BWW Reviews/Previews: Pink's MKE Ballet GISELLE Delves Deep into Ultimate Human Exisetence

On on March weekend just after spring arrived, the Milwaukee Ballet opened one of the oldest ballets- Giselle-to an appreciative audience. By adapting Jean Corelli's and Jules Perrot's original choreography, with Adolphe Adam's musical score arranged by Gavin Sutherland, Michael Pink in collaboration with Christopher Cable delves deeper into the human existence through their interpretation integrating traditional and contemporary choreography to retell one of the most romantic ballets in the art's repertoire. Another ballet where every year through Pink's remarkable storytelling the audience anticipates his revelation of art and beauty, grace and strength through dance.

Pink set the 1841 Giselle in an "urban ghetto," similar in feeling to the Jewish ghetto Terezin in World War II where the arts flourished in a creative community, 100 years ahead in time,1941. As in the first, premiere production at the Paris Opera house, the timeless story of a betrayed lover once again has dire consequences in the 21st century. On two evenings, Luz San Miguel's Giselle resonates as the frail young woman who falls in love with the "enemy" Albrecht, a man impersonating one of her own people, an elegant Davit Hovhannisyan. By exposing Albrecht's real identity to Giselle and the commanders who be, along with his engagement to another woman, Giselle and the Ghetto suffers the consequences by giving their lives.

During World War II, the actual Czech Terezin was showcased as a model for how the Jewish were being treated in the so-called "work camps" to offset any complaints from world leaders. Artists, dancers and musicians flourished in the ghetto Nazis actually appreciated while still mistreating the imprisoned people, where thousands eventually died.

Pink accessed Milwaukee's Jewish community in establishing the first act's scenery and perhaps choreography that revels in incorporating traditional steps from cultural folk dances with stunning results. Colored shirtwaist dresses twirl on stage accompanied by pleated trousers accented by braces and then topped with sweater vests reminiscent of 1940, courtesy of Production Design by Lez Brotherston under Lighting Designs by David Grill, to delight the eyes for the stage. Yet, the entire production evokes a timeless quality transferring to any "war-torn" ghetto in a European country.

Giselle's second act literally takes the audience's breath away. When Giselle's Albrecht mourns his betrayal, and the resulting terror this caused, spirits from the ghetto dressed in simple white nightgowns and fluid pajama pants create a striking statement to honor the cruelly executed. Contemporary choreography evokes the spirits' angst and pain, while a luminescent Miguel stuns in both solo and in a pas de deux. Astonishing in the imagery created when Hovhannisyan carries Miguel aloft, almost as if an angel in flight, the ballet corps moves and circles with incredible emotion as if actual apparitions apearing from the graveyard Albrecht visits.

Giselle forgives Albrecht, when her love reaches beyond her death, and she needs only convince the spirits to forgive him, too---of critical significance to the the numerous genocides and the pathos of man's inhumanity to man/ Events which transcend to contemporary politics where terrorism and fear can overshadow beauty and art, a positive force to counteract the ugliness of hate and injustice. Perhaps to ilustrate the poignant themes, this ballet was dedicated in memory of Shirley Kritizik, beloved wife of Stanley, and staunch supporter of the ballet, where the program reads, as it might throughout Giselle, "Love is the beauty of the soul."

This complex, radiant Giselle production foreshadows the upcoming May ballet, a full length romantic Cinderella. And also recently revealed, the Milwaukee Ballet's 2015-2016 season highlights Pink's extravagant excellence for storytelling with October's Dracula, December's The Nutcracker, his adaptation of Oscar Wilde's Dorian Gray in February and new works by contemporary choreographers under March's selection titled Kaleidoscope Eyes. In a grand finale, The Washington Ballet's imaginative Alice (In Wonderland) caps the season for this world class company and their innovative artistic director.

Whether choreographed and envisioned by Pink, such as Dracula, Dorian Gray and his now classic, reinvented The Nutcracker, Pink ultimately strives to intertwine storytelling and dance, to capture the essence of human existence, who we are through the classic choreography of movement alone. In doing so, Pink's unique vision resurrects ballet as a contemporary, immediate, valuable and viable, art form that ensures the future of dance for countless generations. While Pink continues his tenure as Artistic Director for the Milwaukee Ballet, the city waits for his new adventures to take their breath away once again. Reach deep into their heart's desires to further define what ultimately gives worth to the human condition, as art, ballet, beauty survive and thrive in an often unforgiving world.

The Milwaukee Ballet presents Cinderella in Uhlein Hall at the Marcus Center for the Performing Arts from May 14-17. For information or tickets on Cinderella, or the upcoming 2015-2016, please call 414.902.2103 or www.milwaukeeballet.org

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