A Varied CBT Program at the Sottile
Jennifer Muller and Jose Gonzalez
THREE SHORT BALLETS: one traditional, one modern, one adapted from a romantic comedy—and all of them nice to watch when Charleston Ballet Theatre performed last weekend at the Sottile. Who says different dance genres can’t coexist?
Of course, it doesn’t hurt to have fine dancing, smart choreography, and a Russian-born principal whose every gesture and smallest movement exude technical finesse.
Alexey Kulpin, a native of St. Petersburg, Russia, recently joined CBT after working as a principal dancer with Grand Rapids Ballet Company where he also taught ballet for eight years. At the Sottile he danced in all three works—and was distinguishable in each—but it was in his starring role as Puck in “A Midsummer Night’s Dream” that he most displayed an accomplished combination of dancing and dramatic skills.
Alexey’s technical sharpness, infectious energy, and buoyant stage demeanor brings a fresh bolt of vigor to CBT. It is always exciting to see a newcomer with a unique style of gestures, jumps, and agility. Even more so when he or she is a good actor—and shows a love of acting—while dancing.
If you haven’t seen him yet, do it. You won’t be disappointed.
The rest of the company also got a chance to shine in three diverse pieces. First up was George Balanchine’s elegant Allegro Brillante (1956), danced to a silky score by Peter Tchaikovsky, in which Jonathan Tabbert and Molly Wagner were featured as leads, wearing orange pastel in contrast to the blue pastel of the corps de ballet—a delicate effect. The sophisticated, low-key work served as a nice warm up for dancers and audiences alike.
Poetry With a Splash of Red Blood
Then came CBT director Jill Eathorne Bahr’s “Poetry With a Splash of Red Blood” which premiered in Charleston in 1987 but which has rarely been performed here since. Too bad because, never having seen it, I thought it exhibited the best of modern dance: innovative choreography, evocative gestures, and an edgy tension—all in the context of a highly suggestive but undefined storyline that stayed on a logical and musical course.
This piece comes together amazingly well by virtue of synchronizing perfectly with the music of Philip Glass, whose compositions are characterized by their abstract, rhythmic repetition. Jill did a remarkable job of matching the steady pace of the music and creating one seamless flow of movement that slowly builds in intensity.
The rapidly-switching yet smooth movements of the dancers made the complexity of the choreography look simple. And there were no lead dancers. Six men and six women move in flowing, pleading exchanges that (for me) indescribably expressed the essence of male and female in combination and contrast.
I learned afterwards in talking to Jill that the music was written for the 1985 film “Mishima” based on the life and work of Japanese writer Yukio Mishima, and that the music was entitled “Runaway Horses (Poetry Written With a Splash of Blood)” which Jill adapted for her ballet. The hanging nooses that appear at the end of the ballet loosely refer to Mishima’s ritual suicide, performed in the samurai tradition.
Despite that gruesome fact, the dancing, Jill’s set, the costumes by Don Cantwell, and the atmospheric tone were extremely beautiful, almost meditative. I would love to see it again.
A Midsummer Night’s Dream with Alexey Kulpin as Puck
The third piece—in striking contrast to the first two—was based on Shakespeare’s farcical “A Midsummer Night’s Dream” in which, of course, everyone is in love with someone who does not love them until the tables turn, a donkey gets involved, and all relationships resolve into harmony in the end.
Amidst the funny story, several things stood out. One was Alexey Kulpin’s varied, honest dancing and his perky, dramatic flair. Another was Jill’s comical and good storytelling choreography, with just the right little touches of playfulness (set to the music of Felix Mendelssohn). And third was how much fun Jennifer Muller, Jonathan Tabbert, Molly Wagner, James Perento, and Melissa Weber seemed to have playing these roles and dancing the steps. Melissa in particular displayed a penchant for ballet character acting—if there is such a thing. Last but not least, Austin Smith did wonderful justice to the unfortunate Bottom who, appropriately named, turns into an ass.
Overall it was a gratifying event that I will remember for its variety, poignancy, and entertainment. Kudos to Jill and the CBT dancers.
Learn about Charleston Ballet Theatre’s upcoming production of Cinderella.
