Filed under: Reviews | Tags: Adam Still, Alexei Tyukov, Art Bouton, Asuka Sasaki, Caitlin Valentine-Ellis, Chandra Kuykendall, Chrstipher Ellis, Dana Benton, Dimitry Trubchanov, George Balanchine, Gil Boggs, Glen Tetley, Jesse Marks, Kevin Gaël Thomas, Lydia Sviatlovskaya, Maria Mosina, Michael Allen, Sharon Wehner, Shelby Dyer, The Colorado Ballet
Every season, the Colorado Ballet has always performed an unrelated trilogy of one act ballets that, for the last several years, have represented some of the finest dancing of which the company is capable. Sometimes there are fewer people in the audience because these ballets do not necessarily represent a kingpin in the season, such as The Nutcracker does. However, I have noticed that those who attend this “trilogy” seem to be those who really love dance, and are dedicated to the Colorado Ballet. Therefore, these three ballets have always struck me as representing a “kingpin” performance.
Friday evening, February 22, the Colorado Ballet presented such an evening entitled Ballet MasterWorks. The three ballets that made up this splendid evening were Theme and Variations, with music by Tchaikovsky and choreography by Balanchine; In Pieces with music by Poul Ruders and choreography by Val Caniparoli; and the third ballet of the evening was The Rite of Spring, with music by Igor Stravinsky and choreography by Glen Tetley.
The Colorado Ballet opened the program with Theme and Variations by Tchaikovsky and Balanchine. This was an important performance because this was the first time that the Colorado Ballet has performed a work by George Balanchine in the last ten years. Many of you who read this article will know that George Balanchine, (1904-1983), was the most influential choreographer of classical ballet in the United States in the 20th century. He was the founder of the New York City Ballet, and he also pioneered the use of choreography for film and musical theater. In 1947, he choreographed the music from Tchaikovsky’s Orchestral Suite Nr. 3 in G, Opus 55. It has no plot or storyline, and is therefore an example of classical ballet technique that is so extraordinary that it has become an indispensable portion of ballet repertoire.
Friday evening, the principles in this ballet were the incomparable Maria Mosina and the likewise incomparable, Alexei Tyukov. The Demi-Soloist ladies were Dana Benton, Shelby Dyer, Asuka Sasaki, and Caitlin Valentine-Ellis. The Demi-Soloist men were Christopher Ellis, Jesse Marks, and Adam Still.
The only set decoration on stage for this ballet were chandeliers hanging from the stage ceiling, because the original production indicated that it was to be done in a “warmly lit ballroom.” The women wore tutus, and the men wore quasi-military costumes of the nineteenth century. Two things struck me immediately: the first was that I could not recall seeing a classical ballet that required such incredible strength on the part of the dancers; and, in addition, the orchestra sounded better than it ever has, and it has always been excellent. I am constantly mystified at how seemingly easy it is for all of the dancers in this company to exude such incredible grace along with such incredible strength and control over what they do. Of course, that control takes strength, and it takes incredible mental strength to do so many things at once: keep the beat, smile, watch the conductor, worry about the conductor watching you, and learning to rely on those who are around you on stage. But one of the pleasures in watching Mosina and Tyukov is their remarkable reliability. Their solos were startling because of their difficulty, and in watching these two dance, they reflected the joy of their profession. I think that in ballet, that joy is easier to perceive than it is in watching orchestra members or solo musicians perform. A dancer has to perform with their entire body. Musicians have to perform by holding instruments or touching an instrument, and I think that makes a difference. It is often difficult for me to write a review of a ballet simply because there are so many on stage that I can’t just list every individual. But, the Colorado Ballet has such depth of artistic ability, that all of the dancers should be named.
