Preview: Ballet Memphis (via Dance Cleveland) March 10-11

On my recent trip to Minnesota, you might recall, I stopped in for a Saint Paul City Ballet performance and  lamented Cleveland's lack of ballet. I was overlooking, it seems, Dance Cleveland's presentations bringing the acclaimed Ballet Memphis to Cleveland for two performances on Saturday, March 10th (8p) and Sunday, March 11th (3p) in PlayhouseSquare's Ohio Theater

While Cleveland hasn't had a company in residence since San Jose Cleveland Ballet dropped Cleveland in a dozen years ago -- preceding my arrival in Cleveland -- Dance Cleveland is promising that "If Northeast Ohio still had a classical ballet company in residence, it might look and feel like Ballet Memphis"

The company, now in its 25th year, is headed by Memphis native Dorthy Gunther Pugh has been said to serve as a cultural ambassador for that city's unique cultural heritage.

During their brief stay in Cleveland, the troupe will be presenting a bit of that heritage with a nod to another famous Tennessean: Roy Orbison's voice and six of his most popular songs provides the musical backdrop for Trey McIntyre's "sometimes  dark, always passionate" In Dreams, described by the New York Times simply as "Exceptional".

Choreographed by Jane Comfort with music by Memphis saxophonist Kirk Whalum, S'epanouir comes to an end "with a hand-clapping  gospel celebration". Though the piece "tells the story of a woman in the depths of an emotional crisis" aided in a transformation by community it is said that the piece  has a more joyful quality than is typical for that choreographer's works.

Featuring the rondo finale from the rondo finale Beethoven's Concerto for Violin and Orchestra in D Major, Op. 61 dancer-choreographer Steven McMahnon's Being Here With Other People is said to be an expression of gratitude for the "'home-away from home' atmosphere that Steven McMahnon finds in Memphis"

Rounding out the announced program, Curtain of Green by Juila Adam is inspired by Eudora Welty's story of the same time and is an "abstract retelling of lost love, fear, and madness" revolving around a widow who obsessively tends to a tangled garden and whose rage nearly boils over.  

I'm certainly looking forward to the unique expression of ideas that only dance offers.
Ticket prices range from $30-$45 and can be purchased at playhousesquare.org, via phone at 866-546-1353, or to avoid fees in person  at the PlayhouseSquare Box Office on Euclid Avenue.

Lincoln

Saint Paul City Ballet: The Company at the McKnight

After finishing some meetings in Rochester this morning I moved to Minneapolis for tonight -- checking into The Marquette, a Hilton-managed hotel that's not aligned with any of the family's marques (I suspect this may be because there is both a Hilton and a DoubleTree within perhaps a few thousand feet of the hotel) -- the service level is at least equal to if not slightly higher than what I expect from Hilton but not being tied to brand standards it feels much less cookie cutter and is just a little bit more fun.

Anyway, by the time I got to the hotel I didn't feel like I had enough time to get to and really enjoy the Walker Art Center before it closed; perhaps I'll try a quick run in the morning or maybe it will have to wait for my next trip (tentatively the end of March). Instead I made my way over to Saint Paul to check out the Ordway Center and Saint Paul City Ballet's The Company at the McKnight.

Ballet is an art that I certainly don't get enough of -- the fluidity and grace of the human body can be stunning in the right contexts. In the ultimate incarnation ballet has the unique power to dance on the ears and tickle the eyes. And I have to admit I'm a little bit of a sucker for the look of the classical tutu.

