Theater Review

Back to Review Index Go to the Home Page


    I want to read the review for...
Waldnymphe
International Ballet Gala
Das Lied vom Meer / Bolero


Waldnymphe (Wood nymph.)  Xin Peng Wang
Theater Dortmund, 18.09.04 (First rehearsal on Stage.)

  No Costumes, some of the lifts were marked, some of the musicality was missed completely. It's not a problem, because it's the first time in the space. -And I Loved it any how. I could completely see that the first girl was a spirit/goddess/force of nature. And that her Minions, (from the trees,) were also beings of nature. The only thing that I misunderstood, was the girl who came into her glade: I took her for something more than human, where as she, and her lover, were nothing more than frail little Homo Sapiens. (I really thought it looked like an inter-species affair though: Those ones that are just Doomed to failure, because... just because. Fauns and humans, humans and sprites, sylphs, nymphs, faeries... all of them: You can fall in love with them, and develop something beautiful, but they DO tend not to last.) Anyhow, the Man is totally solipsistic (Which I probably didn't spell right, and will likely not be in my dictionary.) -It mean self-centred, and he did it by the path of Vanity. Then, at the end, the Head-Nymph girl, punishes Him, for how he (mis)used his love, and leaves him -lying (Dead, or just suffering, I wonder,) on the ground.
  This was beautiful, Neo-classic Ballet. It was not astounding every moment, but there were a lot of good parts to it. I doubt anyone will be able to decipher this, But:
  1 line tonleves in, and crouch as the second line does the same, then 1st and 3rd do, as 2nd crouches.
  A combination, which comes in UR, then goes DS, then off DL, which is done in cannon by 4 groups, the last of which is girls, who do a Variation on the 2nd half!!!
  A square of corps, doing a simple combination, to the 4 corners, with the (changing) Front corner person, doing a slight variant.
 
  And if anyone directly steals these ideas, (Inspiration is fine, but No Theft!) then... they are just beneath contempt, aren't they?


International Ballett Gala
Theater Dortmund, 05.12.04

  First in this program, was Waldnymphe, (Which is written about above.) And it was very nice to see this piece performed. For one thing, I knew what was going on, so I spent much less time thinking about it, and more time just enjoying it. And there's so much to enjoy in Xin's Choreography; His solos are well choreographed, and move well. And the duet is well choreographed, and so expressive. And then, the corps de Ballet is well choreographed, and is intriguing, and goes through inspired patterns, and is good... Dancing.
  I think that I was less impressed by the forms, and patterns than the last time I saw it, but much more impressed with the creation as a whole. And what else is there to mention, in relation to this? Only that it was the premiere, for the Russian soloist, that starts the number. (And she did very well, considering that she only had three rehearsals, for herself.)

Othello and Desdemona by David Bintley, performed by Birmingham Royal Ballet.
  I was not overly impressed by this, mostly because the choreography was uninteresting. There were a few nice moments, but I honestly can't recall them now.

La Sylphide Pas de Deux, by Het National Ballet.
  This was the first time I saw it live, and the dancers did it full justice. I was especially impressed by the boy, whose beats were... Bournonville perfect. -And the cleanest fifth position. -and there was some combination in it, that absolutely caught my fancy, and which I was entirely looking forward to trying out in the studio during this week... but I don't remember what it was now! (And that annoys me.)
  I must admit... that it was a bit strange seeing completely classical Ballet; For the pieces before it were not, and I don't think that I've watched Fully Classical things... for the last year. So, seeing this, live, was -well... I think I finally understand how it is that so many dancers, and lay people, find the classical style so dry, and unmoving. Not that this was how I felt, but I saw that a lot of the pantomime was -contrived. Or that, it was not so natural, (as I have always seen it.) Anyhow, I might, in the distant future, look back at this as the moment that Classical Ballet lost it's perfection in my mind... then again, I might look back at this, and wonder what the heck it was that I was going on about. Who knows?

Verano porteno a tango duet by Xin Peng Wang.
  Hmmmm... yes. This was to Astor Piazzolla music, and was a beautiful piece. Now (a week later, because I've had no time to write this review,) I can't recall much more to say about it. I remember distinctly enjoying it, but I do not recall why.

Swan Lake Pas de Deux by a couple from Düsseldorf.
  This was a strong ending for the first act, for all those like myself that love the classical style. I found the Prince to be nice, and competent, (although a little stressed for his variation.) It was Odile who particularly stood out though: she played every moment on stage: I could see that she was the Black Swan throughout; in Her attitude, and poise, and dynamics. She WAS evil, and domineering. The only thing that could be said against it, was that it was too much for that situation: She did Too much, and her face in the end was bordering on contorted, or grotesque. I think that what she was doing would have been just right for a stage with luscious sets, and the whole corps de Ballet on stage, dressed for a royal Ball; Such playing of the roll would have been necessary, to make it clear amid such distractions. The stage here though, was entirely empty, save for the two dancers. Have I made myself clear?
  Ah yes: there was something else that struck me as amazing: The 32 fouettés in the coda: she did the slowest plié I have ever seen, circling the leg from the front to second; I fully believe that she spent equal time in plié, as on point! (If you are a non-balletic person, just smile, and Nod, OK?)
  Any how, they did it well, and the audience appreciated it.

