Review: TULSA BALLET - MADE IN AMERICA, Royal Ballet and Opera
These dancers could hold their own on any global opera house stage
Tulsa Ballet made its Linbury Theatre debut last night, and the dancers of the company made a strong impression. Seeing a company for the first time one never truly knows what to expect, but these dancers could hold their own on any global opera house stage.
The company offer a triple bill of “uniquely American works” which is a bold statement, and one that I don't necessarily agree with. The three works are absolutely more than acceptable…however none of them blew me away choreographically speaking - moments of the dancing no doubt - but not the material itself.
Opening the evening was Classical Symphony by San Francisco Ballet choreographer Yuri Possokhov. The inspiration for the work is Possokhov's “childhood reverence for the art form” and using Prokofiev, we're offered 25 minutes of near on relentless movement at the same pace.
Photo Credit: Kate Luber
The cast of fourteen dance the generic movement language with gusto, showing no signs of weakness in relation to Possokhov's physically and technically demanding phrasing. I kept looking for something; true musical analysis or original motif - however, I couldn't find it.
The highpoint for me was the central pas de deux danced by Nao Ota and Jun Masuda (both superb dancers). This duet offered more dynamic range and physical tension than seen thus far, and acted as an antidote to the commendable but unremarkable choreography elsewhere.
The middle work was Nicolo Fonte’s Divenere and exacerbated the above issue rather than improving it. The choreographer’s inspiration is both “the powerful energy and serene calm found in nature”, and Divenere uses Ludovico Einaudi to help him out. Or not.
Personally I find Einaudi overused. Divenere's work seems confused in the sense that it started off as a piece in flat shoes and then seven minutes later the ladies arrived back on stage en pointe. Of course this is possible, I struggled to find the reasoning behind it.
Photo Credit: Jessie Kenney
Divenere's language is inoffensive; lyrical with good use of space. Yet within the same sex duos and fluid group sections I couldn't locate anything to get my teeth into. A recurring motif is a generous développé on the open line. As to be expected; the dancers look gorgeous but not a lot else is happening.
Closing the programme is Remember Our Song by Andy Blankenbuehler. The work is a play without words style piece looking at homesickness during wartime. This of all the works is the most American in style; in relation to the costuming, music and movement, but at only 15 minutes long it can be difficult for any of the characters to take on serious depth.
It also wasn't clear which part of the storytelling was real or fantasy; this won't bother some. Personally, as I couldn't decipher, I just went with the (shortish) flow. The dancers did another brilliant job with the choreography they had. Everyone brought weight and flow to the lyrical, jazz infused language, but it wasn't the strongest way to finish the programme.
These are gifted dancers performing weak(ish) work. Interesting to note this is another triple bill of three male choreographers programmed by a male director - all white. Something to ponder upon.
Tulsa Ballet: Made in America runs at the Royal Ballet and Opera Linbury Theatre until 17 May
Main Photo Credit: Kate Luber
Reader Reviews
Videos
