the cart of dead bodies that appear at the beginning of the ballet.

Also, Nureyev adds his own further commentary on living in Verona when the street robbers throw the dice indicating that life is a gamble and is at the mercy of fate. And Nureyev seemed to portray the warring families as a conflict between political and social classes.

In telling his version of Romeo and Juliet, Nureyev presents the story in a cinematic fashion which focuses are some of the plots more intensely than others.

Nureyev’s Romeo is a bit amorous, and out for a good time – while Juliet is much a child. Although she imagines the ghosts in her past helping her to decide what she must do, it is her innocent idea of love that influences her decisions.

This production of Romeo and Juliet is clear in its story intentions but is not a treasure trove of choreography. The choreography tends to be awkward and choppy, and it was a time when Nureyev seemed to be influenced by the modern dance choreographers whose work he was dancing in himself at the time – including Martha Graham in particular whose influence very much there in the choreography for the Act I Cushion Dance – and also a bit of Jose Limon’s The Moor’s Pavane in the dance of Juliet, Paris, and the Capulets in Juliet’s bedroom. Also, the choreography does not enhance the narrative detail in this version of this well-known ballet.

However, Nureyev does make a definitive statement when he ends his Romeo and Juliet with the families reconciling in their grief.

As in any performance of Romeo and Juliet, the principal dancers carry the day. In that sense Alina Cojocaru as Juliet and Isaac Hernandez as Romeo held their own emotionally and drawing their characters in a production that didn’t always showcase these dancers at their best. Also notable was the performance of Cesar Corrales as Mercutio who brought his comic talents to the role but also added a little menace to the character.

This was an opportunity to see a performance by a company that hasn’t performed in New York in decades and one looks forward to more livestream performances by the English National Ballet.

National Ballet of Japan Dances Manon

May 6, 2020

By Mark Kappel

More livestreaming opportunities continue to present themselves but a unique performance was offered by the National Ballet of Japan dancing Kenneth MacMillan’s Manon.

MacMillan’s Manon was premiered by the Royal Ballet in 1974. Based on Prevost’s novel, MacMillan choreographed his ballet to music by Massenet.

The story is that of a young woman, Manon, who is exploited by her brother, while also experiencing a somewhat innocent love for a young student, Des Grieux. It is the story of Manon and Des Grieux making their way through the corruption and exploitation of French society – and the attempts of Manon and Des Grieux to break the cycle – that leads to tragedy.

From the moment that Manon meets Des Grieux it becomes an affair of the heart with sparks culminating in their Bedroom Scene Pas de Deux – one of several of MacMillan’s spectacular pas de deux in this ballet. However, Monsieur GM persuades Manon join him for a life of wealth and luxury which she readily agrees to – and her relationship with Des Grieux becomes an afterthought.

However, Manon and Des Grieux meet again in a Paris salon and their attraction takes over their decision-making. After Des Grieux is accused of cheating at cards, he and Manon run off together but our tracked down by Monsieur GM who kills Manon’s brother and arrests Manon.

Thereafter Manon is sent off to exile and prison in Louisiana. Des Grieux follows Manon to Louisiana and after he kills Manon’s jailer, they escape to the Louisiana swamps where Manon meets her tragic death.

In Manon MacMillan sets the appropriate tone in his choreography for every dramatic moment and here the dancers of the National Ballet of Japan lend interpretations of their own.

Yui Yonezawa provides an impulsive interpretation of the title role as she evolves from a young innocent to a sophisticated manipulator which an audience can still empathize with. Vadim Muntagirov a guest artist from the Royal Ballet, is the perfect anti-hero who shows his genuine love for Manon and follows Manon as she walks the path towards her tragic end.

Yoshito Konishita, playing Lescaut (Manon’s brother), was particularly effective in his drunken solo in Act II and in his pas de deux with his Mistress (played and danced by Yuri Kimura with a little deception as well as conceit).

All of these dancers portrayed these characters in a forthright and engaging manner which complimented their accomplished dancing.