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RWB sinks its teeth into dramatic
Like summoning a vampire from the flames of hell, the Royal Winnipeg Ballet reincarnated one of the most enduring and popular ballets in its repertoire as it launched its 2016 van cleef replica rose gold bracelet 17 season with Dracula.
Last staged in 2010, Mark Godden ballet is as fresh and vital as during its October 1998 premi Based on Bram Stoker 1897 tale of the notorious villain who wreaks havoc on Victorian society, first attacking Lucy and then Mina in his ultimate, bloodthirsty search for love, this compelling production also attests to the RWB own phoenix like ability to battle the vampires fiscal or otherwise lurking in the shadows of so many arts organizations today.
One of the battles proved to be replacing principal dancer Liang Xing with soloist Josh Reynolds in the title role with one day notice, owing to a family illness. Now van cleef green bracelet imitation in his second year with the company, the Atlanta born Reynolds proved his mettle with a brooding, subtly nuanced portrayal oozing with danger from his first sighting to final, sensual pas de deux with Mina.
It likely many in the mixed generation audience went home Wednesday night fearful of things that go bump in the night even ballet dancers.
Second soloist Elizabeth Lamont, one of the RWB brightest, fastest rising stars, cast her own captivating spell as Lucy, with her prismatic characterization spanning vulnerable innocent to wildcat banshee. Her flailing against Dr. Van Helsing (Thiago Dos Santos) garlic and crucifix also displayed her no holds barred bravura, as she hurled her body at her three suitors Jack Seward (Yosuke Mino), Arthur Holmwood (Dmitri Dovgoselets) and Quincy Morris (Tyler Carver) while dancing like a woman possessed.
Equally strong is principal dancer Sophia Lee, who shone as the guileless Mina, betrothed to Jonathan Harker (Kostyantyn Keshyshev). Lee chameleonic acting skills and rock solid technique also created palpable tension with the now smitten Dracula, first rejecting his kiss before becoming magnetized by his fatal charms. Her submission to him and her own perilous id as the vampire pulls her to his bloodied, bare chest near the end screamed with lust, as its own potent antidote to repressive Victorian society.
Godden inventive choreography staddles both contemporary and classical worlds with effective pattern symmetry: duets morph into quartets; quartets expand into ensembles of eight. Dracula shows the strong architectural sense also evidenced in his other ballets, including the critically acclaimed Going Home Star: Truth and Reconciliation, which premi in 2014.
His bag of tricks includes wisely pausing the fast paced ballet driving narrative with Act II comical pantomime, featuring a condensed version of Stoker novel performed by the company in rapid fire.
The Red Dance that follows pays homage to classical ballet tradition, in the spirit of a palate cleansing divertissement. Dracula, now morphed into principal dancer Dmitri Dovgoselets Wolf, partners Yoshiko Kamikusa Red Girl with sky high leaps and lifts, evoking a bacchanalian (albeit overly lengthy) dance between feral beast and blood itself.
It also provides an opportunity for the corps de ballet members to perform as village townspeople; they are otherwise relegated to prim maids, twitchy gargoyles and funereal, black habited nuns. Seeing Mina in her virginal white gown juxtaposed with the latter ensemble creates fascinating counterpoint and a visual metaphor for the warring forces of good and evil that run throughout the 131 minute (with intermission) show like a leitmotif.
Godden seamless, all Mahler pastiche score, performed by the Winnipeg Symphony Orchestra led by Tadeusz Biernacki, is both brilliant and bold. Longtime Godden collaborator Paul Daigle sumptuous costumes range from period gowns and shaggy wigs to more fantastical, deconstructed costume pieces, including red nightshirts and tutus during the bacchanal. His tour friendly set includes a breakaway four poster bed, crypt and castle, as well as nightmare inducing severed heads and flying bats.
Lighting designer fake van cleef flower bracelet David Morrison works magic by creating murky shadows as well as eye popping shards of light streaming into the Dracula Transylvanian crypt that heighten the drama while never obfuscating the dancers.
It a mystery why balletomanes have had to wait six long years to see this powerfully dramatic work, which has retained its death grip on viewers imaginations. Living in today changing times, it is however both fitting and right for Canada oldest ballet company to conjure its own ghosts from the past, as it fearlessly stares down demons and steps confidently into its 77th year.
