[NEohioPAL]Berko review: POINTE OF DEPARTURE (Gabay & Rodriguez)

[Roy Berko]

POINTE OF DEPARTURE MAKES A POSITIVE POINT

(Member, American Theatre Critics Association)

--THE TIMES NEWSPAPERS--

Lorain County Times--Westlaker Times--Lakewood News
Times--Olmsted-Fairview Times	


The Cleveland area has many fine dance companies such
as Groundworks and Verb.  What is missing, since the
departure of Cleveland/San Jose Ballet is a fine
ballet company.  But, some might respond, there are
the Ohio Ballet and Ohio Dance Theatre. 
Unfortunately, Ohio Ballet has proven to be
inconsistent and there does not appear to be much hope
that in the near future there will be much change in
that status.  Ohio Dance Theatre, Denise Gula’s
Oberlin based group, does a nice job for a small
company with limited resources, but, it doesn’t
produce world class productions.

Fortunately for the area, each summer former CSJB
wunderkinds Karen Gabay and Raymond Rodriguez return
to the area to give a limited number of performances
by their Point of Departure company.    This year the
local season is limited to three outings, the just
completed two performances at the Cleveland Play House
and an August 5 night at Cain Park’s outdoor theatre. 


As it again proved in its Play House programs, it’s
really a shame the company can’t be in residence here
all year long.  The program was excellent!

Pointe of Departure has four things going for it. 
First and foremost, is the wonderfully creative
choreography and fine-tuned directing of Karen Gabay. 
Second is the dancing of Rodriguez.  Third is the
dancing of Gabay.  And fourth is the female corps de
ballet.

Gabay’s choreography, much like the person, is full of
energy, a sense of delight and an eye on precision. 
Her dancers are almost always in sync.  The movements
fit the musical tones and textures.  Her story ideas
are clear.  Her dancers tend to know what to do and
how to achieve the end result.  

Though Rodriguez is getting a little long-in-the-tooth
by dancer’s criteria, and his once razor thin body has
thickened up a bit, he hasn’t lost a bit of his
talent.   He out-danced every male on the stage in the
recent performances, some of whom were half his age. 
His secret is not only his dancing, but his attitude
and understanding that emotions must be felt, not
acted.  It is a lesson that someone like Maximo
Califano could well learn.  Califano is tall, dark and
handsome.  He danced the lead in several numbers.  He
seems to have good dancing instincts, but his
execution is sloppy, he feigns feelings, and lacks
body control.  His leaps often end with him
off-balance.  His hands flop around never completing a
movement with finality.  His eyes never show intensity
or glee, as is fitting certain segments of dance.  He
feigns feelings rather than feeling them.

Gabay still moves like a feather and shows total glee
in being before an audience.

The female corps are all fine.  It’s hard to pick out
one to highlight as they all performed well.  Special
nods go to Christine Schwaner for her performance in
“Abrazo” and “A Vision in White,” and Catharine Grow
in “Blues.” 

On the other hand, the males are inconsistent.  Jekyns
Pelaez does an excellent job in his leaps, but is
inconsistent in his timing.  Demetrius King is a
strong dancer and conveys the correct attitudes, but
is also inconsistent in his dance interpretations. 
Ramon Moreno dances well in “Trabada,” he failed to
convey to appropriate sensuality need.

“Gare Du Midi” centers on riders waiting for a train
in a station.  Leonard Bernstein’s music,
“Divertimento for Orchestra” contains a melange of
musical sounds including the waltz, samba, turkey
trot, blues and march.   The choreography perfectly
matched the musical sounds.  Highlight segments
included “Sphinxes,” “Mazurka,” and “Turkey Trot.”

“Pas de Deux from Swan Lake, Act II featured
Alexsandra Meijer as Odette, the Swan Queen and Maximo
Califano as the Prince.  Meijer dances well, but she
failed to compel the audience to watch her.  Much of
the problem centered on her stoic attitude which
lacked the necessary vulnerability and enchantment of
the character.  

“2-2 Tango” was again Gabay at her choreographic best.
 She took the audience through ten different emotional
levels, all based on tango music.  Highlight segments
included “Sentado” which again proved that as dancers
and partners Gabay and Rodriguez still have it!  Their
“Mordida” was another highlight segment.  Gabay, along
with Patricia Perez and Christine Schwaner performed
excellent toe-work in “Cordia.”

The delightful jazz induced  “The Other Side of the
Road” completed the evening.  Again Rodriguez
sparkled.  Every segment of the Gabay choreographed
piece was unique and well executed.

The final curtain was greeted by a deserved standing
ovation by the near capacity audience.  Interestingly,
there were no sets, the music was recorded and the
costumes minimal but fine.  As Pointe of Departure
proved, it doesn’t take gimmicks to produce wonderful
dance.

It would be wonderful if Pointe Of Departure could
become a year long community fixture.  With the right
benefactor or series of benefactors that could become
a reality.
Some person or persons or group needs to step forward
and fund this fledgling organization.  No one better
deserves this support than Karen Gabay and Raymond
Rodriguez.  If you have a check to write, big or
small, or a suggestion of who might be angel to give
the area its ballet company, contact Point of
Departure at 216-881-0353 or write Gabrod, Inc. at
P.O. Box 719, Lakewood, OH 44107 or go on-line to
www.pointeofdeparture,com.

Tickets for the Cain Park show, which is a different
program than that presented at The Cleveland Play
House can be obtained by calling 216-371-3000.

PS.  A suggestion to the company.  The program given
out at CPH was inadequate.  Yes, printing costs are
high, but the audience deserves to know something
about the dancers, other than just Gabay and
Rodriguez.  They also should be given scenarios of the
choreographer’s concept and the performance record of
each piece.

=====
Roy Berko's web page can be found at royberko.info and many of his theatre and dance reviews appear on artscleveland.net.


		
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