The pas de deux by Mosina and Tyukov was sensational, not only because they are so skilled, but because they have such incredible trust and knowledge of each other’s reliability. Mosina knows exactly how she will be caught by Tyukov, and she knows he has the ability to hold her over his head. Tyukov can rely upon Mosina to make a leap in exactly the right moment so that he can catch her with great ease. All of this seems so obvious, that it hardly seems worth mentioning. But, I do mention it because the choreography in this opening work was incredibly difficult, and the reliability that I have mentioned in the preceding sentences is what separates the Colorado Ballet from other dance companies around the country. I heard an individual comment on a photograph of the composer Carlisle Floyd, who was hard at work at his desk. This individual said, “Look at the expression on his face! He is really concentrating hard, and it looks as if composing is hard. Is writing an opera really difficult?” So, you see, that’s why I sometimes feel compelled to mention the obvious.
The orchestra was superb in Theme and Variations. There is a marvelous violin solo in Tchaikovsky’s work and it was beautifully done by Lydia Sviatlovskaya.
Another reason that the house should have been full Friday evening was the World Premiere of the second ballet of the evening, In Pieces, choreographed by Val Caniparoli, who is the choreographer for the San Francisco Ballet. The music which Caniparoli used for this ballet is by Poul Ruders: his Concerto in Pieces “Purcell Variations” (1994-95).
I will quote briefly from the websites of Caniparoli and Ruders:
“Born in Renton, Washington, Mr. Caniparoli opted for a professional dance career after studying music and theatre at Washington State University. In 1972, he received a Ford Foundation Scholarship to attend San Francisco Ballet School. He performed with San Francisco Opera Ballet before joining San Francisco Ballet in 1973. He continues to perform with the Company as a principal character dancer.
“He has contributed to the repertories of more than thirty-five dance companies, including Pacific Northwest Ballet, Boston Ballet, Northern Ballet Theatre, Pennsylvania Ballet, Royal Winnipeg Ballet, Ballet West (Resident Choreographer 1993-97), Washington Ballet, Israel Ballet, Cincinnati Ballet, Singapore Dance Theatre, Atlanta Ballet, State Theatre Ballet of South Africa, Louisville Ballet and Tulsa Ballet, where he has been resident choreographer since 2001. When Boston Ballet danced the company premiere of Mr. Caniparoli’s full-length Lady of the Camellias in 2004, the critic for the Boston Herald wrote, ‘Why have we had to wait so long to see a ballet by this gifted choreographer?’”
And now, Poul Ruders:
“Poul Ruders was born in Ringsted, Denmark, on March 27, 1949. His early studies in piano and organ led eventually to studies in orchestration with the Danish composer Karl Aage Rasmussen. Ruders’s first compositions date from the mid-60s. Ruders regards his own compositional development as a gradual one, with his true voice emerging with the chamber concerto, Four Compositions, of 1980. Writing about Ruders, the English critic Stephen Johnson states: ‘He can be gloriously, explosively extrovert one minute-withdrawn, haunted, intently inward-looking the next. Super-abundant high spirits alternate with pained, almost expressionistic lyricism; simplicity and directness with astringent irony.’
“Poul Ruders has created a large body of music ranging from opera and orchestral works through chamber, vocal and solo music. In recent years, performances of his work on both sides of the Atlantic and in such distant locals as China, Japan and Russia have taken place with increasing regularity. With the overwhelming success of his second opera, The Handmaid’s Tale (1996-98), produced in Copenhagen (2000), Ruders became even more in demand, with commissions coming in rapid succession from The Berlin Philharmonic, The New York Philharmonic, The BBC Symphony Orchestra, and from The Royal Danish Opera. Recent performances include productions of The Handmaid’s Tale in Toronto and London, and orchestral premieres and performances in Berlin, New York and London.”