Carmen Pas de Deux choreographed by Peter Breuer.
  This was Inspiring. Not so much in the direct, and usual way; such as when I see something so outstandingly gorgeous, that I'm simply filled with creativity, and life. This was a more specific, and cognitive inspiration:
  The Pas de Deux was good, and effective, and passionate, and ever so nice to watch. AND... it was not overly complicated, or difficult. This made me feel that I would be absolutely able to dance it as well, if given a chance. -And then I too would be dancing something that looked so good, and aroused such ... feelings from the audience. (Which, in all truth, I feel that I am not dancing at the moment in Detmold; I do not feel ... like I am making good art on stage.) So... the inspiration, was to work extra hard, and find a new theater. (does this sound cruel? or Unfair? Hmmm...)

Coppélia am Montmartre Pas de Deux by Youri Vàmos.
  Again: I remember enjoying this well-choreographed Neo-classic Pas de Deux, but no details at all.

Who Cares? One of Balanchine's Pas de Deuxes.
  This was, well Balanchine. The interpretation was alright, (The same pair from Netherlands, that dances La Sylphide.) One of my first thoughts was "Oh god! Look at Her! She's WAY to thin! I mean, the cover girl for Anorexia magazine." (Which didn't show at all in the romantic La Sylph. costume; She looked perfectly normal there.) Then, came my second thought: that actually, she looked completely normal in this piece too, considering the typical Balanchine Ballerina body type.
  Anyhow, I am not thrilled by this choreography, but it wasn't at all boring either.

Solo a trio by Hans van Manen.
  Well, this was not much to look at in the beginning: it was a very light style, of little... meaningful content. I was focussed on such a different approach to choreography, after the deeply thought-out Coppélia and then Balanchine. Compared to them, this looked nearly amateur. But then I got used to it, and got a feel for the style, and what the choreographer was doing. It was just such an alternative approach to choreography, that it took me a couple of minutes to get used to it.
  Then though... Then, it was an outright blast to watch; It was witty, and humorous, and light. The challenge for the dancers was not the classical technique, or the linking of difficult modern steps, but rather to make everything they did into a seamless, flowing whole, and to Perform this in the lightest, most carefree, ... playful way.
  I quite enjoyed it, once I figured out how to watch it.

Sleeping Beauty Pas de Deux, from the Royal Birmingham Ballet.
  This was the last big classical number of the night. And the couple who did it... well, they felt a little insecure, I'd say. The adagio was wonderful, but after that, it was less solid. (It was not ALL unfinished, by any means, and there were still moments when I innerly went "Oooh! that looked really good!")

Unknown... A Solo.
  In the program, it was stated that we'd watch Stuttgart's Romeo and Juliette Pas de Deux. So I was excited as anything, and then rather taken aback, when there was a single man on stage, with simple "street wear," and then some non-classical music came on, and he started walking on the spot. "What," I thought to myself, "Is this modern ... Stuff?" I was quite let down. -And then the man really started moving. And DANCING, (The capitals are warranted in this case.) And I completely forgot about anything else, and my burning desire to watch classical ballet. He Moved... like -power incarnate. He did everything with the same easy grace: from simple walking, to double revolta, ending in a push-up position. It was fantastic. His stage presence was overwhelming, and the others that I talked with after, said that even his walking on place, (Which I was so startled by, and so on,) was compelling, and drew their attention and admiration.
  So, it was a very successful modern Solo, which was not in the program.

The Chairman Dances Dortmund Group piece, by Xin.
  Now, when I'm finally getting this onto the website, and seeing that I didn't describe this last piece in the program, I don't remember a single thing. (It is the end of May, 2005.) So, I can't say anything at all, other than I don't remember it being a bad ending to the show, so it must have been alright.


