Ballet Spokane mixes genres gracefully
Ballet Spokane served up a delectable variety of dance genres Saturday evening in a program that incorporated ballet with tasty morsels of modern dance, jazz, ballroom and hip-hop created by a variety of choreographers.
Several short dances by three different choreographers, accompanied by contemporary jazz and pop music, constituted the majority of the first half of the performance. “Modern Bach” choreographed by Kari Jensen and Marcy Ray began with graceful variations in ballet, then contrasted the same movements in hip-hop and finally in jazz. These dances provided a startling and refreshing contrast of dance genres. The abstract choreography was fascinating and athletic with particularly original and exciting partnering.
Continuing to contrast dance genres, the next two dances added floor work – dancers lying, sitting, rolling on and off the floor. “Crossroads” with choreography by Ray and Darla Green, formerly of Seattle’s Spectrum Dance Theatre, and “Shale” composed entirely by Ray, superimposed thematic ideas of inclusion and exclusion. These dances added the elements of surprise and suspense as they unfolded. I commend Janet Wilder, artistic director of Ballet Spokane, for providing opportunities for young choreographers to showcase their works and Jensen, Greene and Ray for their innovative and original creations.
“Embraceable You,” danced with simplicity and grace by guest artists Amanda Diehl and Morgan Hulen provided a quiet, romantic contrast to the pulsating dances that preceded it. This ballet abstraction of ballroom dance embodied an eloquent, idealized romance. The first half of the program closed with Ron Cunningham’s “Incident at Blackbriar” performed by Jensen, Phaedra Jarrett, and Patrick DesRosiers. Performed with the women in earth-colored floor-length dresses and the man in tan pleated slacks, the dance was underscored with themes of dominance, submission, and rebellion as it explored the relationship between two women and the man who disrupts it.
Cunningham’s choreography was exquisitely articulate. His use of repeated motifs suggested details and added cohesiveness to the choreography, but the dance was never literal. All three dancers performed with clarity and emotion –Jensen was demanding, angry; Jarrett, submissive then rebellious; DesRosiers, assertive and energetic.
DesRosiers’ dancing continues to a stronger stage presence and skill. His and Jarrett’s exquisite pas de deux exuded playfulness and sensuality. Jensen’s final solo was heart-wrenching. Her previous performances have typically been emotionally distant, but in this role her poignant expression engaged the audience.
The program closed with Wilder’s version of “A Midsummer Night’s Dream.” The scenic, lighting and costume designs provided an enchanting atmosphere for Wilder’s innovative choreography that clearly elucidated the complexities of the plot.
The two couples-in-love performed by Jaimi McGuire as Hermia with her consort Ryan Callan as Lysander and Ray as Helena with her fiancé DeRosiers as Demetrius danced with charm and lucidity. Diehl and Hulen as Titania and Oberon performed with an elegant effortlessness that defined them as other-worldly beings. Yet it was Jarrett’s commanding performance as the impetuous and impudent Puck who stole the show with her nimble dancing and sassy personality.
Ballet Spokane has come a long way – one jeté at a time – toward fulfilling its promise as Spokane’s professional dance company.