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Ballet Arizona Stretches A Bit To Find A Common Theme -- But It's Worth It.
By Margaret Regan
WHEN A BALLET company puts together a contemporary program,
it's tricky to find a common theme for dances that don't necessarily
tell stories. Geography is not the first thing that comes to mind,
but Ballet Arizona settled on the title Earth Dances for
its concert this weekend.
The pieces are not environmental or New Age works, though. The
name comes from "the three choreographers using music specific
to three geographic areas," explains artistic director Michael
Uthoff.
Uthoff's own work, 1984's "Murmurs of the Stream,"
last seen on Arizona stages in 1993, is a collection of 11 dances
set to Andean folk tunes from his native Chile. "Lady Lost
Found," a work by hot choreographer Daniel Ezralow (zillions
of TV viewers saw his Academy Awards choreography earlier this
week) is a fast-paced dance that moves to seasonal Irish and Scottish
folk tunes. And while you can't exactly pin down a geography for
"Land's Edge," a piece that Uthoff first commissioned
from Pilobolus for his Hartford Ballet 12 years ago, its music
reminds Uthoff of "New England nights."
"I wouldn't have billed it as an 'earth dance,' " Jonathan
Wolken said by phone from the Pilobolus studio in Connecticut,
"but it does take place on some northern, far-flung isle."
Wolken, who composed the work along with Alison Becker Chase
and Robby Barnett, flew to Phoenix to set the piece on nine Ballet
Arizona dancers. He found Arizona's topography "gorgeous,
outstanding. I arrived in the middle of a rain storm...But I looked
at those red hills and said, 'God, almighty, I could see those
going to 120 degrees.' "
At 35 minutes, "Land's Edge" is one of the longest
pieces in the Pilobolus repertoire, though the troupe cut back
its original nine dancers to six for its own performances. (The
much admired Pilobolus collective coincidentally played Centennial
Hall last month.) It's also distinctive among Pilobolus creations
because it tells a story, sort of. The modern dance company's
signature is abstract, wildly inventive moves.
"Land's Edge" is "a typically Pilobolean piece
in that it's highly physical," Wolken said. "But it
moves from the entirely abstract--where movement is a value above
all others--to a story. The story is interestingly dark and resonant.
It's about isolated people and a dead body that washes up on shore
and what happens in the village."
Paul Sullivan composed the music that reminds Uthoff of New England;
Wolken called it a "beautiful, evocative score that has endured."
Uthoff's "Murmurs of the Stream" incorporates traditional
pan-pipe music played by the likes of Inti-Illimani, and its 17
dancers wear colorful peasant garb as they move through an amalgam
of folk and ballet steps. It has a political history unusual for
a dance. Commissioned by the U.S. government in 1984, it uses
the metaphor of a stream that learns the stories, happy and sad,
of the people it passes on its way to the sea. What sounds relatively
innocuous was too assertive for a Chile in the grip of the Pinochet
dictatorship. The Chilean National Ballet was rehearsing the work
when the government censors became alarmed.
"Before opening night, it was almost canceled," Uthoff
remembered. "It was allowed to go on, but then it was banned
later for several years. It's a beautiful work, but if you're
threatened by it you have a problem. "
Augusto Pinochet recently was named "senator for life,"
but the country now has a democratically elected president and
Congress. The dance, which once won a Critic's Circle best of
the year prize, is being revived next month in Chile, Uthoff said.
He set it on Ballet Arizona when he first took the job, "to
introduce myself to the community." Divided into 11 sections,
the work is "very subtle and humane. It's full of passion
and compassion. It's not a literal story, but it has a beginning,
middle and end. It expresses a painful experience of my original
home under military rule, but it offers some rays of hope."
Ezralow, deep into Oscar rehearsals last week, was not available
to describe his "Lady Lost Found." A choreographer in
what Uthoff calls the "Paul Taylor mode," Ezralow once
upon a time was a dancer with both Taylor and Pilobolus. Nowadays,
he works all over the map, crossing genres into theatre, opera
and rock (he's choreographed for Sting, David Bowie and U2), and
traveling to such places as Paris and Rotterdam to set his works
on ballet companies. His "Mandala," a dance/video work,
is playing right now in Los Angeles.
"Lady Lost Found" has "quirky movements, it's
jovial, athletic and humorous," said Uthoff. "It showcases
five of our dancers," who go Celtic in kilts.
Percy Granger's Irish/Scottish score requires some fast-paced
acrobatics, especially for the work's trio of tipsy sailors. A
quartet slows the action down with a dance to the strains of "Danny
Boy," giving Tucsonans the second chance in two weeks to
wallow in that sentimental tune. Last week's Irish Festival deliciously
deteriorated into a "Danny Boy" contest, with each and
every comer singing the mournful song of loss. The Ezralow dance
piece undoubtedly marks the first time "Danny Boy" has
been dressed up with ballet; and indeed "Lady Lost Found"
makes its Arizona premiere in the Ballet Arizona concert.
Ballet Arizona presents Earth Dances at
8 p.m. Friday, March 27, and at 4 and 8 p.m. Saturday, March 28,
at the PCC Center for the Arts Proscenium Theatre, 2202 W. Anklam
Road. Tickets are $15, $25 and $33 for adults; $13.50, $23 and
$30 for seniors; $7.50, $12.50 and $16.50 for kids under age 12.
Student rush tickets, subject to availability, are $7.50 one hour
before curtain. Call the PCC box office at 206-6988, Dillard's
at 1-800-638-4253, or Ballet Arizona at 1-888-3BALLET,
for reservations and information.
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