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Destiny’s Dances
Performed by the Joffrey Ballet
Music by Chicago Sinfonietta
Music Director Dr. Leslie B. Dunner
Les Presages
Music by Peter Ilych Tchaikovsky
Book & Choreography by Leonide Massine
Staged by Cameron Basden
Apollo
Music by Igor Stravinsky
Choreographed by George Balanchine
Staged by Mark Goldweber
The Green Table
Music by Frederick Cohen
Choreographed by Kurt Jooss
Staged by Anna Markard
Repetiteur: Jeanette Vondersaar
Pianists: Paul Lewis & Mungunchimeg Buriad
At the Auditorium Theatre
50 East Congress
Chicago, IL
Call 312-902-1500, tickets $25 - $130
Friday, February 16 & 23 at 7:30 pm
Saturday, February 17 & 24 at 2 & 7:30 pm
Sunday, February 18 & 25 at 2 pm
Running time is 2 hours, 50 minutes with 2 intermissions
Through February 25, 2007
Three groundbreaking works of the early 20th Century
dazzle at the Auditorium Theatre
This is only my third ballet by the Joffrey Ballet Company and it is the finest I’ve seen yet. This dazzling production by the world-class Joffrey is a repertory program featuring a trio of masterpieces that transformed the dance world. The three pieces were refreshingly divergent with exquisitely colorful costumes that had the dancers gliding deftly to terrific scores from Tchaikovsky, Stravinsky and Cohen played by the Chicago Sinfonietts under Dr. Leslie B. Dunner apt direction. This ballet was a primer for me on the amazing variety and scope of modern ballet. Each piece was stunning in its own right—all three added up to a most gratifying evening.
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The opening program was Leonide Massine’s 1933 masterwork, Les Presages (The Omen), a revolutionary ballet which explores the grand them of heroic human destiny. Using names like “Action,” “Temptation,” “Destiny,” “Fate,” and “Passion,” Massine creates an allegory of man’s struggle against fate and the fight of good verses evil. Les Presages was the first work set to a complete symphony, Tchaikovsky’s 5th --- this expanded the boundaries of ballet. The vibrant costumes by the 1930’s French Surrealist artist, Andre Masson were sensual and unique. I particularly enjoyed the strong finishing movements. The Joffrey’s dancers shine here with ambitious formations and complicated movement.
The second piece, George Balanchine’s 1928 masterpierce, Apollo, ushered in a new era for ballet with his cool, clear neoclassical style. This sensually vivid ballet is the pre-modernist work about the Greek god, his birth and the muses that inspired him. It is also the first collaboration between Balanchine and Igor Stravinsky. They would eventually produce dozens of excellent ballets. Crisp lifts and jumps were evident here.
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The final work was the Kurt Jooss’ The Green Table (1932) which is considered the most powerful and important anti-war statement ever created for the stage! Using masks, a long green table and provocative movements the work tells its story in 10 scenes to a terrific varied score by Frederick Cohen performed by 2 outstanding pianists (Paul Lewis & Mungunchimeg Buriad). The Green Table is effective and creatively mocks war as it covers the stages of national conflict —from the political leaders at the green table debating policy. From the farewells as the soldiers leave home to the battles to the refugees to the partisans with the brothels depicted we experience the horrors of war in terms of human cost. The wars aftermath is depicted as the cycle renews itself with the politicians resuming their ‘dance’ (a tango) once again. The anti-war message is received loud and clear.
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Throughout the evening, I was impressed by the magnificent, near perfect execution by the Joffrey’s talented dancers. This is an amazingly diverse trio of ballets that will keep your interest as you soar with the stellar dancing and the beautiful music. It was a wonderful Valentine day treat. Thanks to all at the Joffrey.
Highly Recommended
Tom Williams
Tom99@chicagocritic.com for comments
Talk Theatre in Chicago podcast
Date Reviewed: February 14, 2007
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