Das Lied vom Meer
Theater Dortmund, 02.10.05

  Neo Classical. True, complete, absolute, neo-classical. To me, that means it requires strong ballet technique, but has a great deal of motions which would never be in a classical ballet. This was wonderful to watch. At first, (being immensely critical,) I thought the dancing was too modern for my taste. But then I saw that it was otherwise. Then, I thought that the corps de Ballet did far too little, and were not used... at all. -But again, I saw that it was otherwise. (And HOW the corps danced. The four part cannon they had was stunning, and the other ways they split into groups, and the way that even in seven different groups, the movement all, ALL fitted together and complemented each other.) I was quite astounded by how well the corps worked. The effect was always greatly pleasing. Even when I could look at it, and see that it was only six steps, repeated by each person over and over, then the changes of the number of people on stage, and the directions that they moved the steps in, kept it not only interesting, but beautiful as well.
  So, the dancing was all great.
  The scenery... was a bit odd. but it worked. It was very minimalist, with nothing but a black wall at the back, as well as on each side of the stage. But the stage it's self, was broken into at least four sections, which were raised or lowered at different times. (And I was fascinated with the possibility that opened up, of having people's entrances being... coming up out of the ground.) Being conservative though, I slightly objected to this; It's a little like a trick. So, then, the piece is interesting because of a neat technical idea, and not because of the dancing. -That is an explanation of why I object to changes of the stage. It's not a description of the failures of this piece. (Because, to say it again, the dancing was Great.) Anyhow, what was good, was that the piece didn't rely Too much on this technical idea. It was just that... it would be a bit hard to make it all work if the stage couldn't have done that. (Well, not HARD to make it work. But there's no denying that in some ways, the piece Depended on the technical details. -And the purist in me thinks that the dance should be able to be Entirely independant.)
  What wasn't at all clear to me, was the story. Perhaps if I had read the program, it would have been clear. But perhaps not. It was complicated; there was a man by the sea, mourning the loss of his wife/lover. She'd been lost to the sea. Then there's... a man? A spirit? A friend? A personification of nature? But he comes, and perhaps comforts the man. And we often see the woman, or her spirit, or a dream, or what happened to her before. And that was frequently with a third man, who was the waves, or the sea, or Death. Does that sound confused to you? Because I sure felt confused watching it. Afterwards, someone told me that it was partly based on Orpheus and Euridicy. -And that made some sense, but... made many things more complicated too: For one thing, I was informed that in ancient Greek tales, there was much communication still between the living and the dead. So, when the woman was on stage, she could have Also been Dead, but visiting the land of the living.
  In the end, I just wished that I could have the choreographer explain his ideas for every moment of it, so that I could understand what each movement meant.

Bolero

  This was the second half of the program, on 2.10.05. It's the well known Ravel music, and again, a very neo-classical piece. Well choreographed... but I found it to be also... humorous. With some bits, outright comical. I really can't explain why that is, because most of it was a physical humor, or a humor which went with the music. For example: when the men all lay on their stomachs, slowly lifted their arms and legs off the floor, and then hit the floor three times!!! (You see? You just had to be there.) Anyhow, I had a bit of the feeling that the whole thing was a bit tongue-in-cheek.
  A also got some amusement out of the similarities with other Boleros; As in Bejart's version, there was a circle, (at one point,) and a raised platform in the middle, (at another point.) -One of the things that made me laugh, was that on that platform, was a body, wrapped up in red cloth, and tied with string... like some odd sculpture, which was going to be presented.
  Many other things about it were... just a bit odd. Many things. Quite odd. The men come onto the stage first... No, I lie. you SEE the men first, but they're suspended above the stage, and seem a bit like paratroopers, coming down to land. (Mind you, when they were coming in, it was very very beautiful. They each held a different pose, and the effect was lovely.) While they're still suspended though, the girls are the first ones On Stage. And they are... dressed as maggots. (Seriously, that was the image I had.) They are in extra large, white, elastic gauze pillow cases. The effect is unique, and at times beautiful, but mostly... just odd. (And a touch amusing, at least to me.) So, then the men touch down, take off their flying harnesses, and the dancing begins. And soon the women come out of their... cocoons. They are not butterflies though. Or even moths. They are in tight, revealing, black outfits, and butterflies are too innocent an image for them. So, the energetic dancing goes on, and gets to a point where all the girls stand in a group, which is right out of a hollywood film... or a girly magazine. They stand there, posed, as their part of the stage sinks out of sight. And they're gone. (What an exit! I had to laugh! It was so... stylized.) Then the men go on dancing, and the pice of stage comes back. None of the girls are on it though: Only the red-wrapped sculpture which I described earlier.
  The sculpture soon emerges though. And... it's the female soloist. And... she's wearing small, tight, silvery-colored shorts. And not much else. Just body paint. (And the audience can not help taking a closer look; REALLY? Yes. Just body paint.) So, the silvery statue dances. Forget the statue image. Go for the supernatural goddess/force-to-be-reckoned-with image. She had the power of Thunder.
  She was mind blowing. She was awesome as a dancer, and more than a little intimidating as a woman. And so the piece went on, with her at the front, and the rest of the girls coming on again at the back, and more and more energy building up, (As it has to do, when set to Ravel's Bolero,) becoming... not frenzied, but... a whirlwind of energy, and then a sudden, powerful end.
  (And the audience goes wild.)
  -In truth, not that wild; the house was only about 83 percent full, and many of those people were rather elderly, and only had so much energy they could give to applause. Oh well.

  I was actually rather curious then, to see how the bows would be handled; Because I felt it was one thing to dance naked, that's just the role you're in. But quite another to do the bows naked: that's when you're... your Self. That's when you, the dancer, walks to the front of the stage to accept their appreciation. So, would she go off, and put something on in the black out?
  No. She did the bows as she danced. Only her longish hair was let to fall over each breast. I could see why it was that way though: after everyone had bowed a couple times, they did the last few minutes of the piece again, as a sort of encore. (After all, the second act had only been about twenty minutes.)
  After that was done, she went off, and had some of the same red fabric she started in draped about her.
  It was interesting to see though, what a mess she'd made of the men who'd partnered her: there were interesting smears of her body paint here and there on their bodies, that looked a bit like huge battel scars. All together, it was a bit of an odd piece, with parts I found comical. Well choreographed. But, not as interesting to me as the first half of the program.