TULSA BALLET

Review by Celia Ipiotis

Set against a vista of trees rising in the Berkshire hills, Jacob’s Pillow’s outdoor stage gleamed in the perfect summer evening. Before the performance, Pam Tatge, the Pillow’s executive director, greeted everyone and introduced the Tulsa Ballet’s first appearance at the festival. Divided into 3 parts, the evening sandwiched a duet between two ensemble productions. 

Quirky and acrobatic, Pas De Deux from ODE (excerpt from a larger work) draws a wiry, edgy abstract outline to a score by Gabriel Prokofiev. Bracketed by asymmetrical poses and oddly compelling twists on the modern ballet lexicon, Regina Montgomery and Arman Zazyan entwine their bodies and bounce off each other. Caught between Zazyan’s broad plie, Montgomery perches on one knee then takes percussive, skittering side steps to the other knee. Altogether, the bracing duet leaves the audience eager to see more.

Celestial emissaries circulate in Andrew McNicol’s piece choreographed to an eclectic score by Mason Bates. Dancers in sky blue leotards veined in white weightlessly swirl in spherical shapes and effortlessly rise up over shoulders. In a particularly evocative  quartet, three males in. black shorts and shirts (Aubin LeMarchand, Edward Truelove and Fabia Raschitor) and one female (Nao Ota) counterbalance each other through molasses like magnetic pulls and pushes. At times Ota spins off on her own and the three men chug in a row of kinetic jostles that feed into duets of varying constellations. An inventiveness of motion and musicality sustains the work of this fine young choreographic talent.

Topping off the evening, Nicolo Fonte brings a lyrical, large scale piece that underscores the talents of the company. Well rehearsed, attractive dancers comfortably maneuver through all the choreographic permutations forming communal circles, wide swinging arms and legs flowing through an evening framed by art and nature.

EYE ON THE ARTS, NY — Celia Ipiotis