DANCE REFLECTIONS VAN CLEEF & ARPELS
Nov 2, 2023PAUL TAYLOR DANCE COMPANY GALA
Nov 7, 2023Review by Celia Ipiotis
Spellbinding is the only word to describe Frederick Ashton’s ballet Dream based on Shakespeare’s “A Midsummer Night’s Dream.”A superb cast led by David Camargo (Oberon), the effervescent Cassandra Trenary (Titania) and flighty Elwince Magbitwang (Puck) spun magic with their elegance and pizazz!
Distilling Shakespeare’s tale of mismatched couples, a merry band of actors and the fairy kingdom, Frederick Ashton clarifies the story through Mendelssohn’s ravishing score arcing over poignant violins and starry vocals.
When Oberon desires his Queen’s Changeling, all manner of mischief ensues. Confronting Titania, the two exchange leg kicks and leaps in a sort of balletic “Anything you can do I can do better…” With the help of Oberon’s sideman, Puck, and a bright red narcotic flower, Bottom (Melvin Lawovi) transforms into a donkey, and 4 lovers become mismatched couples and mortal enemies.
But the real beauty is in the cast’s execution of Ashton’s exquisite choreography. Camargo perfectly deploys a regal arrogance expressed through long, extended arabesques, precise footwork, and commanding leaps. Trenary’s radiant suppleness allows the music to cascade through her body and bubble over in the shimmering shoulder ripples. A palpable chemistry surges between Trenary and Camarago, as well as with Camargo and the impish Magbitwang.
Constantly buoyed through the air in bounding jump after jump over feathery kicks, Pucks spins and swirls, mischievously grinning while disorienting all in his path. And when, through Puck’s trickery, Lawovi is turned into a donkey, he becomes the apple of Titania’s eye while dancing amiably on pointe.
There are moments when the choreography so poignantly meshes with the music it makes you weep. An extended foot traces a languorous semi-circle on the floor, while an arm reaches back over a softly arched back. So simple, yet so articulate.
George Balanchine’s grand Ballet Imperial opened the evening. Originally choreographed in 1941, the tutu ballet resounds with Imperial grandeur. Large ensembles form daisy chain patterns breaking apart for the lead couple and secondary roles: the technically strong Christine Schevchenko along with Calvin Royal III and Chole Misseldine. Competent in their roles, Royal and Schevchenko lack connective vibes. A bit unbalanced in the beginning, the normally unflappable Schevchenko finally comes into her own near the very end of the ballet when she whips off defiant fouettes and a string of pique turns.
Another dancer who always catches the light is Summi Park. Her lyricism and freedom embellishes every role.
EYE ON THE ARTS, NY — Celia Ipiotis
