BWW Reviews: Roberto Bolle And Friends Gala
That Roberto Bolle is the body beautiful, not to mention gorgeous, extraordinaire, beyond belief, is not to be questioned. If he took just one step to the right, you might call it exploitation or something closely resembling that. Mr. Bolle, wisely, did not take that slippery path. He remained an amiable, charming and silent host to the evening that bore his name, Roberto Bolle and Friends Gala. So, if he did take every opportunity to present his buff technique, there was nothing to do but sit back and enjoy it, or carp frequently at what was going on.
Personally, I like Mr. Bolle with his clothes on. Did you see him in Onegin and A Month in the Country during ABT's spring season at the Met? Here was a dancer with undeniable authority, presence and sensitivity. That this was not on display Tuesday night is to Mr. Bolle's discredit. Skin is great, but so are your technique, versatility and the ability to perform in outstanding choreography.
Now to the program. How was it? As the old adage goes, a mixed bag. Or a matter of the glass half empty/half full: intermittently enjoyable, mostly dull. I have to hand it though to Mr. Bolle. He gave the best choreography of the evening to Herman Cornejo, whose technique and stage presence can only be described as beyond my highest expectations.
The evening began with the pas de deux from Excelsior, a work I had never seen before. To call it tacky is too kind. Danced by Alina Somova and Roberto Bolle, outfitted in the first of his skimpy costumes of the evening, this is a display piece for two virtuosos. Ostensibly chosen, I imagine, for its Italian relationship to Mr. Bolle's home country, it was painful to watch. I'm sure that there was something else that could have been chosen as a curtain raiser. This was definitely not it.
Not to sound churlish, there were excellent performances by Alicia Amatriain and Jason Reilly in the balcony scene from John Cranko's Romeo and Juliet. Cranko's reputation has never been held in high esteem in the United States. I don't agree. I find it character driven, emotionally nuanced and dramatically involving. While Mr.Reilly performed with great passion, it was Ms. Amatriain who stood out. Here was an artist who understood that Juliet is not a maiden on the fast track to doom, but one thoroughly besotted with youthful love.