Michael M. Kaiser, who has turned around many arts organisations including the Royal Opera House and Kennedy Center, Washington D.C., declares one of his rules for success is packaging. Taking that formula to heart, American Ballet Theatre this season is mounting "celebrations" - first Tchaikovsky, now Fokine - selecting a cross section of Fokine's best known works: Les Sylphides, Petrouchka, Spectre de la Rose and Polvotstian Dances from Prince Igor. Three of the four ballets have been in the repertoire virtually since it began and, when Baryshnikov headed the company, Petrouchka had a particularly fine production.
Unfortunately this latest one, staged by Gary Chryst, himself memorable in the role when he danced with the Joffrey troupe, fails to hit target, mostly because Julio Bocca, though a magnificent dancer, fails to define the character. The work depends on the ability to portray the pathos of a sawdust creature, his love for a heartless ballerina (excellently danced by Amanda McKerrow) and his ultimate destruction at the hands of a Moor (Marcel Gomes). They are all puppets manipulated by a showman Charlatan, vividly mimed by Frederic Franklin, who recently turned 91. The setting, the bustling St Petersburg Butterweek Fair of 1880, lacks period style, with the exceptions of Craig Salstein and Buck Collins, whose turn as grooms competing to show off flashy Russian steps enlivened things.
Better luck with Les Sylphides, choreographed in l909. Gillian Murphy, transforming herself from Arcadia's Sylvia of earlier this season to Chopin's sylph, appeared to float above ground escorted by her poet, Maxim Berloserkovsky, and the corps sustained an ethereal style. Only Yuiko Kajya in the solo Waltz failed to project the magic of this gentle ballet.
In contrast, Polovtsian Dances, staged by Frederic Franklin, today looks like sheer kitsch with its lusty, nomadic warriors, rows of undulating maidens and warrior chieftan Gennadi Saveliev flying around bow in hand, a sort of saucy Tartar.
This Fokine package leaves a few strings untied but it's a fine reminder of the genius and versatility of a remarkably forward looking choreographer.
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