Tonight's program ran just about 90 minutes inclusive of a 20-minute intermission and 5-minute pause and I think it hit the sweet spot as for length with the following selections:

Excerpts from Raymonda (Choreography after Marius Petipa, restaged by Ted Sothern; Music by Alexander Glazunov; Costumes by Ann Marie Ethen; Lighting by Chuck Norwood)

Not an Etude (Coreography by Ted Sothern; Music composed for SPCB by George Maurer; Costumes by Ted Sothern and Ann Marie Ethen; Lighting by Chuck Norwood)

One (Choreography by Joseph Morrissey; Music by Sugeru Umebayashi and Michael Galasso; Costumes by Ann Marie Ethen; Lighting by Chuck Norwood)

Bolero (Choregoraphy by Greg Drotar, Music by Maurice Ravel; Costumes by Greg Drotar; Lighting by Chuck Norwood)

Considering myself lucky if I see ballet (in any form) once a year I can't really comment on the technical aspects of dance -- the couple next to me was commenting on one of the male dancer's sloppy jumps after Raymonda, but generally I had no issues with the dance; it was fun to watch and none of the pieces were so long as to be boring.

The one complaint I did have throughout is the audio quality: While a live orchestra was probably too much to ask for (and probably not a possibility within the physical constraints of the McKnight theater -- a pretty intimate venue) the audio was horrid. At times it I wasn't sure if it was over compressed or just the victim of a truly frightful house EQ curve, at others compression artifacts (as if someone was playing a low-quality MP3) were clearly audible and I think every piece had some, culmintating with an unacceptable level of background hiss present: The overall result was something not much better than listening to music on an AM radio and generally distracted from the dance.

Excerpts from Raymonda with its overture, le grand pas hongris, le pas classique hongris, variations I-V, and coda was the longest piece of the program and also the piece with the most classical air about it in terms of technique and costuming.

Not an Etude was clearly a social commentary with a three-dancer clique playing against a solo male dancer (two men, two women all costumed virtually identically) the music was fun and while it took me a bit to figure out the commentary, I think it was the first time I've laughed during a dance show of any kind -- and I was not alone among the audience.

Conversely I didn't find One compelling nor did I connect to it musically or philosophically I honestly didn't find either the choreography or music memorable and may or may not have been counting smoke detectors on the catwalk near the end of the piece.

A dance based on Ravel's delightful Bolero closed out the program and although I think the audio was at its worst in this piece it tied with the first piece on the program for my favorites of the evening. With the almost militaristic constant drumbeat throughout I've always thought this was a no brainier for a dance and while Greg Drotar's choreography went a different direction than I've imagined while listening to this piece (most recently at a http://lincolnincleveland.blogspot.com/2011/10/cleveland-orchestra-fridays7-bolero.html) it was no less appealing.

Leaving the Ordway in the 25-ish degree outside weather I noticed quite display of ice carving across the street and lingered a bit to watch the crowds and carving but not really being prepared for extended time outdoors I shortly headed back to the hotel. Watching the local news in the hotel room, it seems that this is part of St. Paul's Winter Carnival) -- but on a blustery winter night it was nice to see so many people outside "downtown"

Lincoln

CIM Orchestra @ Severance Hall: Kabalevsky/Prokofiev/Tchaikovsky

Kabalevsky: Overture to Colas Breugnon, The master of Clamecy, Op. 24
Prokofiev: Sinfonia Concertante for Cello and Orchestra in E Minor, Op. 129 (Matthew Allen, cello)
Tchaikovsky: Symphony No. 4 in F Minor, Op. 36
Carl Topilow, conductor.

A friend joined me for her second visit to Severance Hall and her second time with the CIM Orchestra (no, the two did not share, the same first time) with this evening's Cleveland Institute of Music concert in Severance Hall. Making our way up to the Dress Circle and settling in shortly before the concert's 8pm start time, I wasn't sure what to expect from an evening of Russian music. My high expectations for CIM students were not let down and -- despite a rather noticeable cold air draft -- my friend enjoyed herself.

Opening the program with a composer that neither of us had heard of, Mr. Topilow wasted no time between taking the podium and launching into Dimitri Kabalevsky's speedy overture. It struck me as romantic, richly textured and climatic...oh and did I say fast paced? Though I didn't conjure any images along the ride, I can think of few reasons not to call this my favorite of the evening--by a bow hair. Overtures rarely do my short-by-nature attention span wrong, and this was no exception.

