Path: bloom-picayune.mit.edu!snorkelwacker.mit.edu!americast.com!americast.com!americast-post Newsgroups: americast.twt.life From: americast-post@AmeriCast.Com Organization: American Cybercasting Approved: americast-post@AmeriCast.com Subject: On its toes from the start Date: Fri, 30 Oct 92 15:33:28 EST Message-ID: \SE E;LIFE;ARTS & ENTERTAINMENT;DANCE \HD On its toes from the start \SH Washington Ballet program full of splendor \BY Octavio Roca \CR THE WASHINGTON TIMES The news is good from the Washington Ballet. The company looked terrific the instant the curtain rose Wednesday night at the Eisenhower Theater, in the silent opening phrases of the lovely "Dumky Variations." Ray Barra's 1991 piece, commissioned by the Washington Ballet, makes the most of the company's exquisite lyricism and natural speed. Parmalee Welles Tolkan's stunning costumes and Tony Tucci's lighting matched the autumnal splendor of the dance. Echoes of Jiri Kylian in the choreography can be ascribed to faithfulness to the music's Central European flavor, and the entire affair was never less than lively and entertaining. Mr. Barra's choreographic response to Dvorak's famous Trio in E minor holds few surprises, but there were several moments of devastating sweetness. Runquiao Du made the strongest impression during the solos in the second movement: an academic exercise transformed as if by magic into an expression of purest joy. Yan Chen and John Goding brought alluring sculptural beauty to the third variation, Miss Chen's vulnerability nobly foiled by Mr. Goding's dashing presence. The ensemble work was clean, clear and - in the meaningful huddles that open and close the work - touching. At evening's end came "Birds of Paradise," Choo-San Goh's haunting fantasy set to Ginastera's Concerto for Harp and Orchestra. It served as a reminder of the depth of the tragedy that the young choreographer was taken from us in his prime. Now staged by Julie Miles, "Birds of Paradise" is a tribute to his memory and to the living art of the company that inspired his mysterious ballet. It is a supremely musical dance, executed with elegance and intensity on opening night. The coming of dusk, the stark stage pictures and the fleeting, fabulous choreographic designs came alive in dazzling neoclassical splendor. In between was Christian Holder's "Coup d'estoc" in its Washington premiere. Originally created in 1991 for Martine van Hamel's New Amsterdam Ballet at Jacob's Pillow, Mr. Holder's ballet is yet another adaptation of Choderlos de Laclos' epistolary masterpiece "Les liaisons dangereuses." This one was not needed. This tale of a cruel wager on how much innocence can be brutalized had already lost much of its edge in Christopher Hampton's popular middlebrow adaptation for the stage. Two films later, the ballet is further still from the novel's elegant passion and savage wit. It is a set of show-and-tell mime episodes dotted by academic steps. The humor is low, not biting. The relations seem dull rather than dangerous. Part of the problem is that pointing to a letter - to name one example among many - tells the audience nothing of its contents. But one need only think of what Antony Tudor and Frederick Ashton have done with similarly elusive literary material to realize how much Mr. Holder is missing. Still, the company gave it its best. If Mr. Goding was little more than an attractive cipher as Valmont, Julie Mills made such a delicious Marquise de Merteuil that one almost wished somebody else would have a go at setting this story to dance. ***** THREE STARS WHAT: The Washington Ballet WHERE: Eisenhower Theater WHEN: Through Saturday TICKETS: $32-$39.50 PHONE: 202/467-4600 MAXIMUM RATING: FOUR STARS This article is copyright 1992 The Washington Times. Redistribution to other sites is not permitted except by arrangement with American Cybercasting Corporation. For more information, send-email to usa@AmeriCast.COM