The music that Caniparoli chose is a set of variations on themes of the English composer, Purcell. However, Ruders variations began very exuberantly with a full orchestra performing at a good solid forte. It was instant excitement. It has been a long time since I have seen a ballet choreographed with such vigorous and rapid movements. The dancers in this terrific ballet were Caitlin Valentine-Ellis, Dmitry Trubchanov, Chandra Kuykendall, Jesse Marks, Sharon Wehner, and Christopher Ellis. The costumes were avant-garde: the danseuses wore smoky blue tights with transparent “petals” as skirts. The danseurs wore smoky gray tights with much smaller “petals.” This added to the aspect of being in a totally new world. The choreography was very rapid and incredibly energetic, but it was so imaginative that it almost defies description. And, I might add, that the choreography was absolutely beautiful. So much of that beauty was the result of the grace added to these very energetic movements. In the press release announcing this concert, Artistic Director Gil Boggs said, and I quote, “These three works in one evening with a live orchestra performance will make for a very powerful night of dance and music, and will leave the audience in awe.” Truthfully, that is an understatement. I would classify this style of choreography as abstract expressionist, but to fully fit that definition may be impossible, just as architecture as designated in the abstract expressionist style is impossible, because it could not be used by human beings. But the choreography was so creative and so imaginative, and the music wonderfully chosen by the choreographer and written by the composer, and it seems new, that it was hard to classify. I assure you that this was not “modern dance.” It was ballet in its purest form. The orchestra was sensational, and there was some marvelous saxophone solo and an equally marvelous tuba solo. I am sure that it was Art Bouton performing the saxophone solo and Michael Allen performing on the tuba. Both were incredibly mellifluous.
The third ballet Friday evening was the legendary Le Sacre du Printemps, or The Rite of Spring, by Igor Stravinsky. The choreography was done by Glen Tetley. Everyone, I am sure, is familiar with the legendary story of the near riot that this ballet caused in 1913 at its Paris premiere. The French audience was simply not accustomed to Stravinsky’s music, nor was it accustomed to the “risqué” choreography that Stravinsky required. Even Stravinsky’s good friend, Claude Debussy, seemed to be nonplussed. The musicologist, who was a friend of both, Louis Laloy, wrote of a meeting between Stravinsky and Debussy at Debussy’s house when the two sat down at the piano to play through a forehand arrangement of Stravinsky’s ballet. Debussy played the bass while Stravinsky played the upper register. These two giant composers had greeted each other at the beginning of the afternoon with hugs and handshakes, but after reading through the score, Debussy could do nothing but continually stare at the score, dumbfounded.
This is such an historic work in so many respects, that it is almost embarrassing to admit that I have never seen it before, but this was the first time. I found myself wondering what it would be like to sit there in 1913. The choreography was originally done by Vaslav Nijinsky, and it was long thought to have been lost, but it was recently reconstructed by the Joffrey Ballet. My initial reaction to Glen Tetley’s choreography, and it was sustained throughout the entire ballet, is that this is a beautiful work. Glen Tetley’s choreography was remarkable and very satisfying, and like the ballet before it, In Pieces, very energetic.
In the program notes, there was a quote from Glen Tetley which may be of help to those who are unfamiliar with this ballet. I will quote verbatim:
“Stravinsky’s Rite of Spring is earth music of profoundly moving power. It speaks to me not only of pagan Russia, but our ancestral beginnings of Myth and Belief. When seasons changed, when earth seemed to die without a leaf to survive, man heaped the blame on a single person, a chosen victim who was killed and then buried within the earth, ritually mourned and then miraculously reborn, bringing the gift of life to earth. T.S. Eliot in his poem, Gerontion, in one line captures this magic moment, “and in the spring comes ‘Christ the Tiger’.”
The Chosen One was danced by Adam Still; Maria Mosina and Alexei Tyukov danced the Earth Mother and Earth Father. Casey Dalton and Asoka Sasaki with a female soloists, and Jesse marks and Kevin Gaël Thomas were the male soloists.
I don’t think I have ever seen Adam still dance so well: he was not only sensational in his dancing, but in his expressivity as well. Maria Mosina and Alexei Tyukov were absolutely perfect. Their pas de deux was overwhelming in its tenderness. And, of course, Dalton, Sasaki, and Marks and Thomas were outstanding.
