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Tag Archives: Karel Cruz

  • Review: Whim W’him—3 Seasons

    Whim W'Him's 3Seasons, Kaori Nakamura

    Whim

    Olivier Wevers and his newly formed company, Whim W’him have done what no other dancer, choreographer or company has done before. The Seattle-based tour de force has shattered the glass barricade that once stood as the dividing wall between the world of ballet and the realm of modern dance, ushering in a new era of collaboration and artistry.

    Whim W’him’s sold-out performances at On the Boards this past weekend packed an intoxicating punch of sound, light and movement. The triple bill featured Wevers previous works, X-Stasis (PNB’s Choreographer’s Showcase 2006) and Fragments (Spectrum Dance Theatre 2007), as well as the world premiere of 3 Seasons, Wevers first major collaborative effort.

    X-Stasis

    X-Stasis is comprised of 5 couples making a unique statement about their world and their relationship to one another. Standouts from this performance include Jonathan Poretta and Lucien Postlewaite’s pas de deux which sizzled with poetic tension. Their execution was both complimentary and contradictory; a raw, edgy rendition of the proverbial yin and yang.

    Whim W'Him's X-Stasis, Jonathan Poretta & Lucien Postlewaite

    Whim

    Chalnessa Eames dazzled in a delightful piece that felt a bit like an avant-garde rendition of Coppelia. Let’s just say her partner, the helpless mannequin, was no match for her seductive charms!

    Kaori Nakamura and guest artist, Karel Cruz (PNB Principal Dancer) were utterly spectacular. Their pairing was exuberant, crisp and well-balanced; the perfect blend of power, delicacy and joy.

    Fragments

    Fragments begins with a sweeping aria playfully mimicked by an amusing pair of friends. Kelly Ann Barton’s (Spectrum Dance Theater) and Vincent Lopez’s movements were light, fluttering, and beautifully in sync. Together they encompassed all that is childlike and well--whimsical, from their “twittering” hip rolls, to their playful dashing about the stage.

    Whim W'Him's Fragments

    Whim

    Following the playful antics, Vincent Lopez gave a commanding solo performance as a tortured soul, longing and yearning to be free. Moving effortlessly through a series of well-crafted poses, Lopez is transformed into a living sculpture, relishing in its temporary freedom. Costumes by Christine Joly de Lotbiniere provided a delicious hint of Baroque flair, while Michael Mazzola’s thoughtful lighting cast the entire piece in a distinct, Renaissance glow.

    Last but not least, was 3 Seasons.

    Never have I seen such a decisive take on our modern world that fused together the elements of style, wit, humor and hope so beautifully.  In fact, I have a feeling that this piece will serve as the springboard by which all other collaborative efforts will be judged, and provide Whim W’him with a prominent position in the annals of dance history.

    The musical score consists of Vivaldi’s Four Seasons paired with a live corresponding movement by Byron Au Yong, which was nothing short of perfection. The tinkling of a toy piano, the hum of the violin and gentle percussion created a fun, exciting, youthful energy.

    Designer Michael Cepress’ vision of pairing vibrant splashes of red on ruddy, human earth tone canvasses provided the perfect backdrop for this piece. The use of his re-designed sculptural collars, wire hanger skirts, and sullied leotards made for a stunning artistic display.

    3Seasons

    3Seasons

    Jim Kent’s portrayal of the covetousness of human nature was thrilling. The object of his desire changes with whatever is put before him; a pillow, a lamp, a keyboard to finally a bird cage, which has to be placed on his head because there’s no more room in his hands. Kent—like society itself—is never content with what he already has, and is continuously seeking, grasping, and vying for more. The act was played for humor which the audience responded with more than a few “been there, done that” laughs.

    Kaori Nakamura is used, abused and finally discarded and yet—she still manages to come out looking like the victor. Her stage presence leaves its own indelible mark of beauty behind.

    Chalnessa Eames was effervescent and sensual. Vincent Lopez was completely brilliant and charming. Jonathan Poretta and Lucien Postlewaite were riveting, powerful, dominating, and fierce.

    Ty Alexander Cheng and Kylie Lewallen were saucy, flirty and breathtaking. Their endless kiss reminded me of a pair of butterflies; lips locked with wings (arms) continually unfurling yet never intertwining.

    Hannah Lagerway and Lucien Postlewaite writhed about in geometric splendor. I was impressed with Postlewaite’s skillful control and Lagerway’s incredible range. Indeed, her presence within this company is the icing on the cake.

