Katelyn May and Yuri Marques’ interpretation of the pas de deux from Christopher Wheeldon’s The American is pure grace. And that’s really all there is to say about it – it’s lovely. As is the fact that one of Wheeldon’s earlier pieces that is now often shadowed by his more recent successes is still being performed.
The classical ballet in the program is interrupted by Dominic Walsh’s Clair de Lune and Sir Matthew Bourne’s Merman Solo from The Infernal Galop. These two works call on abstract interpretations, the former echoing melancholy with juxtaposed movements whereas the latter more absurd comedy. Ivan Spitale is dynamic in both, his expressiveness, articulation, and musicality evident from head to (socked) toes.
The centerpiece of the evening is Peter Darrell’s telling of Othello. The quintet is excellently cast with Ricardo Graziano’s Iago especially dominant. He is wonderfully calculating, manipulating Othello (Ricardo Rhodes), Desdemona (Danielle Brown), Cassio (Daniel Pratt), and Emelia (Janae Korte) to the ultimate act of murder. Although I am personally very partial to José Limón’s The Moor’s Pavane for its rich choreography, emotional score, and robust character development, this version also is to be appreciated.
This program is available for viewing through January 5, 2021.