By Sheila Orysiek
SAN DIEGO — City Ballet of San Diego presented a spirited full length Don Quixote at the Spreckels Theatre on May 10, 2015; the final performance of the 2014-2015 season. It made one wish the season was longer.
Artistic Director Steven Wistrich took on the title role of Don Quixote. It is not an easy role to play; he is a befuddled dreamer but not a fool. Bringing back the grace of another time, Wistrich gives the Don his dignity with a hint of the vulnerability and hesitation of the elderly while never allowing him to slip into parody. Wistrich doesn’t simply play the role – he dances it.
Kitri’s entrance in Act I sets the tone for the entire ballet – she has to light a fire and keep it burning. Erica Alvarado’s Kitri sparkled but she is such a secure dancer, I want more. Smack the floor with your fan in the waltz entournant en diagonal. Split the tour jetés! A Spanish shrug of the shoulders! Alvarado’s high skyward temps de fleche were wonderful as were the split sissonnes during which she lay her head on her back leg. Lucas Ataide was a romantic and playful Basilio. His partnering sure and his “look, no hands” fish dive – perfect.
Both Alvarado and Ataide lit up the stage in the famous Act III Grand Pas de Deux. Her series of fouettés were crisp, changing her spot every fourth rotation (32 rotations within a rotation) finishing to a roaring audience. (The only ballerina I’ve seen do this with a smile is Galena Panova). Alvarado’s enchainement en diagonal of voyagés sur la pointe were effortless and the chainé tours – heels touching – a pleasure. Ataide’s jumps were high and clean with strong grand tours a la seconde. The over the head one arm lifts were smooth and thrilling. Bravo Ataide and brava Alvarado!
Though “pas de deux” means dance for two, in this ballet there is a third dancer – Kitri’s fan. Especially in Act I, she uses it to speak to Basilio. Fluttering when she is agitated, it is both her shield as well as her device to tease and capture him. In the most dynamic of jumps it snaps open in triumph as she lands – it closes when she is upset with him. I have many times watched a tape of Prima Ballerina Assoluta Maya Plisetskaya – just to see how she wields that small but deadly weapon – her fan. It is a ballet within a ballet. Alvarado used her fan to good effect and when she dropped it never lost her poise in its retrieval.
In ensemble dancing, it makes an old ballet teacher’s heart smile when every foot snaps to pointe en l’air no matter the tempo of the dance. This must happen whether the dancer is center front or seemingly unseen in the back. No one on stage is unseen. Every foot must attain pointe in sauté – the effect is as dynamic as the most spectacular of jumps. City Ballet does this, but for every dancer and every dance company it is always a “work in progress.”
Ariana Gonzalez and Stephano Candreva as Mercedes and Espada were terrific. She was a merciless vamp, teasing him with her wicked smile, the snap of her head, the nuance of her épaulement, and the counter backstretch of her arms. I longed to see her costumed in a brighter red.
Kitri’s Friends – Megan Jacobs and Sona Lee – were excellent. Ryouske Ogura as the Gypsy King oozed presence; a panther stalking its prey. The male corps de ballet was an eye catching asset both together and individually. Anika DaVore as the Queen of the Dryads had a commanding presence and Katie Spagnoletti as Cupid spun out her petit allegro; a flurry of precision.
The production values – live orchestra, costumes, staging and design were built on a careful structure of taste and knowledge. I do like the use of a scrim at the beginning of each act because as it lifts it brings the audience into the stage, but was it meant to stay down for the entirety of Act II?
There was a lot of stage activity among the people in the village square which kept the “look” lively. However, the antics of the three “urchins” was distracting. The scene doesn’t need that type of peripheral action.
I continue to rue the day when ballet designers (both scenic and costume) became enamored of “earth tones” in an effort to inject the design with authenticity. The “folk” of story ballets are often villagers/peasants of one sort or another and thus are costumed in the colors of the working peasant. But when they dance I long for the brilliance of red, green, blue and yellow – the colors of real life folk dancing. Especially in this ballet – we are in Spain! Land of sun and color! Would Carmen wear mauve? Or taupe?
Since the costumes for this production are co-owned with another company, and are otherwise lovely, and very expensive to replace – perhaps – if ever the ballet is remounted someone will paint it brighter. A brighter palette in the village square scenes would then contrast to greater effect with the justifiable pastels of the Dream Scene in Act III.
Don Quixote has had many changes since its premiere in 1869. Remnants of other ballets such as the music and choreography of Le Corsaire are now incorporated into its libretto. This includes the seldom performed but splendid series of grand flic flac entournant.
Principal Dancer Edward Villella in his autobiography said that when a mishap occurs onstage it is instructive for the audience to be reminded that (paraphrase) “we do this without a net.” It is important to separate that which happens because “things happen” (such as a dropped fan) and that which happens as a result of a systemic problem. Often the difference is not in the mishap itself, but in how the mishap is handled. If it is done with poise and grace, the audience will respond with appreciation. And so it did.
The City Ballet Orchestra under the baton of John Nettles is a true asset. The problem with accompanying dancers on a stage above the orchestra pit, is one of communication; the musicians cannot see the dancers. The conduit is the conductor. Nettles conducts with sensitivity to the needs of the dancers while guarding the integrity of the composer. It was surprising when a final chord – was miscued. An anomaly in an otherwise excellent performance.
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Orysiek is a freelance writer who specializes in arts and literature. Comments may be made in the space provided below this article or sent to the author at sheila.orysiek@sdjewishworld.com