Posted 16 June 2008 - 11:20 AM
I was so excited about seeing “La Sonnombula,” having been enchanted as teenager by photographs of Allegra Kent as the Sleepwalker. Different from anything I’ve seen before, it had a more Felliniesque quality than I expected. Kanoko Imayoshi was a passionate, head-over-heals woman, who gave the lie to the appellation “Coquette.” No tease, she. She and her Poet, Russell Clarke, had a strong chemistry, which they managed to maintain during what must be a tedious purgatory for dancers – the extended tete-a-tete maintained in the background.
Rightfully enchanted by the Sleepwalker, Natalia Magnicaballi, Clarke’s Poet seemed to have met his muse – she intrigues him, amuses him, bewilders him – ultimately, his worldliness falls away, as she causes him to envision a new world: he has not, after all, seen it all. The Poet gives a her a little push, but it is the very air she is a part of, seeming to float, with bourees so fast and soft as to be invisible. It is not at all clear that she is a flesh-and-blood human being. Who or what is she? Perhaps she is Art – passion itself, elusive, existing on another plane, incorruptible. When he finally does kiss her, it is as though he seeks to unite their disparate worlds.
Friday night I sat in the balcony, which allowed full view of the Sleepwalker taking the Poet in her arms. Russell Clark is dancer-athlete lean, but he is a relatively big guy, mesomorphic and 5’11” or so. In contrast, while tall, Ms. Magnicaballi is tiny, an ectomorph with bones of a bird. Curled into a tight ball, the group of men placed the Poet in her arms. He seemed to take on her lighter-than-air attributes as she stepped backwards – 1, 2, 3 steps into the entrance of the mansion. I gasped, unbelieving.
In the Sunday matinee, the two of them repeated this bit of magic. However, from my vantage point in the orchestra, the achievement could not be so easily appreciated. Mr. Clarke is so large, relative to Ms. Magnicaballi, that she could hardly be seen!
This production followed the custom of having the light progress up the stair of the mansion, even into the heavens. For those interested in interpretation – people around me thought the Coquette was The Baron’s daughter.
Ms. Magnicaballi did not appear in Arizona Ballet’s last programe, so we were happy to welcome her back, not only in “La Sonnombula,” but the more technically demanding “Four Temperments.” She appeared with Ross Clarke in Sanguinic for the evening performance, and in the Sunday matinee, stepped in to also dance the part with Astrit Zejnati. Both times, she was entrancing, completely inhabiting the role’s demands. Has she always been so fast?
I had a voice teacher who insisted that every piece have a backstory. “You must know the kind of silver that is on the table. You must know the very underwear of this character.” No matter what she is dancing, Ms. Magnicaballi has that backstory, giving her a delicious depth.
Mr. Zejnati is a wonderful partner. Although definitely a star in his own right, he also displays his partner to advantage, with partnering so adept that his own skill is concealed. This was the case, as when paired with Ms. Magnicaballi, who stepped in for Paula Hartley in the Sunday matinee. At one point, I suddenly realized that she had been supported for an extended time, but the illusion was that she was completely free.
Ballet Arizona’s Rubies is exceptional, in part because of its very tall women. When the curtain raised, and we saw the full cast lined up en releve with arms raised and holding hands, the audience spontaneously applauded. Kenna Draxton, blonde and pale, a curvaceous 6-foot-tall dream, is majestic as she holds center stage.
It was two seasons ago, I think, that I complained that the corps was insufficiently involved. The then newly-arrived Russell Clarke showed them up by remaining in character while the others moved in and out, mostly depending upon whether they were dancing. Those days now seem long behind! In this company, every member is engaged, all the time.
Similarly, the utterly beautiful Joseph Cavanaugh, all muscles and round shapes, has in the last two progammes demonstrated a lovely bit of personality, as well. I actually heard an audience member commenting on his charming smile. There are beginning to be a number of interesting and attractive pairings in this company, Mr. Cavanagh and Ginger Smith, who danced together in “Four Temperments,” among them.
As for the audience – the 65+ year old woman sitting next to me Friday night was accompanied by two 25ish men and wearing a tiara. Need I say more?
The best audience comment I’ve heard, yet, was actually made at last month’s progamme, after Paula Hartley and Mr. Zejnati brought the house down with Tharp’s “Sinatra Suites.” (Wish you could have seen it) A young couple, who had been sitting in the third row, hurried up the aisle during intermission, heads together, in deep discussion. “Yes, they absolutely should,” he said. “Yes, they would win. I mean, they are amazing. "But would they be allowed?” she asked. He insisted, “In the professional division of ‘So You Think You Can Dance,’ yes, they would.”
Many young children were in attendance at Sunday’s matinee. I was somewhat trepidatious, anticipating lots of squawking, as I adjudged them too young for Balanchine. But, hey, what do I know … they were completely quiet through all three pieces. This was a great tribute to the quality of the performance.
It came into my mind – what would Balanchine think of this? As recounted in Barbara Milberg Fischer’s memoir, "In Balanchine’s Company," City Ballet’s tour extended to a dusty, dirt-road, cowboy outpost called Phoenix. I can’t help but think he would have been delighted by this company and this programme of his works.
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And yes -- the Phoenix audience is sooo much fun. I'm off to carpool duty, but will write more this afternoon!
I love reading your descriptions -- I feel like I'm there.
I would have like to see Magnicaballi partnered with Zejnati in the role. (She danced with Ross Clarke in the Saturday matinee.)