American Ballet Theatre Review: Harlequinade
January 29, 2019 | Kennedy Center – Washington, D.C.
It’s hard to imagine a better Tuesday than seeing American Ballet Theatre performing at The Kennedy Center. The expectations are high this opening night…as they should be. We’re talking about America’s National Ballet Company® on the stage of the most prominent performing arts complex in the United States dancing the Washington, D.C. premiere of the retelling of a classical ballet by one of the world’s most sought-after choreographers. Alexei Ratmansky’s vision of Marius Petipa’s Harlequinade does not disappoint.
At a time when there is so much drama and negativity surrounding current events, it is so refreshing to see lightheartedness on the stage. Thank you, Alexei Ratmansky, for breathing life back into one of the few comedic classical ballets; your efforts were not in vain, as ABT’s Harlequinade is one of the most joyous theatre experiences one can have. It is not unlike The Nutcracker in that most of the storytelling takes place in the first act with a lot of mime, acting, and character establishing followed by a second act full of fun, entertaining divertissements. Hopefully, ABT will keep it in their repertoire – perhaps even a perennial gift to audiences?
vibrant /ˈvʌɪbr(ə)nt/ *
1. Full of energy and life.
There is not a dull moment in Harlequinade as ABT’s roster of stars, corps members, and children continuously keep the stage bright and lively.
James Whiteside (for whom the title role was created) is charmingly expressive all the while executing entrechat six so clean, defined, and lofty that one can actually count the beats of his legs while he is airborne. He is also particularly adept at the idiosyncratic movements of his joker-like Harlequin, managing his magic slap stick with finesse and paying attention to the head, hand, and foot subtleties that make his character who he is. His love – and perfectly-paired partner – Columbine is danced by the effervescent Isabella Boylston. The choreography of her 1st solo (is it Petipa’s or Ratmansky’s?) is incredibly challenging; as if series of hops en pointe isn’t enough to challenge even a principal dancer, Boylston then also impeccably completes a diagonal of cabrioles, doble ronde de jambes en l’aire, and piques. Her strength and speed are impressive.
The other principal couple of the ballet are Thomas Forster and Stella Abrera cast as Pierrot and Pierette respectively. Although portraying the familiar mopey qualities of the stock commedia dell’arte clown, Forster has a brilliant energy about him that evokes the appropriate laughter and sympathetic awwws from the audience. It isn’t until the second act that we see him dance a little more and it’s a shame that his role doesn’t permit for more as Forster is lovely. Perhaps even more lovely is Abrera who is beautiful both technically and in her interpretation of sweet, flirtatious, and slightly mischievous Pierrette.
One of the most stunning scenes of Harlequinade is that of the Larks. The corps de ballet of women exemplify what it means to be in one of the world’s best ballet companies; they are elegant, synchronized (although at moments slightly out of formation), and technically excellent. They are an inspirational constellation composed of many shining stars.
Impressive, too, are the dozens of children who fill the second act stage and remind us of just how much potential there is in our youth. They are already such wonderful performers.
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1.1 (of colour) bright and striking.
Enough cannot be said about just how gorgeous the costumes and scenery are for Harlequinade whose story and style are reflections of Italian commedia dell’arte. The colors of the costumes are deliciously intense – almost saturated – from the tips of the dancers’ hats to the points of their shoes and provide a satisfying contrast to the more neutral tones of the scenery. The first act takes place outside, the design offering the audience just enough perspective in order to imagine what lies beyond while the second act brings us to the inside of a gently gilded ballroom with tall columns and high arches.
1.2 (of sound) strong or resonating.
Riccardo Drigo’s original score is wonderfully played by the Kennedy Center Opera House Orchestra. Although not suggested (for fear of missing out on the beautiful dancing!), if you were to close your eyes during the ballet the music would carry you through the emotions of the story. Check out this video which not only allows for a visual preview of the dancers, choreography, and costumes but for an opportunity to hear a snippet of Drigo’s composition.
Four different casts of Harlequinade dance at The Kennedy Center through this Sunday, February 3 (this reviewed cast performs again on February 1). You don’t want to miss the chance to have such a uplifting and entertaining experience.
*definition of vibrant per Oxford Dictionaries
Featured Photo for American Ballet Theatre Review: Harlequinade is Vibrant by All Definitions of the Word of James Whiteside in Alexei Ratmansky’s Harlequinade © American Ballet Theatre
