| |
Midsummer Night's Dream A Success
Scheherazade
Up Next For Nevada Ballet Theatre
Last Performance of 2006!
May 1214, 2006, Judy Bayley Theatre, UNLV
May is it for the Seasonwith Scheherazade! Their wonderful March program this past weekend, Midsummer Night's Dream, leaves Nevada Ballet Theatre (NBT) just enough time to spare. NBT advertises Scheherazade, choreographed by Kathryn Posin, as a "sensory feast, filled with harem girls, a Golden Slave, love, infidelity, and revenge. The original Ballet Russes' storyline caused a sensation when it premiered in Paris in 1910. Set to Nikolai Rimsky-Korsakov's stirring music, Scheherazade tells the story of a jealous sultan who fears his harem is unfaithful in his absence." In addition, a separate performance, The Class will also be on the program. NBT promises a 'rousing' ballet. After the crowd-pleasing Glenn Miller segment of the February program, it is a sure bet that NBT's Artistic Director Bruce Steivel will deliver energetic choreography.
Visit NBT on the web at www.nevadaballet.com for all performance information, as well as the history of NBT, the classes offered and the Academy address in Summerlin.
Midsummer Night's Dream REVIEW
March 17th19th, 2006
ON ONE OF our coldest weekends this winter, NBT audiences stepped into UNLV's Judy Bayley Theatre to the edge of an enchanted forest on a balmy day in olde Athens. Summer is in the romance-laden air, its promise of excitement sure to allow success and magic for some lucky lovers. All is ready for the rather circuitous and comical romantic maze of Midsummer Night's Dream, as human and magic folk alike dodge the vicissitudes of couple hood.
NBT presented a fine performance, the entire effort delivered summer's promise of warm breezes and wonderful things. The dancers, colorful sets and lavish costumes all came together in a frothy, welcome winter break. The story is Shakespeare at his best with the epitome of Romantic Comedy. Midsummer Night's Dream has proved timeless, always entertaining. Amazingly, Felix Mendelssohn, in 1826, at the age of 26, composed his Overture to Shakespeare's Midsummer Night's Dream, considered a masterpiece then and today. Oh but for the day that our NBT can perform to a live orchestra playing this ageless music.
Dreamy, gossamer costumes, created by Christina Giannini (Stia), for Principals and Company, perfectly complimented the summer-y theme. 'Stia,' a much sought after designer, collaborates year-round with prestigious companies and choreographers. Constantly on the go in her 40+-year career, her designs have graced the stages of the likes of the Joffrey Ballet, and complimented works of choreographers such as Alvin Ailey. She came to Las Vegas this winter at the invitation of Bruce Steivel, NBT's Artistic Director, as she had worked with him many times in various productions elsewhere. Giannini's rich drapings for this program simply floated on the dancers, pastel or primary color fabrics cascading in ample folds, layers and rainbow hues. Her designs enhanced the motion of the dancers due to the remarkable impression of movement she captured in every costume, for both female and male. Her creations are a wonder in fabric and function. Her headdresses were pure confection.
All of the action had magnificent backdrops; the sets were detailed and dimensional, adding colorful depth, creating spaces suggestive of bright castles and mysterious forest glades. Anecdotal: Steivel and Giannini began work on these costumes and sets while Steivel was Artistic Director of a Hong Kong ballet company. At his recommendation, NBT purchased all of it. Steivel choreographed a good portion of his version of this ballet nearly 14 years ago, refining and polishing each time he presented it, most recently right here with NBT in 2002. Lovingly stowed after each use, these sets are fresh and fabulous.
Watching Midsummer Night's Dream, as a play is always hilariously confusing as you sort out the characters and watch for nuances. As a ballet, the histrionics of all the lovers can get really blurred, especially if you are not familiar with the dancer's faces, or you are watching a Second Cast for the first time. Fortunately, Steivel's direction gave the dancer's identifiable characterizations. Their faces, movements and placement conveyed clearly the intention of Shakespeare's words and Mendelssohn's musical inspirations. Just as the story defined the dancer's opportunities for their individual talents, Steivel's choreography augmented the movements for them. Sometimes all combined for a perfect match, sometimes not. In this case, nearly everyone was right where they should be, shining at their best.
This type of ballet is demanding and usually requires 'all hands on deck.' For five performances, over three days, two complete casts were assembled. The First Cast with Principals and Company alternated with the Second Cast of some Principals and members of the Company. Many lead dancers of the Second Cast appeared as Slaves and Soldiers, Moths and Mustard Seeds for the First Cast lineup, and vice versa. The winning all-around team player appeared to me to be David Ligon, who during the weekend covered the Lysander lead for the Second Cast, and also where needed as one of the male courtesans and one of the elves. Zeb Nole superbly performed a First Cast Demetrius and the Second Cast King Oberon, both elaborately involved dance characters. Elena Shokhina was both Helena and Second Cast Titania. Even Racheal Hummel pitched in as a Cobweb for the Second Cast performances. The result was a full-to-the-brim stage, dancers streaming everywhere at once, with enough energy left to smooth away my winter blues.
The First Cast had an especial lock on the feel to be conveyed for this frolic. Principals Kwak and Lee, together, take the meaning of making something look effortless to a higher level. Which is why, children leaving the performances could be overheard expressing ambitions of being 'just like them when they grow up.' Yoomi Lee, as Hypolita was brilliant. Kyu Dong Kwak, always delivering a powerful performance, played Theseus. Together, they are not to be missed. Racheal Hummel charmed as Hermia, and Zeb Nole zipped through his Demetrius activities with flair. Cristobal Marquez knocked out a fabulous Lysander. The Second Cast standouts were Zeb Nole as King Oberon, Joseph Kennedy as Puck, Kara Hamburg as Helena, Jared Hunt as Demetrius and David Ligon as Lysander. The company can be proud of the various 'blends' they brought to the production.
NBT's dancers brought the story alive. For me, dance, especially ballet, always edges out another favoritetheatreand is my favorite way to watch Shakespeare. Prince Theseus received a treasure from his soldiersthe captured Warrior Queen Hypolita and some of her guard. Theseus wished to also capture Hypolita's heart, as she entranced him. She, however, wanted none of him. Members of his court sympathized, but they must first sort out their own love interests.
Demetrius, the lady's man of the court, had every woman swooning except Hermiaso of course he pursues her, which isn't too cricket as he knows that his friend Lysander has set his sights on Hermia, who is aware that Helena truly longs to attract Demetrius' attention for herself. Yikes. Outside, the dense woods surrounding the castle are home to the Faierie kingdom, also a bit on its ear. Queen Titania and King Oberon manage a tiff badly, and the King bethought himself to use magic to alleviate his woes to soften up Titania. Enter the infamous Puck, beloved of all who value mischief.
The restlessness of summer love permeated the castle and spilled out into the forest, as the young people engaged in a game of tag, under Puck's nose, and havoc reigned. All works itself out and wedding fetes leave a happy ending to this beloved Shakespearean story.
Midsummer Night's Dream was the perfect March aperitif. Bring on the summer. 
Reviewed by:
Carol Lane Patterson
|
|
