“24 Preludes by Chopin”, “A Suite of Dances”, and “The Four Seasons”
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
March 6, 2010
copyright 2010 by Denise Sum
With its jarring aesthetic and unorthodox movements, “24 Preludes” can be a tough sell. The first thing many audience members would notice is the racy costume design. The dancers are clad in sheer black bodysuits with strategically placed strips of tape that leave little to the imagination -- a far cry from the romantic white tulle one would associate with Chopin’s music. The dancers seem to revel in the seeming contradiction. But in fact, Chouinard’s choreography is innately musical, just as true to Chopin as “Les Sylphides”, yet in a completely different context.
Watching “24 Preludes” is like people watching in a busy city park. Each prelude depicts its own little vignette. Mundane actions are distilled into something beautiful. In one prelude, a group chases after a soccer ball mysteriously tossed onstage from the wings. In another, the dancers strut around with rippling movements of the torso and flicking hand gestures, like exotic birds preening. In yet another, two women face off with angular poses in a sort of voguing brawl. Despite a number of striking solos (corps de ballet member Andreea Olteanu, with head thrashing and swinging arms, exudes a rock star quality), the energy and momentum always returns to the collective. The group forms lines that peel apart, revealing complex layers of choreography. At other times, individual eccentricities are washed away in the crowd. Later, the group unites in a grotesque waltz, shuffling forwards and backwards, torsos rounded in an awkward concave stance. The dancers are in close proximity to one another, yet emotionally distant -- a picture of urban living.
“24 Preludes” is a daring and refreshing work for the company that certainly rewards the viewer, with candid moments and cheeky wit. However, it is perhaps missing a key ingredient: the authenticity that allows an audience to not only be entertained but transformed. For all its imagination, “24 Preludes” is clever, quirky, and slick yet always keeps a distance. As a result, the ballet feels less satisfying than it should.
The more linear “Four Seasons” asks less of its audience while demanding a lot from its lead dancer. The ballet traces the trajectory of one man’s life and will forever be associated with Rex Harrington, who created the role of the everyman at the premiere in 1997. In this performance, the torch has been passed to the young second soloist Noah Long making his debut as The Man. Long has already danced leading roles in “West Side Story” and “Carmen”, where his flair for the dramatic has served him well. Here, Long took an uncharacteristically serious approach. His earnest expressions seemed out of place in the spring and summer segments, and took away from the potential dramatic tension that should build as the seasons wear on. There is a sort of mad scene in winter when the Man’s death is imminent. He grabs his head in his hands tilting from side to side, shivering and coughing as winter tightens its hold on him. Long took a risk by actually making audible coughs and sneezes, but it did not read as it should have and members of the audience laughed inappropriately. The gestures looked more like decorations than expressions of despair or dementia. Nonetheless, it is refreshing to see a young dancer experimenting on stage and Long’s interpretation will certainly continue to develop in time. It is a shame that during this run, Long only had one chance to perform the role.
Throughout the ballet, the Man is visited by different women. Jillian Vanstone was lovely and fresh in spring. Tanya Howard represented the sensuality and heat of summer, although the summer pas de deux, arguably the highlight of the ballet, lacked the speed and sense of danger that it requires. In autumn, Jenna Savella was captivating and looked mature beyond her years. Her dancing was self-assured with an understated elegance. Finally, Xiao Nan Yu was a gracious and maternal presence in winter. Part of what makes “The Four Seasons” special is the memories of the original cast - Chan Hon Goh in spring, Greta Hodgkinson in summer, Martine Lamy in autumn. But it is equally exciting to see a new generation of dancers tackle these roles and make them their own.
Jerome Robbins’ “A Suite of Dances” rounded out the program. Zdenek Konvalina was an absolute marvel in it. He dances honestly, as if each step is the most natural thing in the world to do. He is at once introspective and carefree, using lightness and weight in equal measure. In the power of its simplicity, “A Suite of Dances” was an ideal compliment to “24 Preludes by Chopin” and “The Four Seasons”.
Photo (top): Noah Long and Tiffany Mosher in “24 Preludes by Chopin”. Photo by Sian Richards.
Photo (bottom): Tanya Howard in “The Four Seasons”. Photo by Bruce Zinger.
Watching “24 Preludes” is like people watching in a busy city park. Each prelude depicts its own little vignette. Mundane actions are distilled into something beautiful. In one prelude, a group chases after a soccer ball mysteriously tossed onstage from the wings. In another, the dancers strut around with rippling movements of the torso and flicking hand gestures, like exotic birds preening. In yet another, two women face off with angular poses in a sort of voguing brawl. Despite a number of striking solos (corps de ballet member Andreea Olteanu, with head thrashing and swinging arms, exudes a rock star quality), the energy and momentum always returns to the collective. The group forms lines that peel apart, revealing complex layers of choreography. At other times, individual eccentricities are washed away in the crowd. Later, the group unites in a grotesque waltz, shuffling forwards and backwards, torsos rounded in an awkward concave stance. The dancers are in close proximity to one another, yet emotionally distant -- a picture of urban living.
“24 Preludes” is a daring and refreshing work for the company that certainly rewards the viewer, with candid moments and cheeky wit. However, it is perhaps missing a key ingredient: the authenticity that allows an audience to not only be entertained but transformed. For all its imagination, “24 Preludes” is clever, quirky, and slick yet always keeps a distance. As a result, the ballet feels less satisfying than it should.
Throughout the ballet, the Man is visited by different women. Jillian Vanstone was lovely and fresh in spring. Tanya Howard represented the sensuality and heat of summer, although the summer pas de deux, arguably the highlight of the ballet, lacked the speed and sense of danger that it requires. In autumn, Jenna Savella was captivating and looked mature beyond her years. Her dancing was self-assured with an understated elegance. Finally, Xiao Nan Yu was a gracious and maternal presence in winter. Part of what makes “The Four Seasons” special is the memories of the original cast - Chan Hon Goh in spring, Greta Hodgkinson in summer, Martine Lamy in autumn. But it is equally exciting to see a new generation of dancers tackle these roles and make them their own.
Jerome Robbins’ “A Suite of Dances” rounded out the program. Zdenek Konvalina was an absolute marvel in it. He dances honestly, as if each step is the most natural thing in the world to do. He is at once introspective and carefree, using lightness and weight in equal measure. In the power of its simplicity, “A Suite of Dances” was an ideal compliment to “24 Preludes by Chopin” and “The Four Seasons”.
Photo (top): Noah Long and Tiffany Mosher in “24 Preludes by Chopin”. Photo by Sian Richards.
Photo (bottom): Tanya Howard in “The Four Seasons”. Photo by Bruce Zinger.
