BWW Reviews: Classic and Modern Ballet Highlight POINTE OF DEPARTURE at Cleveland's Cain Park
When the Cleveland Browns snuck out of town in 1995, it left a void, but three years later the team was resurrected. When the Cleveland San Jose Ballet waltzed to San Jose in 2000, another void was left in the city’s psyche.
Unfortunately, there has been no resurrection, so the city is left with no professional ballet company.
The void is sometimes filled when Dance Cleveland brings in a touring company whose specialty is classic dance, but that doesn’t provide a consistent diet for ballet aficionados.
Locals had hoped that, due to their strong local ties, former Cleveland Ballet wunderkinds, Karen Gabay and Raymond Rodriguez, would make Cleveland the permanent home for Pointe of Departure, their small nonprofit ballet company, and grow it into a local treasure.
Point of Departure originated here in 1998 as a collaboration between violinist Lev Polyakin, Assistant Concert Master for the Cleveland Orchestra, and Gabay. After sold-out performances at the Cleveland Museum of Art and the Cleveland Institute of Art, the collaboration got a name and a mission. Its purpose is to “erase the stereotypical antiquated image of classical ballet and launch it into the 22nd century as an art form in demand!”
Though still “based” in Cleveland, the company appears in other venues, performing locally once a year. Next week, for example, they will be bringing their repertoire to the Mountain View Center for the Performing Arts in the California south bay area. That performance will feature 16 Ballet San Jose dancers in contrast to the eight who recently performed at Cain Park.
The Cain Park concert consisted of seven pieces, four of which were Gabay’s choreography. The rest were “after Petipa.”
Marius Petipa was a French ballet teacher and choreographer who is considered the most influential ballet master of all time. Many of his creations are used as the basis for other choreographers to stage works “anew.” These are traditionally listed in dance programs as “after Petipa.”
Gabay’s own pieces were the highlights of the program. The evening started with a delightful Z BLUES, in which Rodriguez spent most of the number dancing with his feet in the air as he stood on his head, in white face, while Gabay attempted to be the classic female tutu-costumed ballerina. The short piece delighted the audience as the duo proved that even though they are past their prime as featured dancers, they can still grab, hold, and delight an audience.