The middle piece, Prokofiev's Sinfonia Concertante was quite a departure from the overture that preceded it being quite a bit slower and less to-the-point, perhaps demonstrating CIM students' turn-on-a-dime versatility. Though I can't point to a specific measure, the first movement (andante) seemed a painting where the Matthew Allen's cello was the
crystal clear sharply-focused foreground and the orchestra was a diffused background.
In the second movement (allegro giusto), on the other hand, the cello stuck me as an artist struggling against the majority represented by the orchestra, overcoming, and eventually joining. The third movement, by contrast, didn't seem to create a story in my mind.

Closing out the program was Tchaikovsky's Symphony No. 4. In listening to this piece in its entirety it seems unmistakably from the hand of Tchaikovsky. Perhaps because I had ballet on the mind (my friend and I were discussing the Celesta used in the Prokofiev piece, and also used by Tchaikovsky's Nutcracker) or perhaps from the sheer lyrical nature of the music it was very easy to -- and very difficult not to -- imagine dance choreographed to this music*. While I couldn't imagine a storyline or protagonist/antagonist relationship as I tend to do, the movement of imaginary dancers was crystal clear.

The third movement scherzo featured extensive use of pizzicato, a technique I rather enjoy when done properly -- and it was done properly. On the other hand, my friend commented, and I have to agree that the brass during the quite climatic ending of the fourth movement seemed a little too loud compare to the rest of the orchestra. But it was still a wonderful piece.

Lincoln
*- A resident professional ballet company is, to the best of my knowledge, one of the few performing arts forms lacking in Cleveland.

Cleveland Orchestra: Joffrey Ballet

Reflections (choreographed by Gearld Arpino; music: Tchaikovsky)
Age of Innocence (chor. Edwaard Liang; music: Glass and Newman)
Tarantella (chor. Blanchine, music: Gottschalk)
Pass de deux from Le Corsaire (chor. Petipa, music: Dingo)
Pretty BALLET (chor. Kudelka, music: Martinu)
Tito Munoz, conductor.

Tonight's performance was attended with my friend* and her friend; before making our way to Blossom we visited Sarah's Vineyard -- just a little south of Blossom and literally across the street -- for some food and wine. It was the first time for all three of us, and I think all of us thoroughly enjoyed the food and conversation.

Making our way across the street and into a packed pavilion we were treated to a pleasant evening of dance. Without the distraction of technical elements noted at some earlier performances -- here, the spotlight work was without reproach, and the audio amplification when used nearly transparent -- it was thoroughly enjoyable. The great thing about dance with live music is that you have stimulation for both visual and auditory senses; while my friend noted that she wished she could see the effort the orchestra was contributing to the work, as is possible when they are on stage, and oddly, as I had noted in my brief comment on last year's performance (it's near the bottom, notibly one of my first posts), the dancers provide a more fluid, and in Cleveland, less often experienced, representation of that effort.

Discussing the performance on the way back north, one topic surfaced that we all agreed on: As the program progressed, the company seemed to develop some synchronization issues where it seemed that some dancers would randomly arrive at a point noticeably before or after the rest of the troupe.

The first dance on the card, Reflections, featuring Tchaikovsky's Variations on a Rococo Theme, was beautifully played by the orchestra, with particular note to newly-appointed principal cellist Mark Kosower, however the dance was a bit dark for my taste.

Following Reflections, Age of Innocence finished out the first half and was brighter musically and metaphorically. Featuring the music of Philip Glass (the 2nd movement from his 3rd symphony, The Poet Acts from The Hours, 3rd movement from the 3rd symphony, music from The Secret Agent) and Thomas Newman (End Title from The Little Children) had a variety of textures, and was inspired by the social dancing found in Jane Austen's novels. Age of Innocence was my favorite piece from the program.

After intermission, a piece that felt very familiar: Balanchine's Tarantella. It wasn't until after I returned home that I realized not only have I seen this dance before, I've seen it in the past month: It was on the program for Verb Ballets' Cain Park Performance in early August. Given the almost ethereal nature of dance it's odd to me, and I had in fact never considered the possibility, of seeing the same dance performed by two different companies. Joffrey had a decided advantage with a live orchestra, and Tarantella was the favorite of the other members of my group.

