Smuin Ballet Carries On
Aaron Thayer and Robin Cornwell in "Schubert Scherzo". Photo: Tom Hauck
What: Smuin Ballet
Where: Joyce Theater, Manhattan
When: August 13-18, 2007
Smuin Ballet presented the last works choreographed by Michael Smuin, prepared prior to his untimely death on April 23, 2007. As expected, and never disappointingly, a Smuin program runs the range of his unique, multi-talented and tasteful insight. While the programs seem light, they are never lightweight. Unless you resist the easygoing manner, you'll miss an unexpected lift, a look between characters, or a tricky passage. He loved surprises.
Opening the program was "Schubert Scherzo" calling upon his experience as principal dancer and resident choreographer at American Ballet Theatre and co-director of San Francisco Ballet from 1973-1985. The work was joyous (how could a scherzo be anything else), and was briskly performed by ten of the 16-member company costumed in breezy white pants, white leotards and short classroom skirts. Without tights, however, jiggling inner thigh flesh and patellas moving up and down were a slight distraction.
As the program's surprise, he choreographed "Bells of Dublin," danced by Shannon Hurlburt, in a virtuoso non-stop tap/clog solo originally choreographed for tap dancer Sam Weber. With an arabesque thrown in here and there, and a series of chainé turns to cover space, the Hartford Ballet alum fascinated as Smuin called upon his Broadway background (two Tony awards) to remind us that his versatile background was still in a joyous place.
Shannon Hurlburt "Bells of Dublin". Photo: Terry Gannon.
"Shinju," based upon an eighteenth century play about a tragic Japanese legend reminiscent of "Romeo and Juliet" was performed in the form of Noh and Kabuki dance. It was the strongest work on the program, gorgeously costumed by Willa Kim, to a score created by Paul Chihara as a mixture of ancient court music of wind instruments, wood blocks and vocal chanting in a Western orchestration, as well as an electronic score. Performed by Erin Yarbrough-Stewart and Aaron Thayer, the work, reminiscent of Balanchine's ceremonial 1963 work, "Bugaku," was a sudden break from the programs light-heartedness.
As a closing number, "Obrigado, Brazil" was right from Smuin's past Broadway life, using that country's lusty dance style and infectious rhythms produced, arranged and conducted by Jorge Calandrelli. It was a full-company work based upon Smuin's nostalgic tour through South and Central America as a teenage dancer. One of his fortes was in his finding the right music for his subjects. The breezy execution was energetic but somewhat clouded as the dancers needed inspiration, individual tempering and focus missing from direction.
The company will continue under associate director and official regisseur, Celia Fushille-Burke. The next season includes a new Christmas Ballet, a premier by Amy Seiwert and a whimsical work by Kirk Peterson, choreographer and teacher, recently artistic director of the American Ballet Theatre Studio Company.
Company in "Schubert Scherzo". Photo: Tom Hauck
The company regularly tours the Bay area, nationally and internationally.
For more tour information: www.smuinballet.org.