PNB presents ‘A Midsummer Night’s Dream’…surprise! I went.

10 Apr

So I did the unthinkable…I went to see Pacific Northwest Ballet’s A Midsummer Night’s Dream, coincidentally, exactly one week after the anniversary of The Dream’s premiere and my birthday.  My fellow Ashtonians may be shocked, but not to worry—my dedication to The Dream hasn’t wavered, despite some new perspective on Balanchine’s interpretation of Shakespeare’s play.  For starters, I’ve only seen the DVD of La Scala’s production, and we all know that a live performance is an entirely different experience.  Inevitably, as a balletomane I had to give the live version a chance and make an honest effort at being open-minded.  It helped immensely that my two favorite dancers with the company, Lucien Postlewaite and Carla Körbes, danced the principal roles of Oberon and Titania (my “dream” cast, pun intended).  It was also something of a special occasion as this run of Midsummer serves as a means to an end for a few principal dancers who will officially retire at the end of the season.  It’s almost eerily poetic in a way, to use Midsummer as a farewell given the plot itself and how it’s all about returning to reality after a whirlwind fantasy, which is very much what a ballet career can be like.  Or so I assume.

It made for quite the occasion, as three of the dancers that are retiring (Olivier Wevers, Ariana Lallone, and Jeffrey Stanton) all performed major roles and the audience was quite sentimental about it, really embracing “their dancers” (to the point where some of the things they were applauding were a little ridiculous!  The saut de chat is a beast, yes, but that doesn’t necessarily mean every single one is extraordinary!).  Though they all danced incredibly well, it was one of those moments where you realize the best dancing transcends technique by virtue of that mystifying relationship between performer and audience.  In fact, I was jealous!  Ballet was not a part of my life until adulthood and I haven’t lived in proximity to a large ballet company long enough to establish that kind of sentimentality.  Even though I found it odd that the applause was so generous, it was also endearing in how pure it was; the audience was just enjoying the whole moment, not caring whether something fell under good or brilliant, or whether they even liked the ballet or not.  Moments like these really are far too few, and things to be cherished.

That being said, Balanchine’s Midsummer still makes no sense to me.  There were also times where I felt that Balanchine really just didn’t use the music well, and I’ve concluded that for much of it, he stuck too literally to the story, which doesn’t work without the dialogue.  However, some things were much better this time around, like PNB’s set designs, which are absolutely stunning.  La Scala’s sets pale in comparison, resorting to very plain backdrops, whereas PNB frames the stage with huge painted roses, a glistening spider web, trees, and other elements that add to the fantasy (the giant painted frog I could have done without…but, okay).  As for Act II, the triple wedding of Hippolyta/Theseus, Helena/Demetrius, and Hermia/Lysander, it is of course still out of place, as Balanchine basically crammed the entire story of Midsummer into the first act, and decided to incur some kind of temporal anomaly to make for a lengthy wedding scene.  Artistically I find this an odd decision because it devotes a lot of emphasis to the wedding, which has very little significance in the play, however, the sets again made a huge difference; with garlands, columns, and a starry sky, the atmosphere was far more romantic.

If I think of Act II as a completely different ballet, like a Symphony in C, I have a much easier time accepting it.  Regardless, the PNB dancers really delivered a beautiful performance with the Divertissement Pas de Deux and their entourage pas de six (six couples that is, so twelve dancers).  Though the Divertissement Pas de Deux has absolutely nothing to do with the story, it is quite possibly, one of the most beautiful pas de deux Balanchine ever choreographed (and no, my dedication to the Tchaikovsky Pas de Deux has not wavered either…but this one is definitely up there).  Last night’s performance featured Wevers and Kaori Nakamura (her return to the stage after going on maternity leave), who have known each other for many years not just at PNB but also the Royal Winnipeg Ballet (where they also danced with Alexei Ratmansky by the way).  The chemistry was a wonderful balance of genuine love and trust, perfectly matched to some of the subtlest choreography I’ve ever seen by Balanchine.  The brightness of the stage was toned down from a starry sky to a crescent moon, and the quiet strings provided an utterly utopian nocturne (for my fellow music geeks, it’s an interpolation of the Andante from Mendelssohn’s Sinfonia for Strings no. 9 in C Major).  It’s the epitome of serenity and tranquility, in many ways serving as the perfect farewell for Wevers and Stanton (who is partnering Körbes), as night falls on their stage careers.  In a word, it was unforgettable, and I feel so lucky to have been in the audience for it.

