Ovation Well-Deserved For Ballet’s Opening Night

Conservatory Ballet Theatre with Alexander Kedrov Wednesday, May 15, The Met

One word for Conservatory Ballet Theatre’s opening night performance: Bravo!

The audience at Wednesday night’s performance gave “An Evening of Classical Ballet” a well-deserved ovation. The entire performance of excerpts was delightful, but Conservatory Ballet Theatre saved the best for last featured guest Alexander Kedrov.

Kedrov, a former soloist with the Bolshoi and Boston ballets, danced some of the most exciting, thrilling and professional ballet Spokane audiences have seen in years.

In the pas de deux “Le Corsaire,” Kedrov’s tilting, twirling, whirling-dervish leaps outdazzled his shimmering gold costume and matched the beauty of his seemingly effortless toplike spins.

Kedrov has a commanding stage presence so large it easily filled The Met and bubbled over into the audience. This presence was felt early in the program when Kedrov treated the audience to a solo. Casually dressed in black chinos and a white shirt with rolled sleeves, he charmed the audience by performing difficult moves with flair and appeal: Harry Connick Jr. meets Baryshnikov.

Limited rehearsal time with someone of Kedrov’s caliber could easily throw a performer off, but not Conservatory Ballet Theatre’s Jaci Rice. As Kedrov’s partner in “Le Corsaire,” her rock-solid performance speaks highly of her technical capability.

Conservatory Ballet Theatre’s Laura Hollingshed should also be complimented on the pas de deux “Intimate Pages,” which she danced with guest David Sukonic. This entire excerpt was visually beautiful, from the fluid costumes that moved with the dancers supple bodies to the pairing of the two dancers.

An obvious favorite of the evening was the intense “Hambre del Alma (Soul Famine)” choreographed by Conservatory Ballet Theatre’s artistic director, Rita Brodie. The live, insistent, rhythmic African drumming coupled with the powerful, modern choreography mesmerized the audience. The contrast of the six dancers sliding placidly onto their chairs, striking stark poses, engaging in frantic movements and ending in a frenzy truly portrayed the image of confined and starving souls.

The choreography in the Gershwin number “C’est La Vie” should also be praised. The music and the dancing complemented each other so well it appeared as if the movements came first and then Gershwin composed the music. In this piece the dancers captured the sassy, fun and flirtatious flavor of the roaring ‘20s - they let loose and had fun.

The solos performed by guest artists Albelardo Cisneros and Sukonic were enjoyable and well-executed but they tended to be more of dramatic interpretation. In place of those solos, true dance enthusiasts would have appreciated technically challenging pieces showcasing their abilities, especially in the case of Sukonic, who is obviously a strong and talented dancer.

Overall, the excerpt format worked well for Conservatory Ballet Theatre. It was a great way to capitalize on the dancers’ strengths. And, let us hope, Spokane audiences will be treated to a return performance by Kedrov.