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Even as its slender seasons (2 performances per engagement) have diminished because of funding, Diablo Ballet manages to present live music for at least one ballet in each program and to dance with style and considerable appeal. This is the company’s eleventh season, which has seen progressive changes in the company’s roster. Fortunately, several original company members remain, in for the long haul.

Grounded chic was apparent in its inaugural fall program November 20 at the Dean Lesher Center for the Arts in Walnut Creek, where two ballets by different choreographers were given additional performances. This is not only common sense economically, it also lets the dancers develop some depth to their interpretations. I can’t think of anything more dismal for artistry than to perform a role twice, zip, another role twice, zip, etc. Particularly where the ballet offers some challenges to digest and absorb, the revolving choreographic door is dismaying to an audience as well.

In this instance, the opening ballet was Christopher Stowell’s A Revealing Glimpse Into the Obvious, danced to several Cello pieces by J.S.Bach and Benjamin Britten, adroitly performed by Dan Reiter. Stowell, now artistic director of Oregon Ballet Theater, took the beginning laying six dancers on the floor and proceeds in a semi-Balanchinesque style. They pick themselves up at varying intervals, linger or depart with dispatch, leaving one or two on stage to dance. A fair amount of the ballet is a study in relationships, set to the intriguing juxtaposition of Britten’s minimalism and pauses and the Bach’s sonorous versions of Gigues and Courantes.

The Magic Toy Store
(March 15,2002)

Nikolai Kabaniaev provides a different slant from Le Boutique Fantasque so neither Massine is bowdlerized nor Kabaniaev required to render a bad imitation. The result wears well, is entertaining, and fills the niche for children’s programs nicely while appealing to adults. Not least the libretto is designed so it can be danced by less than ten dancers.

Before the shop opens, The Soldier and Ballerina rendezvous from their separate boxes and dance a tender pas de deux. The Soldier gives the Ballerina a red flower. Both dolls disappear when they hear the Shop Keeper opening up for the day. The flower has been dropped; there is a skirmish to retrieve the flower from the shop keeper. Soldier and Ballerina flit around, but eventually return to their boxes.
 

A family of three enter and ask to look at dolls. The Shop Keeper presents the Waiter and the Devil dolls. Each doll moves its own cubicle back, forth and into formation when required. The Devil Doll provides the Mother with romping pas de deux. The Father axes the idea when the Mother expresses interest in buying the Devil Doll. The Soldier is brought out and engages in a duel with The Little Boy, who is duly enchanted. The Family agrees this is the Doll to buy. When the Soldier realizes he is to be removed from the shop, he breaks his sword. This requires the Shop Keeper to assure the Family he will make the necessary repair and have the Soldier ready for pick up the following day.

The Soldier is no sooner returned to his Box than the Little Girl and her Parents arrive - exhibit A of Boardwalk, American tourist variety, the parents played en traverstie. The Fairy Doll is exhibited; no takers; The She Devil lights up the space creating full-scale horror. The Shop Keeper, reluctantly, displays The Ballerina Doll, captivating the family. She also reacts when she realizes she will be sold, tearing off her tutu, revealing its leotard base. Again the Shop Keeper allays the family’s protests, promising the repairs will be made. The Shop Keeper departs with the errant props, quite puzzled.

Night falls with both Soldier and Ballerina Doll stricken with grief. The other four dolls size up the situation and try to console them. The grief occasions maneuvering with the dolls’ boxes.

The Devil Doll has an inspiration. There is a huddle and all retire to their prospective cubicle. Come the morning and the first family arrives. The proper box is wheeled forth, the door opened. The sword and the hat are there, but the doll is the Devil, who proceeds to brandish the weapon and terrorize the family into departure. The Shop Keeper is helpless.

In marches the second family, only to find the white tutu adorning the sleek red leotard of the She Devil, dancing her own degree of mayhem. Another family beats its retreat.

The Shop Keeper vanishes, confused and mystified. The dolls dance in triumph and the Soldier and Ballerina embrace.

While I remember the dynamic duo of Kelly Teo and Gretl Domingo and their devilish antics with enormous pleasure, the production now coheres and is performed with enormous spirit and elan. Bohnstedt and Pelaez provide us with a believable romance and excellent partnering and the rest of the cast give valiant interpretations. Kabaniaev’s Shop Keeper is wonderfully fusty, a close kinsman to Dr. Coppelius; Angene Feves remarked “He has the clarity I remember in Leonid Massine.” Fonnegra provided us with a touch of the quintessential waiter, while Erika Johnson’s Fairy Doll is a ditsy cousin to Barbie. Young Carina Brown played both young brats with spirit while Jonas and Torres gave full out renditions of parental stereotypes. Edward Stegge and Lauren Main de Lucia’s devilish characterizations were longer of leg, but not quite so totally impish as Teo and Domingo’s initial creations.