In the middle of the second half was Pas de Deux from Le Corsaire. I'm not sure how I feel about this one and there was some disagreement among my group about who the players in the dance were: While the title of the piece is The Pirate it is unclear who the dancers were representing and the ballet notes do nothing to help resolve this ambiguity: The best guess that my group could arrive at is prince and princess, but as an extract from The Pirate... I'm also curious about the 'new music' added to the ballet.

Wrapping up the program was Pretty BALLET featuring Martinu's Symphony No. 2. -- since the music was premiered by our own Cleveland Orchestra at Severance Hall in 1943, I desperately wanted to be able to call this my favorite; in the end I couldn't. Aside from the synchronization issue I mentioned earlier, there was nothing wrong with the dance or the music, but the combination didn't really captivate me.

In the end: A nice evening of music collaborating with dance; I hope that such collaborations will be embraced and extended in the future.

Lincoln

Lincoln In New York: Day 2: Lincoln Does Lincoln Center

My morning didn't exactly get off to the best start when I looked out the hotel room window and saw plenty of snowflakes flying. I then proceeded to search the hotel for the Starbucks that is suposedly somewhere on premise (and that I have three free "breakfast" vouchers for) before giving up.

Transportation.
I then hopped on the 6 train at 51st & Lex -- conveniently adjacent to the hotel with no exact destination in mind. Of all of the various lines I rode today, the 6 train was certainly the most technologically advanced. Unlike BART (and as it turns out the 1, C, N, and S trains-- though none of those were anywhere near as bad as BART), PA announcements were clearly intelligible, though I kept expecting to hear "Pardner" after the "Please stand clear of the closing door" announcements -- sounded very much like a Disney ride.

I'm amazed at how incredibly efficient New York City Transit is... my longest wait for a train was maybe 5 minutes, and my 6/S/1 and 1/S/6 routings to and from Lincoln Center were painless, though it did take some elbowing to fit on. (I will say that both Gand Central and 42nd/Times Square could use some better signage regarding locating the S train).

So anyway I took the 6 train to City Hall, wandered around in the still-falling snow for all of about 5 minutes and found my way to the N train to 5th Av/59th St. From there I walked through Central Park, until I arrived at...

The Metropolitan Museum of Art.
For as gigantic a collection as they have, I was supprised by how relatively little art really caught my eye. I also found the layout a little confusing -- though this is not unique to The Met. One of the things I love about the "new" Cleveland Museum of Art is that it's fairly easy to make your way through galleries such that you see every gallery once without backtracking (for example, in a clockwise fashion).

The Atrium on the American Wing gave me a glimpse of what can be expected when (if?) the Cleveland Museum's renovation/expansion is complete... it seems like an exciting space.

I had a hotdog on the steps of the Met, and when finished continued walking North until I arrived at

The Cooper-Hewitt Museum of Design
Industrial Design (along with Human Factors) is one of the areas of art/design that I really dig. Unfortunately, most of the Museum is closed for renovation/expansion but the special exhibition [and the fact that they offer privileges for CMA members] made it worth the visit. The museum had a cool twist on the audio tour -- using iPod Touches loaded with video, slide shows, and interviews instead of the standard monotone stuff.

One of the designers featured in the exhibition is Milton Glaset. Mr. Glaset is a man who's work I've admired without ever knowing the man (among others the "I {heart} New York" design was his creation. In his interview he made some points that really resonated (The quote may not be exact, but it should be close enough):

If you like Mozart and I like Mozart, we already have something in common and are less likely to want to hill each other. Art is about keeping us from killing each other.

and, even more so,

A great thing about being in the arts is that the possibility for learning never disappears. You have to admit that you've never learned everything.

Another of the honorees featured in the exhibit was the Walker Art Center, Minneapolis which you may recall I visited just a few months ago.

