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| ABOUT TRaC |
Dance TRaC Fall 2003
American Ballet Theater at City Center In Christopher Wheeldon's VIII, the compilation of performers, sets, choreography and storyline contributed to a very theatrical viewing for a typical ballet audience. The ballet revolved around the general story of Henry VIII and his love affairs with Catherine of Aragon and Anne Boleyn. Though the ballet did not clearly portray the exact story, the audience could not help but be drawn into the drama, as if they were witnessing a play. The character of Henry was performed by the very talented Angel Corella. His technique was flawless as he had the perfect persona for a king-like figure. Catherine, performed by Alessandra Ferri, was wonderful as well in her perfectly lady-like style that contributed to the distinct difference of character between her and the extremely talented Julie Kent. Kent, who portrayed Anne Boleyn, had a particularly powerful performance in which her movement truly personified Boleyn's emotional state regarding Henry. The dancers who performed as The Masks, costumed in bright garments, brought some comic relief to the intense story. The Court members also contributed greatly as they always seemed to be witness to the actions of Henry and his women. Each dancer clearly represented their character and added to the theater-like experience by contributing an intriguing storyline. The set and costume design, by Jean-Marc Puissant, was also very theatrical. Normally, a ballet would consist of your typical blank stage and ballerinas in tutus. However, Puissant designed very elaborate set pieces and costumes. Immediately once the dance begins, the most pertinent set piece is established: the stairs. Corella stands strongly at the top in his king-like manner as he watches. The stairs serve as a literal height lift to portray the figurative height of King Henry and his power. Another set piece is the backdrop which changed color and lighting scheme as the dance progressed. One instance, which was especially compelling, was when there was a silhouette of the Catherine of Aragon character walking along the top of the staircase. It was a beautiful portrayal of the sullen emotion of Catherine as Henry danced with Anne Boleyn. At one point, there was also a questionable foot-long backdrop of a cloud pattern. The purpose it possibly served the storyline is indeed dubious. The costumes were very elaborate, beautiful and very un-balletic. The costumes could be described as more dramatic costumes as opposed to the typical tutus. The dancers were in very elegant dresses and tops in dramatically royal colors which put across the point of power. The color scheme was dark with the deep purples, blues and maroons. However, there was a definite breath of relief to escape the intensity when The Masks would come out in their extremely bright neon patterns and masks. It was a wonderful contrast to the rest of the piece, costume and choreographically speaking. Wheeldon's exquisite choreography was very refreshing because it was also very different from what a typical ballet would consist of. The choreography didn't serve as much to look beautiful as to contribute to the intense storyline. For example, the duets between the characters of Henry and Catherine and Henry and Boleyn served to show the changing love connection between them. Also, The Court danced in large groups with incredible formations which served to prove that the king was always being watched. Amongst the principals, the choreography was riveting to watch. There were very interesting lifts used as well as uncommon torso movement which helped to exemplify the intense emotion that the women were dealing with. The unique theatrical experience provided to the audience made Christopher Wheeldon's US premiere a definite success.
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