Meanwhile, I don’t have to sing the praises of Carla Körbes’s Titania, because you already know I’m going to tell you she’s flawless.  The lovely port de bras, her beauty, her expressiveness…she just has a special glow.  Lucien Postlewaite is also amazing as Oberon, being in my humble opinion one of the most well-rounded dancers with the company and having a gummy bear plié.  Seriously, he lands so softly it’s not fair…though he took a little spill during his Act I solo, which is an absolutely wicked display of bravura steps.  Maybe he gets really nervous if I’m watching…or maybe the truth is they’ve been having issues with the floor, as the tape is apparently very slippery.  Isn’t it ironic how one of the few spots where he had to land in a tight fifth position, which, if you think about it, is a spot so small it’s a decimal percentage of the stage, also happened to be covered with slippery tape?  It’s like a stilt walker slipping on an olive…but he wasn’t the only one, because another dancer took a spill in the same spot, which was less noticeable because it was Lysander getting flung around by Puck during one of the confusion scenes.  May you never look at a dancer falling the same way again!  Here’s a video too where you can get some glimpses at the aforementioned wicked solo (and the giant frog):

Speaking of Puck, Jonathon Porretta was brilliant and absolutely hysterical (overall PNB “got” the humor in performance much better than La Scala did on film).  What was also funny was the woman behind me, who I think had a Russian accent and said “oh, Jonathon Porretta, I love HIM.”  Especially with the accent, how fabulous is that?!  I wish I could have heard more, but then she started speaking to her friend in Russian and alas, I could no longer understand.  She was also far less enthusiastic about Postlewaite, and I wanted to turn around and be all “oh no you didn’t!” but then I realized I would have looked like a crazy person.  Although, like I always say, we’re an eclectic bunch up in that balcony—who else would manage to give himself a paper cut on the program during intermission, and ask one of the bartenders for a napkin to stop the bleeding?  Right…that was me, and beside the point.  Despite being an Ashton junkie, I really did enjoy myself and hey, Wevers himself told me that he danced The Dream at Winnipeg, and liked it better so even in my darkest hour (which wasn’t that dark) Sir Fred smiles upon us.

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6 Responses to “PNB presents ‘A Midsummer Night’s Dream’…surprise! I went.”

  1. Henrik from Tights and Tiaras April 11, 2011 at 3:34 am #

    Steve, you are just ace!
    Great post! You have a real talent for writing reviews, something I really feel I lack. Keep up the good work, and see’ya around twitter 😉
    H

    • youdancefunny May 24, 2011 at 1:30 pm #

      I totally forgot to respond to this ages ago, but thank you Henrik!

  2. David from DaveTriesBallet April 11, 2011 at 5:29 am #

    Awesome post (as ever) Steve! As Henrik said, you have a real talent for reviewing – you manage to get a nice mix between talking about the Ballet, the dancers and the overall experience. It looks a great production, but I think I’ve got to agree with you that The Dream is the better adaptation…
    David

    • youdancefunny May 24, 2011 at 1:31 pm #

      You’re preaching to the choir…or should I say, corps de ballet? No that doesn’t make sense…anyway, a belated thanks Dave!

  3. Lisa April 25, 2011 at 6:53 am #

    Amazing post! A Midsummer Night Dream is one of my favorite performance of all time… all stems from reading the book in grade school. Thank you for the lovely review. I actually also found this blog post about dance which I feel might interest you.
    http://claremunn.com/2011/04/cq-of-dance-movement-helps-connection-and-communication/comment-page-1/#comment-1928
    Thanks!

    • youdancefunny September 7, 2011 at 4:25 pm #

      A belated thanks for commenting! I’m glad you enjoyed reading! 🙂

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