    With everything this company has going for it—excellent dancers, respected Artistic Director, dedicated fan base, and a growing list of collaborators—Whim W’him stands poised on the edge of a divine precipice, ready to be launched into the stratosphere.

    Congratulations to you, Mr. Wevers and to your talented team of artists.

    Viva Whim W’him!

    by Denise Opper

    Media Relations:  Vala Dancewear / Class Act Tutu

    All photos © LaVie Photography.  For more amazing photos, visit the LaVie photo blog.

  • Director's Choice, Pacific Northwest Ballet

    The Seasons, Pacific Northwest Ballet's Director's Choice
    Pacific Northwest Ballet soloist Lesley Rausch in the world premiere of Val Caniparoli’s The Seasons, presented as part of DIRECTOR’S CHOICE, running November 5 – 15, 2009.

    From the theater staff to the attendees to the performers, the excitement of opening night was unmistakable. Pacific Northwest Ballet’s introduction of two brand new pieces and a replay of two favorites translated into an evening to remember...

    Pacific Northwest Ballet, DIRECTOR’S CHOICE, running November 5 – 15, 2009.
    All Photographs © Angela Sterling.

    Petite Mort

    The night began with Petite Mort, (French for “The Little Death” and a metaphor for sexual climax), the first work by European choreographer Jiri Kylian to be acquired by Pacific Northwest Ballet. With six men, six women, and six foils the piece has been described as exuding energy, silence, and sexuality. It does just that.

    Petite Mort starts with six men facing upstage backing slowly toward the orchestra pit in silence. The stillness is broken at first only by the sound of the swords cutting through the air. The men partnering with their swords create a dangerous tension and excitement. The choreography plays between the men, the swords, the women and dark, baroque style dresses. These dresses, at times, appear to dance completely on their own. There are some light hearted moments with the foils and the dresses that allowed the audience a laugh and provided a needed respite.

    A special treat in this performance included partnering between two of the company’s married couples: Seth Orza and Sarah Ricard Orza and Lindsi Dec and Karel Kruz. In the sensual pas de deux, these real-life married couples, along with principal dancers Lucien Postlewaite and Kaori Nakamura, showcased both precision in movement as well as emotion.

    I look forward to more pieces from this brilliant choreographer.

    The music (Mozart’s Piano Concerto in A Major - Adagio and Piano Concerto in C Major – Andante) also warrants special mention. With the resignation of Maestro Stewart Kershaw, Allan Dameron is acting Music Director and Conductor. Dameron performed masterfully as both pianist and conductor for this piece.

    Mopey

    This 14-minute male solo of “adolescent meltdown” was first performed by PNB in 2005. The cult classic, performed by soloist, James Moore was pure perfection.

    Moore’s fluidity of movement demonstrated both his raw strength and masculine grace. The agony of the journey from boy to man with all of the temptations and mistakes made along the way was nothing short of mesmerizing.

    For three perspectives on Mopey, see seattledances blog interview with James Moore and two other dancers cast for this run, Soloist Benjamin Griffiths and Principal, Jonathan Poretta.

    The Seasons

    This was the world premiere of The Seasons, choreographed by Val Caniparoli. The Seasons is a balletic allegory of the four seasons danced to the music of Alexander Glazunov (Op.67, 1899). The Seasons is served up against a simple and very striking set and presented with innovative costume design. Both set and costumes were designed by Sandra Woodall. I cannot even begin to describe the brilliance in executing these costume design concepts. Check out this video posted by PNB as a special thanks to the costume shop for a taste:  PNB's The Seasons Costume Preview.

    The Seasons opened in winter and it appeared that it was snowing stars. Thus the magical blend of contemporary and classical ballet began. There were delightful gnomes lighting fires to melt the snow and change the scene to spring. Kaori Nakamura as the Swallow truly took flight—both on her own and with the aid of the Zephyr, Lucien Postlewaite. You could see the fun and frolic in Barry Kerolis as a faun. With its cast of birds, satyrs, fauns, flowers and gnomes, this piece has something for everyone.

    West Side Story Suite

    West Side Story is an abbreviated version of the musical of the same name. Choreographer Jerome Robbins (along with Peter Genarro) extracted this sequence of dances originally for the New York City Ballet in 1995.

    This piece is just plain fun and allows the dancers to try their hand at singing and showing off a completely different style. Principal, Carla Körbes was a delight as the spunky, Anita seeming to be transformed both in looks (her blonde hair covered in a dark wig) and technique.

    PNB’s Director’s Choice runs from November 5–15, 2009.
    Don’t miss it!

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