Sarasota Ballet Review: Program 3 January 1, 2021 | Digital
Watching Sarasota Ballet is a fantastic way to usher in the new year. The third installment of their Digital Fall Season carries the notes of beauty, serenity, and integrity that one can only hope we are destined to have in the months to come.
Unlike the dedicated Sir Frederick Ashton and George Balanchine performances presented last autumn, this program is an opportunity for the company to display their talents in the works of several prominent choreographers of the past and present centuries.
It was nice to see Ellen Overstreet in the spotlight again. In Sir Peter Wright’s Summertidepas de quatre and Sir Kenneth MacMillan’s pas de deux from Concerto, Overstreet’s textbook 90-degree arabesques and expressive arms are complimented by a confident tranquillity. Her lithe figure and technical security is a combination that puts the viewer at ease to enjoy the beauty of the ballets.
In the MacMillian pas, Richard House and Overstreet compliment each other wonderfully. Contrarily, in Wright’s The Mirror Walkers, the partnership between House and Ryoko Sadoshima seems uncomfortable making it difficult for this reviewer to really get a feel for the piece.
The Sarasota Ballet's 2020-2021 Digital Fall Season
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.
Cherilyn's lifelong passion for ballet has opened the door to the next chapter of her journey. Her strong foundation includes training at the School of American Ballet, being a featured dancer with Hartford Ballet and Carolina Ballet, and being co-director/owner of City Ballet Raleigh. She was granted the Affiliate Teacher Award after successfully completing the ABT National Training Curriculum®. A professional career in the industry along with extensive global travel provide her with a unique set of experiences to draw upon as a journalist and audience member. Cherilyn is excited to be sharing her insight about ballet around the world.