As I left the Ellie Caulkins Theatre, I was convinced that this was one of the best productions I have ever seen from the Colorado Ballet. Then I remember Echoing of Trumpets, Dracula, Romeo and Juliet, and, you see how many I have mentioned already. This makes obvious that in The Colorado Ballet, we have a treasure that has set the standard for the arts not only in Denver, but for the country as well. The Colorado Ballet is that good, and we must never take them for granted.
Filed under: Reviews | Tags: Adam Flatt, Alexi Tyukov, Dimitry Trubchanov, Domy Reiter-Soffer, Gil Boggs, Igor Vassine, Janelle Cooke, Lorita Travaglia, Maria Mosina, Sandra Brown, Sayaka Karasugi, Sharon Wehner
I truly hope that everyone who reads this will have a chance to go see the Colorado Ballet’s production of “Beauty and The Beast.” It is one of the most original productions of the ballet that I have seen for several years. It has a marvelous and modern musical score by the gifted Hong Kong composer, Seen-yee Lam, and absolutely stunning choreography by the gifted Israeli artist, Domy Reiter-Soffer.
Do not expect a traditional ballet where members of the corps de ballet stand upstage in pastel tutus in the first position while the lead dancers perform a grand Pas de deux downstage. Beauty and The Beast is a fairy tale of the first order. It is a meaty ballet of great substance. It was written by Charles Perrault in 1697. Perrault also wrote Sleeping Beauty, Puss in Boots, and Cinderella. What could I possibly mean by a fairy tale of the first order? I stress that Beauty and The Beast is not all that frightening, and I certainly think that young children should go see it. But it is darker, and certainly more emotional than any production of Beauty and The Beast that I have seen. This is because of the amazing and wonderful choreography by Domy Reiter-Soffer. And we certainly need to thank Gil Boggs, the Artistic Director of the Colorado Ballet, for inviting him to stage the choreography. The New York Times said “Domy Reiter-Soffer is particularly noted for his brilliant translation of words into movement, dealing with the very essence of the subject creating sheer theatre”. I have never seen a ballet, except for those choreographed by the late Merce Cunningham, where the dancing and intense personal expression of the dancers truly tell the story.
Domy Reiter-Soffer is a kind of modern Renaissance man, with a great range of interests and achievements which to date have included dance, drama, music and the graphic arts as well as teaching.
His production of Equus for Dance Theatre of Harlem at the Met. New York won him the Best Ballet of the Year Award from New York Daily News. Lady of the Camellias was voted Best production at the Finland festival 1990. His play Mary Makebelieve for the Abbey Theatre, Dublin was nominated as one of the Best Plays in the Dublin Theatre Festival. He has created a large repertory of successful works, among others the deeply moving Yerma for La Scala Milan and Irish National Ballet, and House of Bernarda Alba, both based on Lorca. The full length Paradise Gained about the French woman of letters Colette won him a special award for the best creation of 1991. Chariots of Fire (Phaedra), The Turn Of The Screw, the pop Time Trip Orpheus, Medea, La Mer, La Valse, Oscar (on the life of Oscar Wilde) and a multi-media production of A Time to Remember for the commemoration of the 2nd World war and the Holocaust won him great acclaim using over 300 performers on the stage. These productions have been successfully staged for American and European companies, including Dance Theatre of Harlem, The Australian Ballet, Finnish National Ballet, Pittsburg Ballet Theatre, Ohio Ballet Louisville Ballet, La Scala and Bat-Dor Dance Company with which he has created over twenty-five ballets.
For the last three years he has created three full-length works for the Hong Kong Ballet, The Emperor and The Nightingale, which toured Germany, Switzerland then closing the Salzburg Festival in Austria, with critical success, also Beauty and the Beast and the multi media production of White Snake, which is based on a Chinese legend. He also restaged his award winning ballet Lady of the Camellias with great success. He was Artistic Advisor of Irish National Ballet from 1975 to 1989.
