Swan Lake

On this night, their professionalism also stood out. One reason was that the floor (a special dancing pad laid on top of the stage) was abnormally slippery, which presented a particular problem to the female dancers when they were en pointe (on tip toes). You rarely see big slips or mistakes by a company of this caliber, but on this occasion two different ladies took serious tumbles on account of the floor. But both ladies remained unflappable and got right back on their feet. Each time, the rest of the dancers on stage effortlessly swept the fallen dancer back into full pace, and the show went on. They all made it seem like a minor thing, and I doubt whether most in the audience knew how rare and dangerous falls like that can be (it’s bad enough spraining your ankle when the foot is flat and gets twisted; it’s another thing when you are standing tip toe, bearing your full weight).

Another thing the audience may not have realized was that the stage itself was considerably smaller than a traditional ballet stage. Consequently, the dancers had to limit the full range of motion, timing, and speed that they train so hard to master. On a smaller stage, they have to tighten up, turn sooner, and slow down earlier. But they disguised all this beautifully and still wowed the audience.

en pointe

A third fact was that the lead female role was danced, not by one of the usual principal dancers, but by one of the leading soloists, Ekaterina Shipulina. Leading soloists are understudies of the principals so they know the choreography, and in this instance she did a wonderful job. Her technique, timing, and style were excellent, and she was well supported by the male priniipal, Alexander Volchkov. Nonetheless, the ‘arc’ of her performance was not particularly compelling. Whereas each dance in each act was strong, she did not weave them into a continuous and full tapestry of the character (in this case two characters—the white swan and the black swan—which is even more demanding). Notwithstanding the slippery floor and smaller stage, I felt she could have given herself over more completely to the contrast and intensity of expression that this ballet calls for. At its best, Swan Lake leaves you passionately enchanted (the white swan) and alluringly mesmerized (the black swan).

ballerina backstage

As it happens, my wife knows a ballet aficionado in California who knows many of the Bolshoi dancers. When he learned that the Bolshoi was coming to North Carolina, he called and said he could arrange tickets for us. We leapt (not ballet-like) at the chance, and after the performance went backstage to thank the dancer, Denis Medvedev who had given us his complimentary tickets (he danced the Fool and stole the show).

My wife also knows his wife and she had met Denis before, so we had a nice chat with him, took some pictures together, and got to congratulate the ‘Prince’ and the ‘Swan’ who were still in costume back stage (our five-year-old daughter stood by wide-eyed and very quiet). In Ekaterina’s case, she was, five minutes after the performance, being coached intensely by an instructor on how certain movements could be improved.

We asked Denis about the floor because it had been noticeably squeaky. He explained that it had given the ladies particular problems, and he mentioned the small stage proportions. He also said that they were headed to Washington, D.C. for a final set of performances and that several of the dancers had caught bad colds earlier in the week. As a result he was going to have to dance some of their roles as well as his own in some of their upcoming performances. As he said, “to help them out,” which demonstrated the camaraderie as well as the business side of this glamorouse but stress-filled profession.

Ballet dancers work incredibly hard day in and day out to hone their skills and keep their bodies in shape. Touring is especially exhausting, and the conditions in each city and theater are always unexpected. Yet the Bolshoi dancers—despite their polished, poised appearance on stage—are very young and sweet. As an example, Alexander Volchkov (the Prince) heard us asking for Denis and volunteered to go look for him, which he did.

We later walked outside with Denis before he boarded the bus with everyone else to go to their hotel. The dancers were milling around in shorts, t-shirts, and flip-flops, talking on their cell phones, another performance behind them. Around the corner at the front of the hall, the audience was still filing out onto the street, their thoughts still swirling with rich images of live, world-class ballet—of the Bolshoi! ¶

Bolshoi Ballet

The Stephen Petronio Company

As long as there is life, there will be dance. ~~ Margaret N. H’Doubler

OF ALL THE ART FORMS, dance is the oldest. Before people could speak, they could dance. It was how early men and women comprehended the world around them—how they imagined their gods were controlling Nature and circumstances.

As language and music developed, dance gradually became more structured and compartmentalized: such as how a tribe would celebrate hunting, planting, rites of passage, and war. Today, of course, we are far from the basic function of dance. It is deemed good or bad art, a form of communication, or mere entertainment. Is it ballet, jazz, or modern—and most importantly, do I understand it?

We have a personal reaction to dance because it is human bodies moving without words. Our interest is almost immediately piqued or repulsed. We can listen to music and be moved, see a painting and appreciate it’s beauty, or attend theater that tells a story with beginning, middle, and end that makes us happy or sad. But with dance, it’s not always clear what is happening and how we are supposed to feel.

