Dance Review: La Fête du Ballet

by Mark-Brian Sonna of MBS Productions

La Fête du Ballet is TITAS’ annual show stopping, gasp inducing, “bravissimo” clambering dance show. It also doubles up as their major fund raiser for the year. For the last 14 years they have imported some of the greatest dancers from all over the globe. This always is seen as one of the most outstanding stage events of the year, and not just of Dallas, but just about anywhere in the United States. Tickets for this even aren’t cheap, and for a good reason, you are seeing world class artists that have been flown in specifically for this event. In fact for this one performance two dance pieces were choreographed specifically for the evening.

The dance numbers chosen are usually some of the most famous choreographic moments of ballets and are chosen for their pizzazz and “wow” inducing factor. Surprisingly, this year none of the 10 pieces fell into this category. No Don Quixote, Giselle, or Swan Lake pas de deux’s here. Instead we were given great moments of Balanchine, a spectacular and show stopping excerpt from Spartacus, the delicate pas de deux of Sleeping Beauty, and a luxurious modern piece by Jessica Lange. I knew of some of these pieces but the only one I had ever seen before was Sleeping Beauty. It was wonderful to see fresh and unusual choreography created by masters, performed by such a talented cast.

I would like to say the entire evening was a success, but it wasn’t. No doubt it was a spectacular night of dance, but the first three pieces of the evening faltered a bit. Transitions weren’t smooth, timing was slightly off and the partnering was a little rough. The problem was that everything felt like it needed to be rehearsed a bit more. It is known that these 10 dancers are lumped together and asked to do something with very little time to prepare; some may have not ever worked together, so it is understandable that these glitches happen. This said, the lofty ticket prices demand a more seamless performance. Act 2 was much stronger: every turn, leap, combination was flawless.

Spartacus was breathtakingly complex, gorgeous, passionate, and the two dancers, Carlos Molina and Erica Cornejo were committed to their parts. They didn’t just dance, they delved deep into their characters. Without words they communicated volumes. Truly great.

The Tchaikovsky pas de Deaux had Daniel Ubricth stealing the show. It was fitting since it closed the evening. He danced in two numbers and both times was partnered with Megan Fairchild. The first being Tarantella displayed his wit. But it was the Tchaikovsky that proved his true command of the stage and displayed to not just sail in the air, but to appear to float above it, his jumps being so high one wondered if he’d ever return to earth. Curiously he is not a Balanchine looking dancer, he’s too muscular, not long limbed enough and doesn’t posses a full turnout to his feet. Yet in both Balanchine pieces he was able to execute the extremely difficult choreography with great ease. He also understood his characters and that is what took his performance above the level of greatness to the level of mastery.

The curious couple from the evening was Cecilia Kerche and Vitor Luiz. Both possess strong technique and they were good, but when they danced together there was such coldness about them that it was jarring. They are dancing pas de deux which is basically a ballet term for a formalized make-out scene. Even in an old warhorse like Swan Lake the pas de deux should generate some level of heat. These two could have cared less for each other. In a pas, after the couple dances together the man then the woman has a solo, and they reunite to do a finale. Each of their solos demonstrated their capacity to wow the audience. They got into it, and so did we. As soon as they paired back up they were back to being detached and going through the motions. There must have been some delicious back story; either that or they were passing gas, that’s how pinched their faces were when together.

Irina Dvorovenko and Maxim Beloserkovsky dance the sublime piece by Jessica Lange. Half the stage was taken up by a white skirt. Irina, trapped in it undulated, twisted, and eventually broke free as Maxim athletically danced around her. This modern piece was sensuous and beautiful. In act 2 they did the Sleeping Beauty number. Both again were technically wonderful, but she chose to perform the number as a showstopper, whereas the choreography indicated it should be done with delicacy. Maybe she felt she could take this liberty since it wasn’t being performed in the context of the larger ballet, or perhaps, she never fully comprehended what her character should be. It was gorgeously performed, with much virtuosity, but it could have been better.

The female dancer of the evening that wowed the most was Drew Jacoby. She was partnered with Rubinald Pronk. The two numbers they performed were the most modern and athletic of the night, and also were the two numbers that were choreographed specifically for the event. Because of this, there was as a seamless quality to their two numbers that elevated them above the rest. Ms. Jacoby is a powerhouse. I would love to see more of her. She’s athletic and has a musicality that ranks her as one of the true living legends in the field of dance. Mr. Pronk is phenomenal in his own right, but partnered next to her, he was outshone.

I know it’s strange to quibble and point out these minor flaws of what is really quite a magnificent evening of dance, but I feel I must do it. Not because I didn’t enjoy the show, because I immensely did – as did the rest of the audience. But because I’ve seen better. The ticket prices charged force me to be more critical, and TITAS has produced stronger offerings in the past. Would I skip this event next year? No way! This remains one of the best events of the year in North Texas.