He has created many multimedia productions using different facets of the arts, involving singers, dancers and actors. As well as dance he has directed theatre productions, plays, musicals and opera. Domy Reiter-Soffer is a serious painter with seventeen one-man shows and has exhibited at the Royal Academy of Art’s summer exhibition in London.
He has created over thirty designs for a wide range of dance and drama productions with much success. Reiter-Soffer has had a long dancing career, he has directed many plays and musicals, has been a staged rector for opera, and has designed more than 30 productions for both dance and drama at theatres including La Scala Milan, Australian Ballet, Dance Theatre of Harlem, the Carmiel Dance Festival, the Finnish National, Bat-Dor Dance Company and Hong Kong Ballet, and the Ohio Ballet.
As I mentioned above, the score for this Ballet was written by Hong Kong composer Seen-yee Lam. She is a very gifted composer who has won many awards for her film scores, her popular music scores, her television drama scores, and her scores for ballet. Beauty and The Beast was scored for orchestra and tape.
The scenery for Beauty and The Beast was designed by Ivan Cheng and the costumes were designed by Domy Reiter-Soffer.
I am quite sure that everyone is familiar with the plot of this story, so I will not dwell too much on that. From the outset, Igor Vassine, who danced Belle’s father, and Belle herself, danced by Sharon Wehner, were absolutely incredible. This also applies to Ruby and Opal, Belle’s sisters, danced by Maria Mosina, and Sayaka Karasugi respectively. I had the great good fortune of being invited to a rehearsal, and I was struck, then, by the intensity of these dancers, and I wondered if this intensity would be transmitted to the audience at the performance. It certainly was. Again, I must point out, that I have never seen such intense dancing with all of its powerful emotions in any ballet. The dance movements, even though it was classical ballet, were so descriptive that one could understand the story without ever having heard of it before. When Alexi Tyukov entered the stage as Belle’s egotistical admirer, one immediately knew his personality because of the way he danced.
Even the costumes reflected the attention to detail by Reiter-Soffer. For example, Janelle Cook, who danced two roles, that of the Sorceress, and that of the Goddess of the Forest, had, of course, two different costumes. Her costume for the Sorceress was all black except for two red slashes on the top of each long sleeve. The stage was relatively dark as she danced, but the lighting emphasized the red slashes, so that when she changed the handsome prince into the Beast, it seemed that the red slashes were producing the energy. Her dance movements emphasized the evilness of her character. When she was the Goddess of the Forest, her costume was light and airy, and that is precisely how she danced that role.
It truly seemed to me that everyone in the Colorado Ballet was totally infected by their own imagination. And after watching them at the rehearsal, it is clear that they had the highest respect for Domy Reiter-Soffer and Gil Boggs, as well as Ballet Mistresses Lorita Travaglia, and Sandra Brown. It truly seemed as if the entire company was anxious to try something new and that they found this avant-garde music and demanding choreography truly exhilarating and exciting.
One of the most poignant duets I have ever seen danced in any ballet was in the second act when Belle, the Beauty, realizes that the Beast, danced by the remarkable and expressive Dimitry Trubchanov, is not so evil after all. They danced with their hands only inches apart, but they never touched each other. It was clear that the Beast was falling in love with her, as it was equally clear that she was beginning and yearning to understand him. As I stated above, this was classical ballet, but it was like nothing I have ever seen, because the movements were so very subtly different. Domy Reiter-Soffer told me that he referred to this duet as the “No Touch Duet.”
I must also point out that the Colorado Ballet Orchestra under the direction of Maestro Adam Flatt performed superlatively. There are only three violins and three violas, two cellos, two bass, one flute, one oboe, one bassoon, one clarinet, and one French horn. They are never out of tune, and they are always exciting to listen to. Since this production was for orchestra and tape recording, I don’t know for sure if Maestro Flatt also ran the tape (really a CD). I would imagine that he had to be responsible for that, though I forgot to ask him when I spoke to him after the performance.
