AISLE SAY Toronto
BALLET BC
Artistic Director: Emily Molnar
Jacob’s Pillow/Ted Shawn Theatre
until July 21
Feeling that I
am near the end of my superlative dictionary, where Jacob’s Pillow is
concerned, let me tread carefully as I trumpet the most recent company to make
its debut: the remarkable Ballet BC presented a programme of three pieces
that have set a new dance standard (for me, at least) for theatricality and
unqualified go-for-the-gold exuberance, imagination and
ensemble-with-personalities-that-radiate. The afternoon performance I attended
brought the capacity audience to its feet, not in itself a unique response from
the devotees who make the pilgrimage to Becket an annual (many even weekly)
event. But this time, the gorgeous weather outside was paralleled by the warmth
and humanity onstage, so much so that folks were back in the theatre long
before the ushers were strumming their xylophones to signal that another act
was about to begin.
The dancers in
this young company enliven their work with such joy and eagerness to connect
with the audience that it’s possible to allow their dazzle to obscure their
technique. An ensemble that can execute anything that is thrown at it is what
makes companies at the Pillow so remarkable and so anticipated. Ballet BC
possesses a depth of skill that this week’s performances can only hint at. “A.U.R.A.”,
“Aniel” and “Petite Ceremonie” all demand propulsive, almost relentless
precision and drive. The staccato movements override fluidity and, impressive
as their stamina is, downplay the dancers’ amplitude and emotional expression.
And while I missed having that experience with the company, I offer it as
reason enough to anticipate seeing them in the near future – as near as
it’s possible to experience other work in their repertoire.
I can’t recall
a company that places as high a priority as Ballet BC does on its overall
design: Jacopo
Godani, who choreographed, costumed and lit “A.U.R.A.”, makes
startling use of fluorescent lighting; Emily Molnar, choreographer of “Aniel” (and
the company’s Artistic Director) demonstrates a marvellous sense of humour,
aided in large measure by her dancers, all of whom emerge as separate
personalities without minimizing the fullest esprit of the whole – and in
this, Molnar is complemented by the costume design of Linda Chow; “Petite
Ceremonie”, choreographed by Medhi Walerski, is at its peak with the
juggling-dancing monologue by Dario Dinuzzi.
Adding Ballet
BC to its list of visiting companies reinforces the legitimacy of the word ‘vision’
as it applies to Jacob’s Pillow. And every vision is driven by a visionary: Ella Baff, Executive
and Artistic Director, is that visionary under whose watch the festival moves
boldly with every step, leap and pirouette, guiding us forward.
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