Eifman 'Tchaikovsky' reviews Arbuzova in reviews recent Eifman reviews more Anjuli Bai reviews

Because of the skill of both the dancers and the choreographer, bare feet and pointe shoes happily occur simultaneously on stage. It seems a natural coupling of a once unthinkable marriage. There is no mistaking the technical skill and artistry of these dancers. They are totally convincing as they are swept along on the waves of Tchaikovsky's rapturous music.

The role of Tchaikovsky, danced by Albert Galichanin, is a tour de force both technically and artistically. He is onstage almost every moment of the entire performance. His symbiotic alter ego, danced by Alexey Turko, another tour de force, alternatively reflects and rejects the composer's moods and memories. The other principal characters: Vera Arbuzova as Nadezhda von Meck, Natalia Povorozniuk as Tchaikovsky's Wife; and Sergei Zimin as Youth/Prince/Joker, all added depth to the protagonist's portrayal.

Slava Okunev's simple but effective costumes, set and props: a chair, a table, a narrow bed, evoked the agonized recollections and repentance of this most creative but tormented composer. A backdrop of two golden columns enclosed a portal upon which scenes from his life were occasionally projected emphasizing the otherwise empty stage. There is so much pain here. One can't help but wonder if Tchaikovsky, who has given us so much beauty and pleasure, did not himself enjoy any.

A particularly compelling moment has the composer sitting forlorn downstage whilst at a free standing ballet barre a dancer sketches his daily dance regimen of exercises. In this poignant scene we are reminded of the wondrous mating of these two art forms: music and ballet, the chicken and the egg. Would there have been as creative a Petipa if not for an equally glorious Tchaikovsky? What a wealth of an inheritance we have been bequeathed! And yet the composer seems the loser, his unhappiness fills the stage.

As a representation of one of his creative jewels, a gaggle of swans comes to sooth him a la "Swan Lake". They come not only to help him but to once again remind us of the debt of gratitude we owe the composer for his creations that enabled Petipa. This particular corps of swans, however, didn't seem entirely comfortable within their swan personas. Noisy pointe shoes didn't help. There was an angularity of port de bras that never quite made it into the rounded shapes of classical ballet. But, perhaps, it is the nature of fevered dreams to distort the beauty.

In a scene during the first act, the corps de ballet comes on stage as ladies and gentlemen in the proper period dress for Tchaikovsky's time. They carry open umbrellas as part of the accepted dress fashion. This reminded me of the use Alvin Ailey made of umbrellas in "Revelations." Indeed, I see much in common between Ailey and Eifman. Each seems to prefer to explore the use the power of male dancing. Never are they so free as when using men as the choreographic palette. And both are blessed with a stage full of male talent. Whether Tchaikovsky's music is sweeping or percussive Eifman demands and gets, versatility, strength and conviction from the male members of his company. The women are in no way less adept, but the choreographer seems more at home demanding from the men.

Also Ailey-esque, Eifman explores the milieu that moves him and his emotional response to his inheritance: Russian history, Russian dance and dancers and Russian music. However, Ailey knew how to use adagio movement to great effect and he juxtaposed it to further underline large movement. Quiet doesn't mean less effective or important. Eifman might consider this. Opposites do not only attract; they also enhance one another. Both Ailey and Eifman use irresistible music that could easily overwhelm less gifted choreographers and dancers. They all surmount the challenge. This is a ballet I would willingly see again.