I might also add that I had the opportunity to speak briefly with two of the dancers after the performance; Janelle Cook and Dmitry Trubchanov. It was almost a shock because they were normal human beings without any magic whatsoever. Such was their amazing dramatic ability on stage and their tremendous gift to their art. But I must say that the entire company is that way, because once they took the floor at the rehearsal, all of them transformed themselves into magical beings.
Filed under: Reviews | Tags: Adam Flatt, Dana Benton, Dimitry Trubchanov, Don Quixote, Gill Boggs, Igor Vassine, Jack Lemmon, Lorita Travaglia, Maria Mosina, Sandra Brown, Sayaka Karasugi
The use of the word “Wow!” is probably considered not very sophisticated, and quite possibly uncouth, in refined circles. In academic circles, most likely it should be avoided completely. After all, in undergraduate school and graduate school, I was always taught to be very objective and concise and totally un-emotional in my academic writing. But I have to say that during Friday night’s performance of Don Quixote by the Colorado Ballet, the word “Wow!” with its attendant exclamation point came to mind quite often. I may have even mouthed the word.
The Colorado Ballet has come so far in the last few years that it is almost unrecognizable in comparison to its earlier days. Artistic Director, Gill Boggs, Ballet Mistresses, Sandra Brown and Lorita Travaglia, have had a profound effect on this organization which is headed by Executive Director, Jack Lemmon. And of course, the other name that is so deserving and equal in importance to the people I just named, is Music Director and Principal Conductor, Adam Flatt. Not to insult anyone’s intelligence, but many people do not understand how difficult it is to conduct a ballet. The conductor has to honor the composer’s intentions, and he also has to honor what the dancers are capable of, for example, when it comes to tempo. The conductor has to keep an eye on the score and the orchestra, but he also has to keep an eye on stage so that when a dancer comes back down from a grand jeté (a step where the legs are thrown ninety degrees with a corresponding high jump. The grande jeté is always preceded by a preliminary movement which gives impetus to the jump.), he can cue the orchestra for its entrance or rhythmic jab to coincide with the dancers foot touching the stage. Keep in mind that every performance is different, and every dancer is different, so that the length of time they stay in the air before landing changes all the time no matter how hard they strive for consistency. The conductor’s job is not easy, but Mr. Flatt makes it appear effortless.
And while we are talking about consistency, let me mention that is what the Colorado Ballet has. There were several instances, not involving dance steps, but handclapping and finger snapping where the entire corps was absolutely together. And of course, the corps’ dancing was total precision. That’s what every ballet company strives for, but I have rarely seen it. This is a very high tribute to the Artistic Director Boggs and the Ballet Mistresses Brown and Travaglia. And by the way, do any of you remember the old days of ballet and ballet programs, when the Artistic Director and Ballet Mistresses were listed up front with the dancers? It should be done today as it was in this program.
The choreography for Friday’s performance was essentially that of Marius Petipa. Petipa (1822 – 1910) was born in France but traveled to Spain where he was employed by the King’s Theater. He eventually signed a contract to be the principal dancer at the Imperial Theater in St. Petersburg, where he remained for the rest of his life. In 1854 he became the instructor at the Imperial Ballet School and continued to dance and re-stage the ballets. Then, in 1862, he was made the Chief Choreographer, a position which he held for almost fifty years. The trademark of his classic choreography is concentration on the dance and little attention to the dramatic content. As emphasis on dramatic content began to increase, his style began to fall out of favor, and yet he is still considered one of the best choreographers who ever lived. Friday’s performance by the Colorado Ballet most certainly had a pronounced dramatic content.
