Saturday, January 28
Posted 28 January 2012 - 11:35 AM
The following night, Jan. 18, was mostly the same, with Tiler Peck and Gonzalo García as the principal couple in “Tchaikovsky Pas de Deux,” and a different closer: “Union Jack,” vastly preferable to “Who Cares?” Again, Peck reveled in her newly-blossoming feminine charm. The girl has style, and she suddenly seems to have grown an inch or two. García looked a little forced, as he often does. Why is it that this beautiful dancer, who started off so well, has never really settled into the company or found his groove? There are a few ballets, like Robbins’ “Opus 19: The Dreamer,” that he has taken to completely. He owns them. But outside of this small group of ballets, he still dances like a fish out of water. It’s a shame, because the company is sorely lacking in male dancers with his qualities : his lyricism and dreamy introspection, but also his lovely jump and fine line. But he’s hit or miss.
Posted 28 January 2012 - 11:38 AM
In recent interviews the young star has indicated that he wants to do more dancing around the world and has been feeling constricted by his London timetable. He has said that world galas are where the money is - and has also revealed that he is both tattooed and the co-owner of a tattoo parlour.
He was also due to dance two full-length ballets with the rising British ballet star Lauren Cuthbertson, as Romeo and the Jack of Hearts in a production of Alice's Adventures in Wonderland.
Posted 28 January 2012 - 11:41 AM
In practice, this is a powerful palette of male solos, some rare and groundbreaking, from the last 100 years in ballet. There are pieces by Russian and British choreographers with different visions of masculinity. In the opening solo, La Spectre de la Rose the pink clad and muscle bound dancer Igor Klob, steals in on the maiden’s dream like a mischievous Puck wreaking havoc with his hallucinatory powers. Kolb imitates the pirouettes and amazing jetés and spins of ballerinas, and the maiden is left, literally breathless by the apparition. Then, in Dance of the Blessed Spirits by Brit legend (founder choreographer of the Royal Ballet) Sir Frederick Ashton, we have a heroic, more recognisably masculine dance. Not a vehicle for a virtuoso, more an understated celebration of dignity, poise and incredibly deft and intricate footwork, Putrov dances this faultlessly.
Posted 29 January 2012 - 12:34 PM
The show will be the season's final in Salem. If there's sufficient interest — by audiences and major donors — the company may offer more performances and student outreach in Salem next year, Pimble said.
"We want to increase our subscriptions here," Pimble said. "We want to be a strong dance presence in Salem."
The company gave one performance of "Romeo and Juliet" in October to a close-to-full house.
Posted 30 January 2012 - 11:43 AM
Then the anticipated highlights: Polunin and Putrov each did solos bare-chested. Putrov wore gold jewellery, Polunin wore tattoos. Polunin with his angry eyes and soaring leaps very nearly rescued a silly Bolshoi cameo about Narcissus (see picture above, by Elliott Franks), while Putrov over-respectfully marked out a slight Frederick Ashton gala number about sorrowing Orpheus. In fact, in both of these Ukrainian expats the Royal Ballet lineage of male grace and seriousness is particularly marked, and both of them are, in a way, too good to bluff their way through undernourished choreography. Putrov still looks through-and-through a ballet man. Polunin's boy-with-wings physical blitheness and contrasting solemnity are qualities that only really good ballet material can help him exploit.
Posted 30 January 2012 - 11:57 AM
While not everything about this ambitious, nearly 50-year-old work is a success, Friday's production of "Onegin" gripped the audience tightly, because it is a modernist dance arrayed like 19th-century fairy tale ballet, rife with social context yet rich with the competing forces of individual desire. It is one of those iconic stories about passion and morality that has legs, because its themes never grow stale.
Posted 30 January 2012 - 11:59 AM
Replacing an injured Nicolas Le Riche, the Canadian-born dancer, Evan McKie, principal dancer from the Stuttgart Company took over the title role shortly before the opening performance. An outsider in every way, in style as well as physique, he swept into the Paris Opera Ballet’s production and into Tatiana’s life with arrogance and assurance; tall, commanding and darkly handsome, he was ideally cast. Driven by boredom and disillusioned by life, he became even more fascinating in the last act when he returns, ten years too late, with his change of heart and the realization of his love for Tatiana, now trapped in a marriage to the Prince Gremblin.
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