Angel of Music

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Balet jest produkcją The Atlantic Ballet Theatre z Kanady.
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'Phantom of the Opera' Missing The Magic
Nadine LaRoche

Though boiling over with talent, The Atlantic Ballet Theatre of Canada comes up dry with its rendition of Phantom of the Opera.

A night at the ballet is always magical. The costumes, the lights, the sets, the props and the leaps blend together with the music, the emotion, the drama and the talent to create a fantasy land of delightful entertainment. But when the Atlantic Ballet Theatre of Canada graced the Rebecca Cohn stage for its rendition of Phantom of the Opera on Thursday, Oct. 26, the magic just wasn't there.

The performance, created and choreographed by artistic director and co-founder Igor Dobrovolskiy, does both commence and conclude with a level of ingenuity and excitement that stands in the face of the constraints of traditional ballet productions. After a brief escape scene from a frenzied mob, the audience finds the
pained and anguished Erik (Sergiy Diyanov) hidden in seeming isolation within the subterranean depths of a theatre. Like the chaos that fills his mind, the stage is populated with his repetitive, churning Thoughts. Dressed in stiff, floor-length frocks with high-collars and full sleeves, and with their heads dehumanized with nearly opaque hosiery, Erik's Thoughts (Odsuren Dagva, Louis-Philippe Dionne, Julien Lenaud, Yuriko Minami and François Richard) dance about the stage with a robotic synchronicity reminiscent of the brooms of Fantasia. Undoubtedly the most captivating and memorable characters in the ballet, the faceless drones reek of the rage, torment, creativity and genius of Erik's mind.
Minimal set design, an unsettled nonchalance on the part of a few key characters, and choreography that too often resorted to dramatic walks and reaches pulled down the production's other soaring successes.

Two hours later, the ballet comes to a haunting close as a sheet of green-lit cloth ripples and swells with the hints of hidden human forms. After many desperate and failed attempts at winning the heart of the innocent and compassionate Christine (Anya Nesvitaylo), a grief-stricken Erik lets his "sea of sorrow" swallow him into nothingness. The two lovers, Christine and her childhood sweetheart Raoul (Kostyantyn Voynov), are left alone sleeping in each other's arms on stage as the Phantom's mask, in gigantic proportions, thrusts through the eerie sea with the enchanting crescendo of the story's telltale organ.

But what lies between these two beautiful moments is far less magical. Except for the saucy glances, sexy seduction and flirtatious (and jaw-dropping) extensions of the exceptional and beautiful Evelina Sushko as the Prima Donna, and the impressive consistency and talent of the appropriately confident Voynov, the ballet's middle did nothing to satisfy the appetite its opening scene brewed up. Minimal set design, an unsettled nonchalance on the part of a few key characters, and choreography that too often resorted to dramatic walks and reaches pulled down the production's other soaring successes.

Within the evening's program, it's noted that the ABT rendition of Phantom of the Opera is inspired by the Gaston Leroux's 1910 novel of the same name. Sadly, however, this inspiration doesn't run deep enough and many of the complexities and layers of conflict just aren't there. Yes, I understand that dancing around on stage can't quite portray the level of intricacies that, say, a book or a musical can (the sweet benefits of language), but come on, where was Christine's desperation? She's supposed to be nearly suicidal in the midst of all her turmoil. Instead, the audience was left to decipher the trifecta that was Nesvitaylo's emotions - a shortcoming that requires a couple paragraphs of its own.

New to the company this year, Nesvitaylo is technically more than sound. Her extensions reach sky-scraping heights and are unfurled and held with impressive strength, and her upper-body work, in particular, is quite stunning. Achieving a range of motion across her back, shoulders and chest not often found among classical dancers, Nesvitaylo's torso and arms work together in a wing-like motion that is nothing short of beautiful. She also sails through her partner work with both Diyanov and Voynov with effortless grace, reaching that precious balance of looking fabulous while still sharing the spotlight with the strong body below.

What did lack strength, versatility and range, however, was Nesvitaylo's display of emotion. Perhaps the lead ballerina didn't feel inspired by the infamous character, or perhaps she had been directed to keep the emotional changes to a bare minimum - whatever the reason, her facial expressions made it nearly impossible to sympathize with Christine. Rotating though a raised-eyebrow look of innocence and naiveté, a furrowed-brow look of possible fear and a straight-faced look of, well, nothingness, Nesvitaylo's seeming indifference put a damper on her own beautiful dancing.

Also not displaying his full potential on the Cohn Stage, the dancer playing the role of the title character, Diyanov, seemed to have fallen victim to a few shots of poorly chosen choreography. Clunky footwork and dreary, slumpy body language stripped the dancer of height, precision and the divine dexterity of ballet. Though quite obviously a skilled and talented dancer, Diyanov comes across a little too weak and without the Phantom's necessary maliciousness and powerful grief.

Much like the desperation and disappointment Erik felt as he was swallowed into a glowing green wave of sorrow when the curtains closed, I too left the Rebecca Cohn quite unsatisfied.

A tutaj jeszcze fragmenty z baletu.
http://youtube.com/watch?v=ByrXfioMrjE
http://youtube.com/watch?v=aTRPHsLhfwA
http://youtube.com/watch?v=IqGUlMb6dms

kuncyfuna

Nie zabardzo lubie balety, i widzialam chyba tylko "Jezioro Łabędzie" wiec ciezko mi ocenic.. Zreszta, po musicalu Webbera, ciezko mi sie przyzwyczaic do innej muzyki Razz

Tancza fajnie i chyba gdybym miala teatr w ktorym to graja w swoim miescie to napewno bym poszla Smile

Fellka

Szczerze mówiąc,nie znasm się na baletach,ale ten z przyjemnościa obejrzałam (znaczy się te skraweczki na YouTube).