[NEOPAL]Berko review: Dance--ABT, Cleve Contemp Dance, and Groundworks

[Roy Berko]

ABT’s ‘LE CORSAIRE,’ Cleveland Contemporary Dance at
CPT and a Danceworks preview

Roy Berko

(Member, Dance Critics Association)

--THE TIMES NEWSPAPERS--

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


American Ballet Theatre’s ‘LE CORSAIRE’ fine, but not
wonderful

American Ballet Theatre is one of the finest dance
companies in the country.  Over the past four years
they have become fixtures in the Ballet Series at
Playhouse Square Center.  Their ‘GISELLE’ was
breathtaking.  ‘WITHIN YOU WITHOUT YOU:  A TRIBUTE TO
GEORGE HARRISON’ and ‘PILLAR OF FIRE’ were what ballet
should be.  “SWAN LAKE’ was exciting beyond
description.

With that said, I was less than enraptured by “LE
CORSAIRE, THE PIRATE.,’  ABT’s most recent Playhouse
Square offering.   Maybe it was due to the
light-weight story line, maybe it was the overly
stylized concept, maybe it was the bows after every
solo which broke the flow of the story, maybe it was
the confusing costuming which found tutus mixed with
pirate and Arabic costumes, maybe it was because the
male lead (on opening night) did not have the charisma
and sensuality required for the swashbuckling image of
a pirate.  Whatever, ‘LE CORSAIRE,’ though perfectly
acceptable, and if presented by a company other than
ABT might have been declared as “good,” simply wasn’t
up to ABT standards.

On the plus side, Irina Dvorovenko was lovely as
Medora, the young Greek woman with whom Conrad, the
pirate, falls in love.  Her toe-work was impressive as
was her ability to make the role her own.  Equally
rapturous and proficient was Stella Abrera as Medor’s
friend.  Jose Manuel Carreno, though he was overly
dramatic to the point of upstaging the lead dancers as
he wandered the stage while others danced and
exaggerated his gestures while standing still, was
magnificent when he danced.  He literally threw
himself around the stage while doing his circle turns
and captured the audience with his fluid body control.
 Also impressive was Gennadi Saveliev as Lankendem,
the owner of the bazaar.  

On the other hand, Maxim Berloserkovsky just wasn’t
physically commanding as the pirate.  Though his
second act pas de deux with Dvorovenko, his real-life
wife, was captivating, most of his other dancing was
simply acceptable.  The same can be said for Hector
Lopez, as Conrad’s friend and betrayer.  Veronika
Part, one of the Odalisques, was consistently
out-of-time with her partners and had trouble holding
freezes.

A wonderful addition to the proceedings was the
inclusion of many local young ballerinas who were
impressive in their concentration and dancing
abilities.

Conductor Ormsby Wilkins’ full orchestra was
excellent.

CAPSULE JUDGMENT:   Though quite good, American Ballet
Theatre’s ‘LE CORSAIRE, THE PIRATE’ did not capture
the local audience as other ABT presentations have
done.  There was strong applause, but not the leaping
and screaming standing ovations the company has
received here in the past.

Cleveland Contemporary Dance presents inconsistent
program

Several years ago Michael Medcalf combined with David
Shimitakahara to present a memorable evening of dance.
 Since then Medcalf has developed his Cleveland
Contemporary Dance, the only all African American
dance group in the area, into the Karamu House’s
residential dance company.  They recently presented a
program as part of Cleveland Public Theatre’s
‘DANCEWORKS 06.’

Staged with the unusual device of having each
choreographer discuss his/her concept in a
tape-recorded interview which played before each
presentation, the audience was alerted to the
philosophical concept of each piece.

Presenting an inconsistent program, the company opened
with ‘HYMN/BY THE WATER, which choreographer Medcalf
indicated in his pre-show was a journey of two men who
move in different ways toward their goal.  On the
surface this appeared to be an interesting concept. 
Unfortunately, since both dancers started on the
floor, moved behind a screen and removed their
clothing, then spent time in what appeared to be sleep
and moving in tandem, then arose, put on their
clothing and proceeded to dance in tandem to each
other, the theme seemed to be unfulfilled.  To
compound matters, Ryan Lott and DjDoc’s contemporary
throbbing music was not carried out in the movements
of the dancers.   Antwon Duncan and Daniel Isaah
Henderson were both proficient but not entrancing.

‘WE, AT THE CROSSROADS,’ was choreographer Paloma
McGregor’s attempt to give “dancers a voice.”  As with
the opening number, the total effect was less than
compelling.  The dancers were quite undisciplined and
displayed various levels of skills.  Often their unity
moves lacked unity and there were problems in holding
freezes.  McGregor’s message did not come forth loud
and clear.

‘TO HAVE AND TO HOLD,’ as choreographed by Shapiro and
Smith, though a little long, was an evening highlight.
 Using three benches as props, there was a mobility, a
joy, an interaction and a discipline in this piece not
seen in the two opening numbers.  This was a powerful
and athletic piece which clearly developed the concept
of those who have loved and lost, but have not
forgottten.

The evening ended with Kevin Iega Jeff’s exciting
‘CHURCH OF NATIONS.’  Jeff, Medcalf’s mentor, blended
10 men and one women into a cohesive unit.  The
movements well fit the liturgical music.  The dancers
moved onto, over, next to, and beside the eleven black
chairs arranged in a random pattern.  Jeff stated in
his taped interview, “You are expressing the idea or
not.  You  need to be prepared.”  His dancers were
well prepared “to question whether the houses in which
we worship should give consent to death and
destruction in the name of God.”

CAPSULE JUDGEMENT:  Cleveland Contemporary Dance
Theatre’s all men’s program was inconsistent. 
Fortunately, the latter two numbers were compelling,
leaving the audience with a positive final image of
the evening.

Groundworks concludes Danceworks 06 at CPT

GroundWorks Dancetheater will conclude Danceworks 06
with premieres of two exciting works from March 23-26,
2006 at CPT’s Gordon Square Theater. 

‘TIPPING POINT’ is a work for five dancers creating a
gripping emotional intensity in response to a very
restricted but highly physical movement vocabulary. 
It is the creation of choreographer KT Niehoff, a
nationally recognized choreographer.  In addition, a
new work by GroundWorks Dancetheater’s Artistic
Director David Shimotakahara, with original music by
longtime collaborator Gustavo Aguilar, will also be
featured.  The untitled piece will examine the varying
perceptions of ourselves and each other, both from an
internal and external perspective.

Performances will take place Thursday evening at 7:30
p.m., Friday and Saturday at 8 p.m. and Sunday at 3
p.m. For information or advanced ticket purchase, call
216-631 2727.


Roy Berko's web page can be found at www.royberko.info.  His theatre and dance reviews appear on NeOHIOpal, an on-line source.   To subscribe to this free service via the World Wide Web, visit http://lists.fredsternfeld.com/mailman/listinfo/neohiopal.

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