Merce Cunningham

Dance is a song of the body. Either of joy or pain. ~~ Martha Graham

A common complaint—especially when it comes to contemporary ballet and modern dance—is, “I don’t understand it!” We generally agree on what the Nutcracker is about and even what Swan Lake is about, although the program notes sure help. But a fairy tale is a fairy tale!

It’s very different—and more intimidating—when you’re watching the live work of an avant-garde choreographer, and you’re squirming in your seat wondering what it all means and when it will be over.

If this sounds familiar, here are some guidelines that might help the next time you watch a performance:

• First of all, relax and stay open minded. Put your judgment aside and just let the dancing happen. Watch the movement, listen to the music, try to appreciate what your fellow humans are doing as they invest themselves in whatever it may be.
• Realize that you are not accountable for analyzing the work. If something reminds you of a story you’ve read or a person you know, notice this. If it makes you feel a certain way—happy, sad, love, hate—these are all viable emotions. There are no wrong answers.
• Read the program or preview in the newspaper beforehand. Often the artist wants you to have as much information as you can so you don’t feel left out of the experience. Many choreographers are interested in educating their audience as well as entertaining and challenging them. Knowing where the work is coming from can help.
• Talk about it afterward. If you’ve seen it with someone else, ask how they felt—usually their opinion will be very different from yours. If you liked or did not like it, try to say why. Quick value judgments tossed back and forth don’t make for a good discussion.

Eclipse, San Jose Cleveland Ballet

Dance is fun! It lifts the spirit, strengthens the body, and stimulates the mind… ~~ Wayne Sleep

Next time you watch a dance that is not immediately recognizable, step back and let yourself see what the artists are trying to do. If you like it, great! If you don’t like what you see, remember that all performances are not the same and that the next one will likely be altogether different. ¶

Read Eliza Ingle’s bio here

WHITE TEXT

Acknowledgments
photo of Eclipse by Bob Shomler
copyright © San Jose Cleveland Ballet
used here for educational purposes only

Pastel by Degas

That would be Melody Staples who made a charming Cinderella, not only with her bright-eyed demeanor, but because of her ability to combine story-telling with dancing. She nicely captured, while underplaying, the innocence of a fairy-tale princess. (You can read her talking about the character here.)

According to my daughter, however (and she’s an expert when it comes to this story), the bad sisters were “too much.” When I asked her what she meant—and without her realizing that the dancers were male—she said they were too “silly.” In her experience, of course, the sisters are bad, not silly. And what makes them bad (I know because I’ve read her the story umpteen times) is their selfishness and jealousy and resulting cruelty.

It’s not easy to convey that combination of emotions in an adult drama, much less in a children’s ballet. It’s even more arduous for male dancers in drag to strike just the right vein of catty vituperation. Almost the only way to go about it is with humor, which, as my daughter perceived, renders it silly. Nevertheless, Steven Hammell and Stephen Gabriel as the sisters did silly very well. Mr. Gabriel in particular was a commanding presence. It’s always nice when you can’t take your eyes off a performer because you don’t want to miss anything he does. Mr. Gabriel also made comic look easy, which is difficult to do.

Dance-wise, the brightest spot of the day for me was Alexander Collen who played the jester. Regardless of his late start in professional ballet—a nice story to read about on choreographer Jill Eathorne Bahr’s blog—Mr. Collen is a rare breed who combines musicality, perfect timing, and seamless grace in his ability to manage not only the right movements, but all the transitions between them. He’s a pure dancer and fun to watch.

You might also enjoy George Hubbard’s review at PostandCourier.com.

Charleston Ballet Theatre
(843) 723-7334 ·  Get directions

Choreography by dance faculty, selected students, and a guest artist will be presented by 34 dance students in an array of styles, with a central theme that dance serves as a powerful means of communication.

Gretchen McClaine is the Artistic Director of the concert and Assistant Professor in the Theater Department. She has set three modern dances which use music from Arvo Part, Beethoven, and an electronic composition. “All of the dancers have been working exceptionally hard to prepare for the show and provide the audience with a performance that is simultaneously entertaining and thought-provoking,” McClaine says.

Robert Ivey, who started the dance department at the college about 30 years ago and has been instrumental in its growth and popularity, will present a contemporary ballet with a Spanish flare depicting love lost. Marcus Alford is a guest artist and Director of Dancentre South, a jazz company in Atlanta. His work is Cabaret style with a Bob Fosse look.

College faculty Ashley Stock and Eliza Ingle both contribute works in jazz and modern styles respectively. An original composition by local composer and music professor Edward Hart will accompany Eliza Ingle’s work. Two students, Saki Hamano and Annie Lewis, were selected to participate due to their talent and interest in making dances.

There will be a talk-back with the choreographers on opening night following the performance.

Mar 13-14-15 | 8pm Fri • 3pm Sat & Sun
Emmett Robinson Theater • 54 St. Philip Street • Get directions

Tickets $15 & $10 • Box office or call 953-5604