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Review 1, 3-18: Don Q, Wrong Hue
New SF Ballet "Don Quixote" Misses Mark
By Aimee Tsao
Copyright 2003 Aimee Tsao
SAN FRANCISCO -- I wish
I could say that my dark mood in anticipation of war with Iraq was
dispelled by the premiere performance of "Don Quixote" by the San
Francisco Ballet this past Friday night at the War Memorial Opera
House. Dance has always provided me a means of escape from harsh
reality so that later I could return to the world a little better
able to cope. But this production, though with many bright, even
dazzling, moments from individual dancers, is not the transformative
shot in the arm I needed.
The history of the ballet
"Don Quixote," specifically the Petipa/Gorsky version, is long and
something of a stew that many cooks have tampered with. Now we are
served up with the latest staging, including additional choreography,
by Helgi Tomasson and Yuri Possokhov, artistic director and principal
dancer, respectively, and both choreographers in their own right.
This ballet based on a section of the novel by Miguel de Cervantes
had been set by numerous choreographers prior to Marius Petipa's
version in 1869, which he revised in 1871. Alexander Gorsky created
his own version, based on Petipa's, in 1900 and likewise revised
it two years later in 1902. The Russians continued to create new
versions based on the Petipa and/or Gorsky ones. Although the grande
pas de deux from the last act had been danced ad nauseam outside
the Soviet Union, it wasn't until 1962 that a complete production
was staged in the West by Witold Borkowsky for Ballet Rambert in
London. Soon after, in 1966, Rudolph Nureyev created his version
based on Petipa and Gorsky for the Vienna State Opera Ballet, which
was then revived for the Australian Ballet in 1970, and released
on film in 1973. The other version, well-known in America, is Mikhail
Baryshnikov's for American Ballet Theatre from 1978.
The Tomasson/Possokhov
production suffers from timidity in many realms. The most important
aspect of this ballet, regardless of country or ballet company,
is that it should be filled with sharp contrasts -- from the high
technical demands of the dancing for Kitri and Basilio to the folk
dance simplicity of the corps de ballet, from the ribald commedia
dell'arte of the plot to the purity of the dream sequence, but all
performed with vibrancy and conviction. San Francisco Ballet's attempt
misses the mark all to often.
I am not yet disappointed
after the curtain rises on the Prologue. Benjamin Pierce as Don
Quixote uses his face and hands well in the mime, a very nice surprise,
as SFB has generally not shown strength in this area. But Pascal
Molat as Sancho Panza absolutely wins me over. He is animated from
hairline to toenails, shaping the character as on not-too-smart,
yet agreeable rascal. Molat understands both understatement and
exaggeration and has perfect comedic timing.
With Act I, in the town
square in Barcelona, the troubles begin. Immediately, it is clear
that the costumes won't do at all. The corps de ballet is all pastel
colors, in perfect rows of ruffles by Jens Jacob Worsaae. Where
are the saturated colors, the dramatic lines that the Spanish setting
demands? Originally designed for the Royal Danish Ballet in 1983
and on loan from the same, the costumes do nothing to create the
atmosphere of hot-blooded Mediterranean people. I had always assumed
that I would never by bothered by Worsaae's designs again as he
died in 1994, but SF Ballet now has shown his work in its fourth
full-evening ballet, the others being "Swan Lake," "Sleeping Beauty,"
and "Romeo and Juliet."
However, Lorena Feijoo
and Joan Boada as Kitri and Basilio quickly make up for the deficiency.
Feijoo matches her fiery red costume with her dancing and Boada
instantly has the audience in his hands. As Gamache, the effete
gentleman suitor, Damian Smith is hilarious. He bustles about constantly
and I find myself watching him instead of the insipid corps de ballet,
which should be just as engrossed in their own stage business, instead
of standing around like a flock of English aristocrats at a tea
party. Have I been spoiled by such companies as the Bolshoi Ballet,
the National Ballet of Cuba and the Paris Opera Ballet, where everyone
on stage is in character and forming a vital backdrop to the main
action? There is no reason that SF Ballet couldn't bring itself
up to that level with some focussed coaching. The beautiful Julie
Diana could put a harder, sexier edge on her Street Dancer, more
like a whore in "Romeo and Juliet"; Vanessa Zahorian, as one of
Kitri's friends, is positively radiant.
The next major weakness
is apparent in Act II. The lighting is so dim that the costumes
blend into the background of the same colors and it's hard to see
what is happening. Peter Brandenhoff transforms himself so well
into the leader of the Gypsies that I don't recognize him for quite
some time. Sherri LeBlanc is her usual powerfully emotive self,
but is not served well by a bright white, formless peasant blouse,
and a long skirt which hides her legs too much. Don Quixote's Dream
has enough light to show a regal Muriel Maffre as the Queen of the
Driads and a heavenly Elizabeth Miner infusing her Cupid with warmth
and humor. Though now still a bit ragged, the corps de ballet will
hopefully settle in enough to show the same qualities they have
achieved in both "La Bayadere" and "Giselle," perfect unity and
effortless grace.
The third act comes
to a close with the sizzling pyrotechnics of the grande pas de deux.
Boada and Feijoo are both in their element. But it's the fouettes
that floor me. Feijoo easily finishes the thirty-two, but she does
it by doing two singles and then a double during which she opens
her fan, then closes it for the next two singles. I've never seen
anything like it, but I realize that her schooling has prepared
her for such virtuosity. (See my review of the National Ballet of Cuba, where all
three ballerinas in "Coppelia," including Feijoo's sister Lorna,
do amazing turns.)
There is always hope
that all the dancers, not just the main ones mentioned, can pump
up their delivery and overcome a rather sedate production. With
some real energy and verve, the shortcomings of the set design,
costumes and lighting of this "Don Quixote" could be relegated to
the inconsequential instead of being noticeable problems.
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