Aptly titled “Classic Beauty,” the sumptuous program presented by American Repertory Ballet at New Brunswick Performing Arts Center from March 8 through 10, struck me as a brilliantly conceived hybrid. It’s not an entire full-evening story ballet, of the ilk that can run close to three hours and grow tiresome in its detailed telling of a single fantastical tale. Nor is it one of those “greatest hits” programs of flashy highlights from numerous ballets, a superficial jaunt through displays of virtuosic dancing devoid of dramatic context. Rather, “Classic Beauty” finds an edifying middle ground, presenting a full act from each of two of the most popular classical ballets of all time, both dating from the late 19th century and set to revered Tchaikovsky scores.
First, from the four-act Swan Lake, we get the arousing Act II (Lakeside), featuring exciting solo dancing by Odette (the woman-turned-swan) nestled amid romantic portrayal of Odette’s first encounters with her beloved Prince Siegfried. Then, from the three-act Sleeping Beauty, we’re treated to Act III (Aurora’s Wedding), an entertaining collection of divertissements inspired by well-known story-book characters, capped by Aurora and Prince Désiré’s showy duet, the exemplar of a classical ballet pas de deux.
At the matinee I attended on March 9, the role of Odette was danced by ARB artistic associate Gillian Murphy, a principal dancer with American Ballet Theatre and the wife of ARB’s artistic director Ethan Stiefel. Murphy’s masterful performance proved technically thrilling — her extensions are gorgeous and her balances on pointe are stunning — yet it was the emotion evoked by her movements that held the audience spellbound. The moment she and Siegfried (Aldeir Monteiro) first touch — a small brush of the fingers — was rendered so affectingly that we really felt a special spark.
Yet despite starry performances by the principals, it’s the corps de ballet that truly electrifies this “Swan Lake” excerpt, staged and choreographed by ARB rehearsal director Harriet Clark (after Marius Petipa, with additional staging by Rebeca Maso). The white tutu-clad ensemble of swans exhilarates as they waltz in perfect unison to the lilting Tchaikovsky music. And I mean perfect unison! Not just big movements of the arms and legs, but the tiny tilts of the head, stylistic curves of the elbows, bends of the wrists, and shaping of the hands appear exactly the same from one swan to another. Kudos especially to Jasmine Jasper, Annie Johnson, Avery Snyder, and Lily Krisko for their flawless execution of the fast, tricky footwork in the familiar linked-arms “Dance of the Cygnets.” My only quibble is with how serious they all looked. It’s a leavening moment in the drama and one wants to see those baby swans enjoying themselves a bit more.
Purists beware: ARB liberally cuts, re-orders, and re-interprets the music, choreography, and characters of these classic ballets. But it’s to better showcase the dancers and accommodate contemporary societal concerns, so I say “bravo” to that. In this Sleeping Beauty, you will see no Big Bad Wolf scaring the daylights out of Little Red Riding Hood. Instead, the Wolf is played by a wee Princeton Ballet School student (Nikifor Ritter) in a grey furry costume. He and Little Red dance a nicey-nicey duet and she graciously shares her basket of goodies with him. A sage alteration, it makes the whole affair a bit more family-friendly, as does Todd Dellinger’s attractive scenic design — a breathtaking bright blue backdrop, long red velvet curtains, two enormous thrones, and hanging gold chandelier cut-outs. The bold colors and simple forms convey Beauty’s royal setting through a visual language that speaks to viewers of all ages.
Staged and choreographed by ARB rehearsal director Calvin Hilpert (after Petipa, with additional staging and choreography by Murphy and Stiefel, respectively), the Beauty excerpt is fueled by vigorous ensemble character dancing, notable performances by Jackson (as Sapphire) and Tomoya Suzuki (as Puss-in-Boots), the congruous partnership of Rachel Quiner and Tiziano Cerrato (as Florine and Blue Bird), and Clara Pevel’s prima ballerina-worthy turn as Aurora.
The next opportunity to see ARB dancers in action is at Princeton’s McCarter Theater on Thursday, April 4, for “Of Swans and Variants,” again featuring “Swan Lake Act II” as well as Stiefel’s “VARIANTS,” a recent contemporary piece. ARB ends its season back at the New Brunswick Performing Arts Center for performances of “A Midsummer Night’s Dream,” also choreographed by Stiefel, from May 10 through 12.
The company also celebrates its Platinum Jubilee 70th Anniversary Gala on Saturday, April 20, at Jasna Polana in Princeton.
For tickets or more information, visit www.arballet.org.
