Passion at Play
Though at times exciting, this program lacked American Repertory Ensemble's usual spark of artistic fusion
Reviewed by Michael Kellerman, Fri., Aug. 1, 2008
Passion at Play
McCullough Theatre, UT campus
July 25
American Repertory Ensemble Artistic Director David Justin introduced ARE's latest program from the McCullough Theatre stage with quirky elevator music playing in the background.
For a moment this held the audience in confusion, then the source was revealed: Musicians and dancers hidden in the orchestra pit, which was slowly rising to stage level. This was a charming and playful way to open Passion at Play, creating the type of anticipation that comes from not knowing, and not needing to know, what will come next.
What followed were performances which delivered a number of sublime technical and artistic moments. The program opened with the wonderful ballet talents of Michele Gifford and Griff Braun in the solemn The Dance House, choreographed by David Bintley to music by Dmitri Shostakovich. The raw concrete frame of the back stage, two grand pianos, and a single red dance barre were a striking backdrop for the piece, a mournful tale of where we go after we die.
Rosalyn Nasky brought a feral beauty to the next dance, Fray. The sharp angles and clear lines of her movement across the stage, onto a rolling box, and in and around Karla Hamelin's solo cello created a magnificent coupling of athleticism and artistry. The addition of a monitor running a software program that interacted with the artists was an odd distraction from a unique performance.
In Valses Poéticos, Tina LeBlanc and Joan Boada were outstanding, each a master of both classical ballet technique and the ability to deliver it with flair and excitement. Enrique Granados' score was nothing short of virtuosic, a challenge that pianist Yu-Hsuan Liao handled with astonishing accuracy.
The program's second half featured two works by Justin. The first, set to Debussy's ethereal Prélude à L'Après-midi d'un Faune, began with two of the three dancers hovering above the orchestra, lit in a beautiful glowing yellow behind a scrim. The work took on a new, introspective life through Justin's choreography, with angular, restrained movement and distinctive hooflike hand gestures. Backed by a solid orchestra, notably Amra Catovic's dreamy flute work, the dancers were strong and confident throughout.
Finally came Speed Dial, Justin's setting of Michael Torke's driving "Telephone Book" – an odd choice for a ballet, as its mechanical gears churn out bits of musical dialogue that morph from one to the next through repetition. It's a unique piece, but one that didn't translate successfully into a cohesive interplay of dance and music. Justin's pairings were imaginative, and the dancers brought much energy and determination to the work, but they often seemed a bit rushed or behind. The piece could have used more rehearsal and fine-tuning before its debut.
Special mention must be made of the multitasking Graeme Francis, who opened the show on percussion, took the stage as pianist for the Shostakovich, and wielded a baton as conductor for Speed Dial (itself a master's thesis of meter and rhythm).
The Austin classical scene has embraced ARE like the popular new kid on the block since its 2005 debut. Much of the ensemble's aura is based on its presentation of a wide variety of ballet and chamber music, established and new, in settings that draw an alluring question mark around the creative process. This time, however, the core of ARE's trademark went missing. Though at times exciting, the program lacked a spark of artistic fusion or thoughtful exploration and instead played as a string of unrelated recitals. This was exemplified with the presentation of Paul Hindemith's Sonata for Trumpet and Piano, an austere and mechanical work that was dropped between Justin's two pieces. The performance was strong, but it came across as an arbitrary programming choice. I hope that as ARE's leaders continue to reach out to the best artists in Austin and beyond for their artistic exploration, they will sharpen their focus on the experience as a whole. For now, I wonder: What will they do next?