Giselle, October 27, 2006, The Fabulous Fox Theatre
Atlanta Ballet showed some surprising strengths as well as a few weaknesses in this production. With only 20 full company members and 6 apprentices, the company can't match the depth of Houston Ballet, which has almost as many dancers in its corps alone. Still, it was an enjoyable performance, with much good dancing to be seen.
The title role was danced by Kristine Necessary, and the role of Albrecht was danced by Christian Clark. As in most story ballets, the main characters make an entrance, usually allowing an opportunity for the audience to applaud. Ms. Necessary received a warm welcome from the audience, which made me feel somewhat bad for Mr. Clark, who had entered earlier to silence. It was easy to see why; although Mr. Clark is a skillful dancer, his didn't have as much charm and emotion as Ms. Necessary. That said, the two of them worked well together and presented believable characters. The same cannot be said for Jonah Hooper in the role of Hilarion, who was flat-footed and one-dimensional.
The role of Giselle is demanding both technically and emotionally, and Ms. Necessary carried it with apparent ease, mostly. There were a few wobbles, but no hesitance. An interesting note: even though the company did not have to dance until warmup class that evening, Ms. Necessary, nervous about the performance, attended the adult class that morning.
A particular part of the second act always makes me think of my brother, who noticed with me a faintly ridiculous part of the choreography for Giselle and Albrecht as I watched a video. In it, Albrecht lifts Giselle straight up and down, piston-like, as she lifts her legs in the splits to one side and then the other. Seen closeup rather than on a TV screen, the move was somewhat more likeable.
Other supporting roles were filled by Sarah Hillmer (Myrtha), Toni Doctor (Moyna), and Kelly Tipton (Zulma). Ms. Hillmer was merciless as the Queen of the Wilis, and Ms. Doctor and Ms. Tipton performed well. The real star of the second act, however, was the corps, which showed a unity and uniformity unusual even for the best companies.
The title role was danced by Kristine Necessary, and the role of Albrecht was danced by Christian Clark. As in most story ballets, the main characters make an entrance, usually allowing an opportunity for the audience to applaud. Ms. Necessary received a warm welcome from the audience, which made me feel somewhat bad for Mr. Clark, who had entered earlier to silence. It was easy to see why; although Mr. Clark is a skillful dancer, his didn't have as much charm and emotion as Ms. Necessary. That said, the two of them worked well together and presented believable characters. The same cannot be said for Jonah Hooper in the role of Hilarion, who was flat-footed and one-dimensional.
The role of Giselle is demanding both technically and emotionally, and Ms. Necessary carried it with apparent ease, mostly. There were a few wobbles, but no hesitance. An interesting note: even though the company did not have to dance until warmup class that evening, Ms. Necessary, nervous about the performance, attended the adult class that morning.
A particular part of the second act always makes me think of my brother, who noticed with me a faintly ridiculous part of the choreography for Giselle and Albrecht as I watched a video. In it, Albrecht lifts Giselle straight up and down, piston-like, as she lifts her legs in the splits to one side and then the other. Seen closeup rather than on a TV screen, the move was somewhat more likeable.
Other supporting roles were filled by Sarah Hillmer (Myrtha), Toni Doctor (Moyna), and Kelly Tipton (Zulma). Ms. Hillmer was merciless as the Queen of the Wilis, and Ms. Doctor and Ms. Tipton performed well. The real star of the second act, however, was the corps, which showed a unity and uniformity unusual even for the best companies.
Labels: performance review
posted by Silvershoes @ 5:42 PM
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