Joy of Motion's Classical Repertory Dance Theatre
Lang Theater, Atlas Performing Arts Center
Washington, DC
March 13, 2010
by George Jackson
copyright 2010 by George Jackson
Love is at the root of the word amateur. Is there, though, a place for such love in today's world of high tech ballet performances by not just full fledged professional companies but also by professional student groups?
Russia, in its Soviet days, was a place where amateur ballet clubs performed and thrived. Perhaps that's still the case. The clubs' membership formed a discerning audience for professional dancing.
The Washington-based company making its debut on Saturday evening is made up of about 25 "adult ballet dancers of mixed levels". Quite a few of them, I'd guess, started studying ballet as adults - too late to forge bodies with the ready turn-out, easy stretch and pliant rebound of professionals. That didn't discourage them from tackling two of the most exacting pieces of choreography by classicism's master, Marius Pet ipa - the Shades Scene of "La Bayadere" and the Grand Pas of "Paquita". What carried them through the ardors was more than courage.
Miya Hisaka, the ensemble's director and principal stager, had to make adjustments. She let the ladies of the corps de ballet dance in soft slippers, not on pointe as has become usual. Even so, their steps registered for they did them with relish, full out. Also, no toe dancer was available for the third of the 3 Shades solos, so it was performed by a coordinated trio on half toe. Hisaka's real achievement, though, has been to teach her dancers to show their love of what they do. There was a "joy of motion" on stage that conveyed itself to the audience. Sometimes that feeling is missing in the dancing of highly proficient groups.
Of newer choreography on the program, a neoclassical piece to John Williams / Joaquin Rodrigo guitar music, Eduardo Rogel's "Concierto", was well made and very smoothly rehearsed. I suspect it comes from the repertory of El Teatro de Danza Contemporanea de El Salvador, a company Hisaka founded. Other dances, serviceable ones, were by ballet mistress Ilsa Bush and resident choreographer Diana Movius.
Judging by the bountiful number of bouquets brought to the theater, the audience was one of friends and family. They sufficed to sell out the house. Although Joy of Motion's classical group didn't hide its amateur status for its debut, that ought to be made quite clear in the future.
