TO THE LAKE. Pittsburgh Ballet Theatre will make its debut at Chautauqua Institution this summer (Wed., Aug. 21 at 8:15 p.m.), a bit of a surprise since the historic Amphitheater, outdoor performing space, has been the turf of Jean-Pierre Bonnefoux, Patricia McBride and North Carolina Dance Theatre for over 25 years. It’s a company with a decided Balanchine look, a given since the two artistic directors once starred with George Balanchine’s officially “starless” New York City Ballet. So it should provide a tangible style comparison for residents there. If you’re interested in making the drive (a little over two hours from Pittsburgh) up to the picturesque Victorian community and surrounding attractions, check the website for more information.
BACK TO THE MOULIN ROUGE. Pittsburgh Ballet Theatre’s production of Moulin Rouge translated well for all three casts over a weekend of performances (click on Pittsburgh Post-Gazette for an article on opening night). Because the movement phrases often were plucked from familiar classroom exercises, tombe pas de bouree glissade (and substitute your favorite jump) — the dancers could relax and exchange choreographic pleasantries all night long.
That also meant that each audience could peruse different (although never bawdy) takes on the world’s most famous (and infamous) cabaret. Let’s take the Nathalie/Matthew combination first, where there were varying flavors, enough to keep things interesting.
Opening night cast Christine Schwaner and Luca Sbrizzi had an independent clarity and freshness, more in a classical vein, while Friday night’s Alexandra Kochis and Christopher Budzynski, always on top of the technical elements, also connected on an intimate level that helped to sustain the dramatic line.
The Saturday matinee featured a pair of corps members who jumped at the opportunity and did surprisingly well. Caitlin Peabody had plenty of spunk and determination in her first starring role. While hers was a cozy technique, it had a thoughtful, yet piquant quality that suited this role. Her partner, Nicholas Coppula, was detailed in drawing his character as both an art student and a fine romantic lead.
It was hard to pick a favorite between the two Zidlers, Robert Moore’s brooding owner or Nurlan Abougaliev’s more flamboyant villain. Joseph Parr posed no such problem , however — he was cast as Toulouse-Lautrec for all five performances. In fact, choreographer Jorden Morris singled him out at a post-performance soiree downstairs at the Benedum Center, calling him one of the best among 14 casts that he has worked with on the ballet.
Among the women, La Goulue, the iconic redhead from the famed Toulouse-Lautrec poster, was a juicy role. Elysa Hotchkiss had the snap of a whiplash in her deep backbends, while Julia Erickson brought the requisite star quality to dominate the Can-can. Eva Trapp could use her sensuality at full force, something that also played exceptionally well as the tango lead dancer with Alexandre Silva. Elysa showed off her flickering footwork with partner Alejandro Diaz.
Historically speaking, Moulin Rouge was marvelously detailed, including the Top Hats, perhaps a reference to Valentin the Boneless (also partner of La Goulue), but here a chance to give the men a chance to show off their ballet technique.
I am still puzzled, though, by the woman in green, not to be confused with the Green Fairies, although they appeared all together in Matthew’s absinthe-driven hallucination scene. There was a woman who appeared in Toulouse-Lautrec’s art work, but she had only a green cast, most likely from the eerie lighting inside the club. In this production, she seemed to serve as some sort of muse, but the color coordination with Green Fairies, might have indicated something else. To confuse things more, she was played by the dancers (Amanda Cochrane and Garielle Thurlow) who also appeared as Mome Fromage, without any distinction in the program.
By the way, kudos to this increasingly versatile company, who sometimes played three roles or more.