Matthew Ulrich
a solo dancer on a dark stage
‘Variations on a Grosso’ features dancer Eric Stith III.
"Pointes of View" is the perfect entry point for potentially reluctant audience members.
I have to confess that I haven’t seen Madison Ballet since Ja’ Malik became the company’s artistic executive director and I’m glad to report that under his capable and creative guidance, the company’s deep bench of talented dancers is doing excellent work. It’s clear that across the board the dancers are well trained and well rehearsed.
The program opens with the Madison premiere of Schubert Waltzes from choreographer Heinz Poll. While it is the most traditional ballet on the program, Poll still surprises with innovative lifts and fun touches like bourrées in parallel for the women. Three couples charm us throughout, playing with musical phrasing and all six genuinely connecting with each other on stage. I was pleased to see that the always outstanding Shannon Quirk is still with the company. She is paired with Benjamin Shepard, an attentive and considerate partner (especially when he tackles lifts right after a demanding solo).
Tom Mattingly’s Flight was another Madison premiere, set to music by Oliver Davis and featuring truly lovely costumes in muted tones by designer Sarah Dornink. Charlotte Junge, a former apprentice and now a company dancer, is a breakout star. You’re drawn to her because she combines top-notch technique with a confident, commanding stage presence. Her pas de deux with the gifted Ben Rose in the second movement was a particular delight. Mattingly has a knack for creating striking formations and keeping things fresh with quicksilver directional changes. Flight is a deeply pleasant experience.
Ja’ Malik’s Variations on a Grosso, set to Antonio Correlli’s lively score, has been expanded and re-worked. Julie Ballard’s innovative lighting design initially elicited a gasp from the audience and was compelling for the duration. The sextet of dancers was uniformly excellent. Michaela King shines, her supple and expressive back showcased in her glittering purple costume. Eric Stith, a strong turner and jumper, was the consummate professional, not letting a glitch with the recorded music interrupt his solo. Junge and Dana Sheldon were well matched and seemed to genuinely connect through the choreography. The work is punctuated by swiveling hips, rolling shoulders, and surprising floorwork which kept me guessing, but ultimately the simple final moments resonated the most with me. The dancers bow to one another from opposite sides of the stage in reverence and, as they exit, turn their heads to catch a last fleeting glimpse of each other.
Agape’, from Ja’ Malik, is a pas de deux for two male dancers that soulfully conveys yearning. It opens (and closes) with a lift so striking I wasn’t even sure what I was seeing, the dancers’ bodies entangled in an innovative shape. James Wainwright and Antony Zambrano Reyes danced with both vulnerability and strength. It felt as though their souls were laid bare, their chests exposed above flowing chiffon skirts from Fernanda Yamaguchi (also a company dancer).
The charming crowd-pleaser Weibermacht closed the program. Choreographer Richard Walters (company rehearsal director and school principal) uses Mozart’s music in wise and witty ways. The all-female cast is initially clad in blue and white dresses, but Sarah Martin, a talented comedic actress, is the first to don a long black vest and clunky black boots, and soon the entire cast follows her fashion lead. Clomping boots juxtaposed with elegance and grace had the crowd on its feet during a particularly spirited curtain call. Walters’ work is amusing without being cutesy and genuinely made me smile when Martin cavorted with Sheldon to Papagano and Papagena’s duet from The Magic Flute.
Promenade Hall is an intimate performance space: You can see the dancers’ perspiration and hear their breathing, creating a personal connection between the audience and performers.
Ballet can intimidate people. Audiences often include die-hard balletomanes (often including ballet students and their dedicated parents) alongside people who may have only seen The Nutcracker and feel that they don’t know enough about the art form to fully appreciate it. "Pointes of View" offers something for everyone. Regular balletgoers will find wonderful technique in challenging works, while newcomers can simply be swept up in the music, costumes, choreographic creativity, and the dancers’ ability to convey sincere emotion. Luckily, you have three more opportunities to see this excellent production; matinees at 2 p.m. Saturday and Sunday and a Saturday evening performance at 7 p.m.
[Editor's note: This post has been updated to correct the spelling of the names of Michaela King and Fernanda Yamaguchi.]
