RSS 2.0 FeedMarch 3, 2010, Cover Stories, Dance
KC Ballet revisits collection of comprehensive works
The KC Ballet covered all the bases in its winter repertoire performance Thursday night at the Lyric Theatre. The Midwestern company, which is making a national name for itself, offered selections of ballet, contemporary, African and modern in a diverse showing.
The Kansas City Ballet covered all the bases in its winter repertoire performance Thursday night at the Lyric Theatre. The Midwestern company, which is making a national name for itself, offered selections of ballet, contemporary, African and modern in a diverse showing.
Opening the night was Piano Concerto #2, one of Robert Hill's earlier works set to the score of Lowell Lieberman. Although Hill did not create a storyline for the work, the powerful, emotive music seemed to warrant one on its own. The piece started off slowly with simple, repetitive steps and a dismal disposition. It did eventually pick up and showcased complex and impressive sequences technically challenging ala Balanchine.
Kim Cowen and Luke Luzika coupled as the main dancers and performed sensationally together. They completed the unique partnering steps with ease and excelled respectively in their solos. Luzika extended his lines remarkably well for a tall dancer - in addition to being light on his feet. Cowen, as usual, demonstrated superb skills tackling each step effortlessly. No matter the role, she makes it a point to connect to the audience and keep them interested with her amazing dynamics.
Rachel Coats also did a great job with the capricious choreography while remaining composed in the trio section. Charlie Martin and Michael Eaton, athough respectable dancers individually, do not share similar movement qualities and thus did not mesh together easily. The Corps could have utilized more expression and different costumes could have added integrity of the piece.
What the first act lacked, the middle piece made up for in plot, drama and presentation. The Moor's Pavane, created by world-renowned modern dancer José Limon, focuses on body language as opposed to technical dance steps. Fashioned after the pavane - a Renaissance-era dance inspired by the Spanish court - and loosely based on Shakespeare's Othello, Limon's work explores universal emotions and experiences that transcend cultures and time periods.
Each of the four dancers executed unbelievable portrayals of their character. Stefani Schrimpf, who played the friend's wife, captured the audience with her devious demeanor and expressive movement. Christopher Barksdale, who returned to the KC Ballet as a guest artist, personified the quintessential Moor while his wife, portrayed by Catherine Russell, was perfectly obliging and unassuming. The dancers had their work cut out for them, not once leaving the stage; but never lost their energy or appeared fatigued. The costumes were beautiful, the music was moving and the performance proved to be a hit.
The bill of the show, Lambarena, almost lived up to its anticipated reappearance. Lead female Deanna Doyle seemed to suit the choreography, but her implementation appeared pedantic. Although displaying tremendous control, at times she came off as reserving her energy instead of letting go and releasing into the movement.
New dancers Adam Rogers and Michael Davis were unexpected standouts. Rogers provided sincere articulation in his solo, executing the stylized choreography naturally and effortlessly. Davis gave a confident performance, standing out from the corps with his full and fresh interpretation. Another highlight was Luzika in the adagio section, a technique usually demonstrated by women. Luzika delivered each step with strength and grace, resembling a magnificent African beast.
Though some parts were more memorable and exciting, the piece never lost interest. The costumes and lighting were colorful and pleasing, the music lively and upbeat but overall the dancing lacked the extra punch to take it from a commendable showing to a stellar performance.
REVIEW:
Kansas City Ballet
Lambarena (Winter Performance)
Reviewed Thursday, February 26, 2010
Lyric Theatre
11th and Central Streets, Downtown Kansas City, MO
www.kcballet.org
Cover photo: Dancer, Logan Pachciarz. Photo by Steve Wilson.
Dance Contributor
Laura Vernaci is a Kansas City native who has always been passionate about the arts, particularly dance. She began dance lessons at the young age of five and hasn't stopped since. She trained at the Kansas City Ballet where she became a serious dancer and learned about a professional company.
She attended Butler University in Indianapolis, IN where she majored in dance. She transferred to Truman State University in Kirksville, MO in 2006 and received a degree in Journalism in May 2008. Laura spent the 2008-2009 in Duluth, MN dancing professionally for the Minnesota Ballet. She performed in productions such as, "The Nutcracker," "Cinderella" and "Coppelia" as well as world premier ballets created on the company.
She recently moved back to Kansas City and is excited to combine her experience in writing with her passion for dance. In addition to performing and writing, Laura also enjoys teaching dance and choreographing.
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