Filed under: Reviews | Tags: Adam Flatt, Ben Stevenson, Catherine Sailer, Christopher Moulton, Cinderella, Colorado Ballet, Dmitry Trubchanov, Francisco Estevez, Gil Boggs, Janie Parker, Kevin Gaël Thomas, Klara Houdet, Lorita Travaglia, Maria Mosina, Michelle Orman, Morgan Buchanan, Sandra Brown, Sergei Prokofiev, Sharon Wehner, Shelby Dyer, Tracy Jones, Viacheslav Buchkovskiy
As I have often said, Artistic Director, Gil Boggs, of the Colorado Ballet, has assembled an organization that is truly superior in the world of dance. This was clearly demonstrated Saturday, February 16th, at their performance of Sergei Prokofiev’s marvelous ballet, Cinderella. The artistic staff of the Colorado Ballet, aside from Gil Boggs, is as follows: Sandra Brown, Ballet Mistress; Lorita Travaglia, Ballet Mistress; Maestro Adam Flatt, Music Director and Principal Conductor; Maestra Catherine Sailer, Associate Conductor; Ben Stevenson, Choreographer; and, Christina Giannelli, Lighting Designer. This season’s performance of Cinderella was staged by Janie Parker.
Sergei Prokofiev (1891- 1953) breathed new life into the symphony, the sonata, concerto, and most certainly, the ballet. Early on, Prokofiev tried to duplicate the success that his older countryman, Sergei Rachmaninoff, had had in the United States. Prokofiev himself was a brilliant pianist, but for some reason he was not met with the same reception. His first ballet that became an international success was Romeo and Juliet, but many of his other works were met with extreme hostility from the cultural ideologues of the Soviet Union. He was called before the Supreme Soviet and told that his music was bourgeoisie, and did not reflect proper Soviet culture. His works were banned from performance. Part of the reason for this was that his music was filled with harmonic deceptive resolutions, the use of modes simultaneously with major and minor, disjunct melodic lines with surprising twists and turns, and, at times, dissonances that were, as he labeled it, used in effort to “tease the geese.” In other words, annoy those who had banned his works.
Cinderella closely adheres to the tail written by Charles Perrault. All of you readers know the story, having heard it many times in your youth. Prokofiev, in his ballet, emphasized comedy, as well as love, compassion for others, and the yearning to do, and be, something different.
The two mean stepsisters are always played by males in this ballet in order to emphasize their ugliness and the obstreperous behavior. Saturday evening, Francisco Estevez and Christopher Moulton danced the two stepsisters to perfection. They were ill-dressed, rowdy malcontents who were abusive to their stepfather and stepsister. Dmitry Trubchanov danced the role of the Father, and Lorita Travaglia danced the role of the Stepmother. Sharon Wehner danced the role of Cinderella, and though I have seen this ballet several times, I have never seen anyone infuse the role of Cinderella with so much emotion, whether it be poignancy or absolute joy. It truly made me think that she and Choreographer Ben Stevenson were absolutely on the same wavelength, with every movement she made. Every movement she danced, she described Cinderella.
Act I is used to introduce the audience to all of the characters, and every dancer onstage accomplished that with aplomb. The fairy godmother appears toward the end of the act, and was danced by the remarkable Maria Mosina, whose graceful arms never stop moving when she dances.
The sets were through the courtesy of the Texas Ballet Company, and I immediately thought that the Colorado Ballet deserves their own sets. Yes, that would be enormously expensive, but this ballet company is of the ilk that they should have them. Cinderella’s coach, which thankfully did not look like an enlarged pumpkin, was a total work of art, and the horses in special costumes, were a stroke of visual genius. In addition, the transformation of the set from Cinderella’s living room to the woods where her Fairy Godmother transforms her into a Princess was absolutely magical.
From the very outset of Saturday evening’s performance I was struck by the Colorado Ballet Orchestra. I don’t think, and I say this without exaggeration, that I have ever heard them perform better. Understand, that Prokofiev’s music, because of his highly individual style, is difficult for an orchestra to play because it is sometimes impossible to anticipate where the melodic line will turn next. But the emotion expressed by the dancers was strongly supported and reflected by the orchestra.
Act II is comprised of The Ball. The Jester, danced Saturday evening by Kevin Gaël Thomas, introduces and welcomes the arriving guests. Their reaction to the ugly stepsisters was priceless. Upon the arrival of Cinderella, she and the Prince are smitten with the immortal love at first sight. Cinderella and the Prince, danced by Viacheslav Buchkovskiy, danced a wonderful and impassioned pas de deux which was one of the highlights of the evening’s performance. These two dancers were totally superb, as is everyone in this company. I have often said, and I mean that sincerely, that every single dancer who appears on stage for the Colorado Ballet could be a soloist. The depth of quality is astounding. When the clock struck twelve, Prokofiev allows the trombones to become powerful and threatening. I’m quite sure, judged by the sound, that Maestro Flatt told the brass to sneer and growl.
Act III concerns the prince’s search for the love of his life, who completely disappeared at the end of Act II. He searches far and wide. He and his servants ask all the cobblers who made the shoe that Cinderella dropped. While he is searching, Cinderella takes the other slipper from her apron pocket, and realizes that her memories of the ball and a handsome Prince were not a dream after all. The Prince arrives at the household, and the two stepsisters try on the shoe to no avail. Cinderella helps her stepmother to try it on, and while she is doing so, the other slipper falls from her apron. The Prince realizes that he has found his princess, and the two live happily ever after.
As I have said, I have seen Prokofiev’s Cinderella several times, but this is the first time where I was so taken with the shared artistry between the orchestra and the dancers. In the forest scene, where the Fairy Godmother transforms Cinderella, the Spring Fairy, danced by Klara Houdet; the Summer Fairy, danced by Tracy Jones; and the Autumn and Winter fairies, danced respectively by Morgan Buchanan and Shelby Dyer, were strongly supported by the excellent clarinet work of Michelle Orman in the orchestra. Small details, such as the transformation of the moon into a midnight clock, added to the magic of the performance. When the guests at the ball were given oranges as special treats, the orchestra seemed to emphasize the theme for the oranges, so that those familiar with Prokofiev’s opera, The Love for Three Oranges, was clearly recognizable.
It was a magical evening in every sense of the word. The adults in the audience sat transfixed, and the youngsters in the audience laughed delightedly with the antics of the stepsisters. Everyone gasped in almost terror and surprise when the clock began to strike twelve. Saturday evening’s performance was a complete artistic amalgamation where dancers, choreographer, and musicians worked together in a convincing artistic union.
There are more performances. You must see this ballet.
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