© Dale Stokes City Ballet of San Diego 'Raymonda Variations' reviews 'Raymonda Variations' reviews recent City Ballet of San Diego reviews more Anjuli Bai reviews Discuss this review (Open for at least 6 months)

“Raymonda Variations” opened the evening and though Wistrich was the only choreographer credited, certainly enough of Petipa’s choreography remained, most especially in the ballerina’s signature “Hungarian Variation,” that he should have been mentioned.

The costumes, by David Heuvel, were lovely. A glistening lace overlay on fluffy wide tutus, off the shoulder scallops, attractive headpieces, all in soft pastels. On a bare stage under a single chandelier, the dancers were seen to advantage. I am not a fan of discus platter tutus and it was a pleasure to see a costume that moved with the flow of the dancers. However, being the old fashioned classicist that I am, ruffling of the tutu panty was a visible lack in several split lifts. The men were in white tights and mauve-ish jackets. Everyone was neat and tidy.

The dancing was neat and tidy, too – but not quite truly at home with the Petipa era classicism. The dancers looked impressed with the classical formula rather than at ease with it. It doesn’t look “bone of their bone.” In the ensemble sections, everyone was together, doing the same thing at the same time, but not always in the same way. There needs to be a discussion as to where the arabesque should be in space – how high – or low. So while all the arabesques – or sissonnes – happened at the same time, it was not always in the same place in space. This difference showed up most in the contrast between the first line of dancers and the second line in the Pas de Dix. In the coda section during the very fast series of de coté pas de bourrées some lost the crisp edge that makes this sequence a challenge. Though the tempo rips along, if the dégagé is not fully extended the effect becomes smudgy.

The Raymonda Grand Pas de Deux, danced by Ariana Samuelsson and Gerardo Gil was more than adequately acquitted, but when he had to lift her from pointe, during which she couldn’t aide him with the impetus of her demi-plié, the effort was visible. I don’t want to leave the impression that the Grand Pas de Deux was not admirable – it was.

“House of Alba” is based on the Garcia Lorca play “House of Bernarda Alba” and is a totally dark drama, bathed in black dress, mood and outcome. A household of five sisters dominated by a macabre matriarch dares to assert themselves in various ways – passively by not obeying and overtly by reaching out for a life outside. Though the most errant daughter, Adela, danced by Ariana Samuelsson, is dressed in white for the second scene, the mood is still black.
 

A beaded entry way center back, facades of walls and stark chairs lined up the inhabitants of this imprisoned world, allowed escape only through marriage arranged by the mother. It was unwanted by the chosen daughter and forbidden to another. All of the dancers carried the intense drama to the conclusion of a murder and suicide. Of special note was the passively resistant Augustias (Megan Coatney), the snitch Magdelena (Mira Cook) and Pepe el Romano (Richard Bowman) as the rough edged suitor. The relentlessly clangorous music, crashing, clashing, bashing both dancers and audience, relieved only occasionally for very brief interludes with softer but never pleasing sound, threatened to overwhelm the dance by distracting the viewer: at least this viewer.

“Two Fold” the first choreographic effort of Mira Cook shows the promise of a young talent. She used her dancers well, in different groupings, utilizing the stage space and made interesting floor patterns. They were dressed in black mid thigh trunks, lighter tank tops, bare legs and ballet slippers. Freed from the constraints of tutus and pointe shoes as well as a story or strict balletic structure, they enjoyed themselves and brought the audience along with them. All in all it was an emotional relief from the preceding piece, but it also stands alone in its integrity. And, it was the right length – a good choreographer knows when to end. Always better a little too short rather than a little too long. The music credited to Cook was engaging.

“Strawfeet” choreographed by Wistrich is anything but. This piece would be a challenge to any company. In black stirrup tights and tank tops, on a bare stage there are no distractions from the dancing. Everything is edgy and crisp and at speed. If there’s any negative at all it is the constancy of the tempo. There is no contrast betwixt allegro and adage, but the choreography is endlessly inventive obeying no set formula – not predictable. What really makes it work is the obvious dedication, ability and enjoyment of the dancers in performing this challenging work.

Finally, while the company handles with aplomb such works as the last two ballets, and can carry the drama of the Alba piece, it is less at home with a more purely classical ballet such as Raymonda. It doesn’t come from the inside out – but rather looks more like carefully planted on. It’s almost a genetic thing: the training is there, the DNA not quite. In the dual worlds of Balanchine or Petipa – these dancers seem much more comfortable with the former rather than the latter. But I add the caveat – “so far.”

The Kroc Theatre is a mid size venue seating several hundred, but was not nearly full. The company deserves better. This is not a school recital; it is not an end of year school showcase, but a company performance. To my knowledge they do not import stars to boost attendance, or use the school so parents will automatically come, but instead rely on their roster of approximately 16 plus dancers. This is more than adequate to field a stage of worthy dancers and present a well rounded full evening of dance.