Like summoning a vampire from the flames of hell, the Royal Winnipeg Ballet reincarnated one of the most enduring and popular ballets in its repertoire as it launched its 2016 van cleef replica rose gold bracelet 17 season with Dracula.
Last staged in 2010, Mark Godden ballet is as fresh and vital as during its October 1998 premi Based on Bram Stoker 1897 tale of the notorious villain who wreaks havoc on Victorian society, first attacking Lucy and then Mina in his ultimate, bloodthirsty search for love, this compelling production also attests to the RWB own phoenix like ability to battle the vampires fiscal or otherwise lurking in the shadows of so many arts organizations today.
One of the battles proved to be replacing principal dancer Liang Xing with soloist Josh Reynolds in the title role with one day notice, owing to a family illness. Now van cleef green bracelet imitation in his second year with the company, the Atlanta born Reynolds proved his mettle with a brooding, subtly nuanced portrayal oozing with danger from his first sighting to final, sensual pas de deux with Mina.
It likely many in the mixed generation audience went home Wednesday night fearful of things that go bump in the night even ballet dancers.
Second soloist Elizabeth Lamont, one of the RWB brightest, fastest rising stars, cast her own captivating spell as Lucy, with her prismatic characterization spanning vulnerable innocent to wildcat banshee. Her flailing against Dr. Van Helsing (Thiago Dos Santos) garlic and crucifix also displayed her no holds barred bravura, as she hurled her body at her three suitors Jack Seward (Yosuke Mino), Arthur Holmwood (Dmitri Dovgoselets) and Quincy Morris (Tyler Carver) while dancing like a woman possessed.
Equally strong is principal dancer Sophia Lee, who shone as the guileless Mina, betrothed to Jonathan Harker (Kostyantyn Keshyshev). Lee chameleonic acting skills and rock solid technique also created palpable tension with the now smitten Dracula, first rejecting his kiss before becoming magnetized by his fatal charms. Her submission to him and her own perilous id as the vampire pulls her to his bloodied, bare chest near the end screamed with lust, as its own potent antidote to repressive Victorian society.
Godden inventive choreography staddles both contemporary and classical worlds with effective pattern symmetry: duets morph into quartets; quartets expand into ensembles of eight. Dracula shows the strong architectural sense also evidenced in his other ballets, including the critically acclaimed Going Home Star: Truth and Reconciliation, which premi in 2014.
His bag of tricks includes wisely pausing the fast paced ballet driving narrative with Act II comical pantomime, featuring a condensed version of Stoker novel performed by the company in rapid fire.
The Red Dance that follows pays homage to classical ballet tradition, in the spirit of a palate cleansing divertissement. Dracula, now morphed into principal dancer Dmitri Dovgoselets Wolf, partners Yoshiko Kamikusa Red Girl with sky high leaps and lifts, evoking a bacchanalian (albeit overly lengthy) dance between feral beast and blood itself.
It also provides an opportunity for the corps de ballet members to perform as village townspeople; they are otherwise relegated to prim maids, twitchy gargoyles and funereal, black habited nuns. Seeing Mina in her virginal white gown juxtaposed with the latter ensemble creates fascinating counterpoint and a visual metaphor for the warring forces of good and evil that run throughout the 131 minute (with intermission) show like a leitmotif.
Godden seamless, all Mahler pastiche score, performed by the Winnipeg Symphony Orchestra led by Tadeusz Biernacki, is both brilliant and bold. Longtime Godden collaborator Paul Daigle sumptuous costumes range from period gowns and shaggy wigs to more fantastical, deconstructed costume pieces, including red nightshirts and tutus during the bacchanal. His tour friendly set includes a breakaway four poster bed, crypt and castle, as well as nightmare inducing severed heads and flying bats.
Lighting designer fake van cleef flower bracelet David Morrison works magic by creating murky shadows as well as eye popping shards of light streaming into the Dracula Transylvanian crypt that heighten the drama while never obfuscating the dancers.
It a mystery why balletomanes have had to wait six long years to see this powerfully dramatic work, which has retained its death grip on viewers imaginations. Living in today changing times, it is however both fitting and right for Canada oldest ballet company to conjure its own ghosts from the past, as it fearlessly stares down demons and steps confidently into its 77th year.
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