Central Park
After leaving Cooper-Hewitt I walked to the north end of Central Park, hung a left, got to Central Park Left, and hopped on the C train headed downtown...somehow (don't push me for details) I would up on the 1 train and at

Lincoln Center (the first time).
I wandered around a bit, found some of the Juliard School buildings, and the theatre where the New York City Ballet was performing. Picked up my ticket from Will Call, then hopped back on the 1 train, and the short ride to Columbus Circle.

Lunch and Carnegie Hall
From Columbus Circle I made my way to Carnegie Hall where I purchased tickets for a the Chicago Symphony Orchestra's Saturday Evening Performance and then on to Burger Joint, a well hidden, very casual, um, burger joint, in the lobby of Le Parker Meridian. After lunch I needed to be off my feet for a little while, so I came back to the hotel and got ready for

New York City Ballet's performance of Tchaikovsky's Sleeping Beauty
At Lincoln Center. Took the 6 train from 51st/Lex to Grand Central, S from Grand Central to 42nd/times square, and 1 from Times Square to 66th/Lincoln Center. It really couldn't have been easier. Driving from my house to any of the theaters in Cleveland is more stressful and probably takes as long if not longer.

I was in the front row of the First Tier, just about 10' off center. I really don't think there were many seats with a better view. The theater was much more intimate than the seating chart made it appear and I was far enough back to see "everything" without being so far back as to not be able to see detail.

I've said it before and will say it again... I'm not qualified to comment on ballet. All I can say is that there was nothing that I thought distracted from an enjoyable experience. The dancing was well executed, the orchestra was a pleasure to listen to, etc., etc.

So then I did the 1 train to the S train to the 6 train and am back here at the hotel for the night. There are more pictures over at Flickr.

Tomorrow I'm tempted to try to get into the Met Opera to see their show, if for no other reason than to see how their surtitling system works... but I'm also tempted to try to see another show on Broadway. Ugh. Decisions, decisions. It will probably come down to if any of the shows TKTS has catch my fancy.

Lincoln

Playhouse Square: Nutcracker (Royal Winnipeg Ballet)

Ballet is perhaps the only performing art medium that I'm less qualified to comment on than Opera.

I enjoy ballet for artistic reasons (the music and grace of the human body in motion) and I'm-a-guy-so-shoot-me reasons (ballet dancers are, as a whole, a very attractive group physically). There's not much of a professional ballet presence, that I've found at least, in greater Cleveland. Sure there's plenty of contemporary dance but I just don't find it as compelling as ballet.

Tonight's performance marked the fourth time I've seen the Nutcracker; the first was 3 years ago here in Cleveland at Playhouse Square... The past two years were in Southern California. I don't remember much of the original Playhouse Square performance besides a general enjoyment; the California performances were, in a word, awful. (Any time the director's note implies "The original story doesn't make any sense, so I decided to fix that" by completely reordering things RUN.)

Fast forward to tonight.

The performance was the most innovative staging of the four. The first act flew by and held my undivided attention. There was a hideous, prolonged noise at one point where the mouse king was doing his thing, but giving the benefit of the doubt it could have been an intentional sound effect.

The 2nd act was, as it should be, dancing for dancing sake and my interest was fading rapidly by the time the finale rolled around. The end of the Nutcracker has always felt like the story arc was left incomplete...this staging I felt much better about, but still felt like it was missing part of the resolution.

The music produced by the orchestra in the pit was fantastic. For whatever reason it was amplified and I was a little distracted by hearing the violins (through a speaker) coming from my right instead of the left which is what I am accustomed to. I have a feeling I was the only one in the audience who noticed, and aside from the "oh, that's odd" feeling it wasn't remarkable.

Of course, much of the music from the Nutcracker has fallen into the category of "holiday staple" divorced from its relationship to the ballet (dum-dum-da-da-dum-dummmmm). Sitting there I had to wonder if Mr. Tchaikovsky had any inclination while he was composing of the enduring and wide-spread popularity the piece would enjoy... for that matter if any of the great dead ones -- be it Shakespeare or Beethoven -- knew the endurance of their work.

Have you done anything enduring?

Lincoln