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The Tufts Daily
Where you read it first | Friday, March 29, 2024

Boston Ballet opens season with a bang

The Boston Ballet opened its 38th season last Thursday with Bruce Wells' magical fairytale, A Midsummer Night's Dream and Gerald Arpino's tribute to the American dream, Suite Saint-Sa?ns.

Following the disappointing production of The Hunchback of Notre Dame last season, the company's abilities were called into question. But fears of another letdown vanish within the first two minutes of this season's opening piece, Suite Saint-Sa?ns. Unlike traditional ballets, this modern piece is built around the music and not based on a particular story or fairytale - the dances can often be difficult to watch because of the lack of plot. Suite Saint-Sa?ns deftly sidesteps this pitfall thanks to the seamless choreography of Arpino, Artistic Director of the Joffrey Ballet of Chicago. Recurring choreographic themes create a cohesive piece that easily captures the audience's attention.

Composed by Camille Saint-Sa?ns, the music in Suite Saint-Sa?ns is lively and energetic. These aspects are mirrored in the choreography, which consists of fast footwork, soaring jumps, and smooth partnering. A technically demanding work, the company dancers prove themselves more than prepared for the challenge. The women undoubtedly steal the show - they are both technically precise and artistically expressive. The intricate pas de trois is carried out effortlessly and impeccably. The men, on the other hand, lag behind the ladies. Where are the awe-inspiring jumps? The powerful triple pirouettes? Luckily, the ladies are able to make up for what the men are lacking in vigor and force.

A Midsummer Night's Dream follows Suite Saint-Sa?ns. Based on William Shakespeare's play and set to composer Felix Mendelssohn's Incidental Music, the piece is playful and humorous. Most of the ballet's two acts take place in a mystical forest outside the gates of Athens. Hermia has been promised to Demetrius but is in love with Lysander. Helena is in love with Demetrius. Forbidden lovers Hermia and Lysander flee to the forest and are followed by Demetrius and Helena. In this same forest, Oberon, king of fairies, and Titania, his wife are quarreling over a child fairy that has been placed in Titania's care.

Enter the mischievous Puck. With the help of the magical nectar of a flower pierced by Cupid's arrow, he intervenes between all the lovers in the forest, both mortal and mystical. After being sprinkled with the bewitching nectar, Titania falls in love with a man-turned-donkey. Lysander is accidently sprinkled with the same mystical potion, causing him to fall in love with Helena and scorn his beloved Hermia.

In order to remedy Puck's wrongdoings, Oberon creates a mysterious fog under which everything is fixed. The mortals marry their lovers and Oberon and Titania are happily reunited.

Despite the complex web of plots and subplots, A Midsummer Night's Dream is surprisingly easy to follow on stage. The choreography, by former Boston Ballet Interim Artistic Director Bruce Wells, is very clear, and the dancers vividly portray their characters. Where the production of The Hunchback of Notre Dame fell victim to the intricate weaving of several storylines, A Midsummer Night's Dream seems to revel in it.

What separates this ballet from the host of others that are based on familiar fairytales is its combination of romance and humor. Most ballets, such as The Sleeping Beauty and Swan Lake are purely romantic. While the love triangle is fundamental to A Midsummer Night's Dream, it isn't the only thing going on. The combination of storylines, and the unmistakable element of comedy, makes the ballet entertaining and enjoyable.

Like Suite Saint-Sa?ns, the dancers again demonstrate their seemingly endless energy and flawless technique. Principal dancer Larissa Ponomarenko is the perfect Titania, simultaneously gentle and vivacious. Pollyana Ribeiro, another principal ballerina who has been with the company since 1992, captures the playfulness and mischief of Helena, making her irresistible and endearing. Paul Thrussell steals the show as Puck. In addition to dancing impeccably, he interacted with the audience, eliciting numerous bursts of laughter throughout the production.

The set design by Lewis Folden is breathtaking, transporting the audience from a theater in downtown Boston to a bona fide enchanted forest complete with graceful vines, lush greenery, and mysterious fog. The lighting, created by Craig Miller and recreated by Linda O'Brien, takes its cue from the beautiful scenery. Together, they create a mystical ambience that permeates the entire Wang Theatre.

The distinctive infusion of energy and technique demonstrated the season's opening program might be the result of several changes at the Boston Ballet. First and foremost, the company recently announced the appointment of Mikko Nissinen as Artistic Director. His influence is already being felt at the company, although he does not assume his full responsibilities as Artistic Director until July 1, 2002. Nissinen is an internationally recognized dancer, teacher, and Artistic Director. He brings to the company not only an extensive career as a dancer at companies such as the Kirov Ballet and the San Francisco Ballet, but also experience as an Artistic Director at both the Marin Ballet in San Rafael, California and, as of 1998, the Alberta Ballet based in Canada. His vast background and "tremendous respect for the history and tradition" of the Boston Ballet have undoubtedly influenced the energy at the company.

In addition to the appointment of Nissinen, the company has also added nine new dancers to its corps de ballet this season- Josey Silva, Li-Yin Chen, Emi Hariyama, Christine Kelliher, Nao Kusuzaki, Yosuke Mino, Joel Prouty, Raul Salamanca, and Richard Collins. The addition of these fresh, new faces (not to mention fresh, new technique) has made the company more dynamic and rejuvenated the foundation of dancers upon which it is based.

Suite Saint-Sa?ns and A Midsummer Night's Dream are nothing short of masterpieces in the glorious tradition of the Boston Ballet. The success of the season's opening program can only be an omen of good things to come.

Suite Saint-Sa?ns and A Midsummer Night's Dream will be playing at The Wang Theatre, 270 Tremont St., thru September 30th. Tickets are available through Telecharge (1-800-447-7400) and at The Wang Theatre Box Office, $25-78. Student rush tickets are available the day of the performance for $12.50.