NBT’s dexterity celebrated in ‘Vivaldi to Pink Floyd’

Marilyn LaRocque

Monday, Feb. 24, 2003 | 8:12 a.m.

The world premiere of artistic director Bruce Steivel's classical-themed "Ballet Concertante," to the music of Robert Schumann's Horn Concerto, opened the evening.

"Going for Baroque," a high-energy contemporary dance piece by Val Caniparoli, resident choreographer of the San Francisco Ballet, concluded the program.

It was an NBT premiere and will surely become a popular standard in its repertoire. These two bookended another Steivel ballet, "Good Times," a vibrant production danced to the eclectic music of Pink Floyd.

With its tongue-in-cheek title establishing the tone, "Going for Baroque" excerpted music by Antonio Vivaldi (1678-1741), which prominently featured mandolins, lutes, recorders and harpsichords, creating a lively, fresh musical environment.

Costume designer Victoria McFall dressed the men in farm clothes -- bright, solid-color sleeveless shirts with "blue jeans" -- secured by suspenders and belts.

In contrast, the women looked as if they borrowed rainbow versions of Judy Garland's famous tuxedo jacket -- but in chartreuse, gold, red, lavender and orange with notched black lapels, over black stretch shorts. The dichotomy worked well.

Lighting by Nicollas Fischtel was imaginative. Changing geometric shapes in different colors were projected on the backdrop. The effect was to heighten the movement of the dancers.

"Going for Baroque" is divided into nine movements of one to 14 dancers. The first spotlighted principal dancer Baris Erhan. He certainly knows the steps and has an energetic, determined style. But he lacks the ability to land his jumps and stop his rotations without fudging his footing.

The first exciting movement was the third, danced with crispness, effortless precision and superb style by principal dancer Tess Hooley and soloist Zeb Nole. They were the stars of the evening.

Hooley was consummate grace -- whether on pointe or twirling through Caniparoli's intricate moves. She was animated, with beautiful line and back extension.

Nole was exceptional, both as her partner and alone. Tall and lean, he bent her like a pretzel, then, later, soared across the totally inadequate Judy Bayley stage, covering the width and nearly landing in the wings in three full-stretch leaps. No matter what the move, he didn't falter.

Movement Five featured Nole, Kyu Dong Kwak and Erhan. They were an adept trio. The lively choreography manipulated them well around the stage and paired leaps with drops to the floor.

Movement Seven was another success -- with principal Jordi Ribera showing his talent and athleticism.

The ensemble returned for movement Eight. Nole was, again, the standout among the men. His air time was dazzling. He consistently anticipated the beat and took off and landed squarely on it.

Unfortunately, this capability was not prevalent across the stage when unison was required. Why seven men couldn't clap their hands simultaneously, or women execute kicks together, is mystifying.

A pas de deux by principal Kyu Dong Kwak and soloist Elena Shokhina concluded the work. Where was Natalia Chapouskaya when she was needed? Shokhina is an adequate dancer, but nowhere close to the presence and perfection of Chapouskaya, and her stature does not pair well with Kwak. As a result, his usual brilliance was dimmed.

Steivel spanned the dance spectrum from his new "Ballet Concertante" with tutus and toe shoes to the kinetic postures and rhythms of "Good Times."

The former was a very appealing, graceful classical bonbon with elegant choreography and costumes to match -- white with spangles and tiaras for the women. This work also alternated ensemble sequences with pairs.

Hooley and Nole opened the piece with style and flair. He lifted her with ease and flowing motion. The second pas de deux with Kara Hamburg and Erhan was well-synchronized and workmanlike, but his lifts were not graceful.

The mood pendulum swung 180 degrees for "Good Times," with its opening of stage-level fog punctuated by protruding legs in colorful leotards, waved in the air by dancers on their backs on the floor. Steivel made dynamic, dramatic choices from Pink Floyd, running the musical scale from sharp, piercing tones and dissonance to chanting, drums and xylophone riffs and Beatlelike vibes.

The five couples' costumes were color coded. The bare-chested men's well-toned muscles were part of the overall aerobic energy.

Steivel gave the dancers challenging, athletic moves, which they performed with enthusiasm and verve. He has a winner in this piece.

Unfortunately, at the end of opening night on Friday, NBT stumbled with one of its rare gaffes, presenting two bouquets to Shokhina and none to Hooley. Ever the poised professional, however, Hooley gracefully led both Caniparoli and Steivel onstage for bows.