Diablo Ballet’s Three Premieres November 17

22 Nov

Artistic Director Lauren Jonas possesses a healthy amount of taste; it certainly was on display for Diablo Ballet’s fall performances at Lesher Center for the Arts in Walnut Creek.  You can also include in that estimate a capacity for wide variety for the dances seen November 16-17 ranged from an extended erotic pas de deux to Jose Limon’s inconic The Moor’s Pavane, ending with Sean Kelly’s commissioned work, A Swingin’ Holiday for four couples and a sizeable swing orchestra.

David Fonnegra was responsible for mounting Vicente Nebrada’s three part Scriabin offering Lento a Tempo e Appassionata played by Roy Bogas with his usual reliable panache.  Fonnegra partnered Hiromi Yamazaki, one of the Bay Area natives who danced elsewhere before returning to the Bay Area.  In the first third, as well as the other two, the pair kept pivoting around each other, the spiral modulating into a supported plunging arabesque, some variation of fish dive, or a left to the shoulder or grand jete aloft which rapidly assumed a different posture, invariably with beautiful finishes in the port de bras.

The middle section saw Yamazaki and Fonnegra separate physically only to rush towards each other to accomplish a spectacular climax to the musical phrase.  When it came to Appassionnato, you got it, rushes together separately, turns and spins of great urgency, concluding on the stage floor intertwined. It was a  major partnering job for Fonnegra and plenty of spacial daring required of Yamazaki, both expertly realized their demands.

After a pause the curtains parted on a reprise of Jose Limon’s The Moor’s Pavane to the music of Henry Purcell, music more popularly recognized as used by Jerome Robbins.  Just four dancers, a swirling red robe for Derek Sakakura as The Moor,  striking sinister hues of mustard for His Friend, interpreted by Robert Dekkers.  Mounted by Gary Masters, the Moor’s Wife was
danced by Heather Cooper and His Friend’s Wife by Maria Basile, both guesting from SjDance Co, headed by Masters.  Mounting this iconic modern dance work is a major event anywhere.

In the Lucas Hoving role, Dekkers came close to the wily deadpan which creates such a sinister aura within the formal structure, where the four dance together, then the men, then the couples, the quartet and all too soon the Moor is tormented into his fatal action.  As noted elsewhere, the quartet dances towards one another,  rather than to the audience.

Sakakura, his chest too large for the costume, conveyed a cooler Moor than one might expect, although his anguish toward the end was plain, having danced it twice before and thus the  opportunity to grow in the portrayal.  Technically quite adequate, I felt I was seeing a Moor with samurai training.

Cooper and Basile both brought maturity to their roles, Basile’s use of her persimmon velvet skirts taunting, flirtatious, a smirk on her face more open to persuasion than the oblique smile of Pauline Koner, while Cooper’s Wife was even more neutral than remembered with Betty Jones.  If Moor’s Pavane goes to Diablo Ballet’s  San Jose and Hillbarn engagements in the spring, it will be interesting to see how the interpretations evolve in this engrossing, classic work.

Following intermission the program closed with Sean Kelly’s A Swingin’ Holiday, utilizing four couples, highly colored zoot suits for the men, ‘Thirties glamour for the women and a fifteen piece orchestra to blare the music hyped up swing era style. The dancers rose to the stylistic challenge ably; it was very nice to see Aaron Orza back on stage since departing San Francisco Ballet.

Kelly created dances appropriate to the music, but a unifying thread was missing, leaving the pas de huit with a series of dances, entrances, greetings and then minor vignettes leaving the impression that strangers had gathered in a night club or dive, but essentially were unconnected.

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