The music for Don Quixote was written by Ludwig Minkus. Minkus was an Austrian composer who spent most of his time in Russia as the official composer of the Bolshoi Theater in Moscow. His compositions were almost exclusively ballets (similar to today’s Webster Young), and he wrote over twenty. His ballet music is characterized by clear dance rhythms and very expressive melodies, which were different from his great contemporary, Tchaikovsky (can you imagine yourself as a ballet composer and having Tchaikovsky as a contemporary?). However, his ballet music has always been appreciated. After spending 11 years in Moscow, he took a position in St. Petersburg where he composed until 1891 when his position was eliminated. He found it very difficult to live on the pension that he was being paid in Russia, and he returned to Austria where he died in abject poverty at the age of 91 in 1917.
In Act I, in the first pas de deux, it was readily apparent that both Maria Mosina as Kitri, and Igor Vassine as Basilio were incredibly well matched. Vassine demonstrated great strength to accompany his gracefulness, and really that is what technique is – it covers everything, both dancers possess it: strength, grace, remarkable confidence (think how easy it would be to pull a muscle or break something if it is not done properly, or that there is a split second of hesitation), and remarkable rhythm. As I watched them, and also Sayaka Karasugi as Mercedes and Dimitry Trubchanov as Espada, I was struck by their ability to work together. Every movement and gesture must communicate something. It reminded me of performing a two piano concert – everything must be concentrated in the same direction and to the same goal. These four dancers were superb. Adam Flatt’s energy as a conductor was received and returned by them, and it was obvious that everyone was working toward a common purpose.
Act II takes place in a gypsy camp where Kitri and Basilio are hiding. Chandra Kuykendall who danced the role of the Gypsy Queen was breathtakingly wonderful. But I must tell you, that I was astonished at the performance of Dana Benton who danced the role of Amour. Several time she executed what is known as a pas de bourrée couru, which is a series of small, even steps with the feet very close together. I have never seen it done so quickly – and she was smiling all the time. How does one smile when doing something so difficult? The orchestra was exceptional in this act.
In the final Act III, the celebration of Kitri’s and Basilio’s wedding, Dimitry Trubchanov as Basilio’s friend, Espada, executed several large leaps which reminded me of Merce Cunningham, who I regard as probably the finest choreographer in the world. But you must understand that all of the soloists that I just mentioned and all of the corps were equally fine and rewarding to watch. All are virtuosos. They are fantastic dancers and very good actors, and they genuinely communicate.
One aspect of Friday’s performance at which was quite obvious was the ability of all of the soloists and the entire corps to communicate through their acting ability, aside from their remarkable dancing ability. Kevin Aydelotte, who played Don Quixote, is not required to do much dancing, but he certainly did a great deal of acting, and was very successful in allowing us to see Don Quixote as a sympathetic and kind individual caught up in his dreams and a constant search. Joey Wishnia was equally effective as a Sancho Panza, and so were Ken Street as Lorenzo, and Gregory Gonzales as Gamache. So many times I have seen a ballet where the dancers, and everyone involved in the production, are solely concerned with dancing and not concerned with giving the audience a character with which to share emotions.
In a review that I wrote last year about the Colorado Ballet, I said that this company had finally arrived after so many years of struggle. That may turn out to be an understatement. It is such a fine organization that is difficult for me to imagine that they still have to rent scenery and sets from other ballet companies around the nation. If the Louisville Ballet (from whom the Colorado Ballet rented the Don Quixote set) can have their own scenery and sets which they rent to the Colorado Ballet, why can’t we have our own? Now I am aware of all of the answers to that question, but consider this: Denver’s six county metro area population is slightly over 2 million. Louisville, Kentucky’s population is roughly 1.4 million. We have a better symphony and many community symphony orchestras, and I will wager that our ballet company is superior to theirs. I know that times are tough for everyone, and the people who form the organization of the Colorado Ballet work incredibly hard. Can’t we give them more support? The Colorado Ballet no longer has to prove itself as an organization.