May 25, 2005
Wednesday

Ketchikan, Alaska - Theresa Somrak soloed as the third tourist.  Theresa began dancing at age seven and was cast in this year's Nutcracker as a flower in Waltz of the Flowers.  As evidenced by her choice of music by Brazilian singer/songwriter, Adriana Calcanhotto and her quick change of address from Alaska to Minnesota and back again, Theresa is a mover and shaker.  Willamette University in Salem, Oregon has made the wise decision to accept Theresa as a student next year and will aid her in her goal of obtaining a degree as a cultural anthropologist.  

Dressed in comfortable rusty orange capris with a forest green top, her powerhouse solo was packed with energy.  The organic, sleek latin vocals of Calcanhotto's "Justo Agora" complemented Theresa's eclectic style of dancing well, showing her talents off to the best advantage.  It was a powerful, athletic, jazzy performance that the audience simply adored. 
  
Igor Stravinsky's music from "Apollon Musgéte" allowed the Ballet V class to portray Greek Sculpture with haunting majesty.  Stephanie Alley, Kyrie Chandler, Inga Christensen, Lauren Gates, Frannie Gierard, Rique Hill, Lucy Ortiz, Amy Owings, Kyrie Spencer and Janie White were sublime in this number as Grecian goddesses choreographed by Carol Schafer. 

Wearing pure white gowns belted at the waist and embellished at the neckline with golden cords, the line of dancers with their golden-leaved tiaras moved across the stage with willowy grace, bathed in soft light.  It should be noted as well that they were especially fine in the preparation and positioning of each arabesque. It was quite an exquisite performance and very enjoyable to the ear as well as to the eye.
 
If there would be any remark of criticism, it would be to state that given the advanced ability of the dancers to successfully undertake the classical properties of such a piece by Stravinsky, it would have been wonderful to have also savored more of their talents by seeing them tackle Sacre.  It is hoped that this unprecedented singular score about a young girl who dances herself to death as a ritual sacrifice to Spring may be included in a future performance by the Ballet.

Springing onto the stage next, the Jazz III class leapt up in a fun and ferocious primal routine entitled "Magdalenian Cave Art." Accompanied by "Black Hands" by the Italian Percussionist, Massimo Rubulotta, it was choreographed by Carol Schafer.  Kendra Anderson, Stephanie Brown, Victoria Crabtree, Sara Gilmon, Stasha Lee, Jordan McLean, Chelsea Paulsen, Anne Schuerger, Haley Widness and Rebekah Wiedenhoeft wore green and brown mottled crushed velvet costumes designed to allow freedom in which to move to crude acoustic beats.  As such, they were very successful in matching the primordial score as they threw themselves into the music with frenzied commitment. 
 
While it is usually unwise to single out specific performers in a number such as this, it should be mentioned that Rebekah Wiedenhoeft, recently seen giving a stunning performance as Charlotte in First City Player's production of "Charlotte's Web," was especially adept in this piece, lending her acting talents to the part, even to the extent of making the crude guttural sounds and steps seem attractive without losing the intended atmosphere of a primitive era.

Following Jazz III, "Monkey Chat" began.  From behind a white sheet draped center stage, Brittany Auger, Katheryn Brooks, Aimee McClory and Molly Oien appeared in typical Balinese costume, including yards of coined gold brocade, gold slave anklets and gold metallic headgear.  With fervent agitation, these four girls glittered and dazzled the crowd with flashes from dark eyes tucked in between balanced poses and dynamic gestures that flowed within the strange prattle of percussion instruments.
 
The music for this number was reported to be inspired by Balinese monkey chat and Traditional Bharata Natyam Raga and was played live by Dave Rubin, Craig Koch and Stephen Jackson.  Balinese music is sometimes referred to as Gamelan music and is usually composed with choreography in mind.  It is played with various forms of percussions, with notes often overlapping.  It is very complex and very vibrant.  This number's incessant monkey-talk beat was a perfect foil for the dramatic hand and eye movements choreographed by Ashley Byler and which were expertly executed by the dancers.   It was a definite favorite of the audience and was a very good example of the union of dance and music using an exotic and unusual technique.

The fourth tourist was Kate Cessnun.  Another live performance was made by Dave Rubin, Stephen Jackson and Craig Koch - but this time, the music was inspired by Traditional West African Rhythm rather than from Balinese harmonies. 

Heavily laden with a Congo beat, Rubin, Jackson and Koch's set of West African tonalities merged with Byler's groundbreaking choreography and Kate's dizzying artistic sensibilities to make this offering a feast of pleasure.  The music was intense and Kate swayed, dangled in space and stepped in between notes as naturally as if she were born to breathe rhythm instead of air.  The result was both riveting and entertaining.
 

"Origami" featured a music selection by Ryuichi Sakamoto & Kazumi Watanabe entitled "The End of Asia."  For those unfamiliar with the work of these two artists, Sakamoto is one of the best known Japanese pop music composers known today and Watanabe is famous as a pacesetter who has, for the past twenty years, been one of Japan's top guitarists in fusion.
 
As part of the Jazz II class, Kyrie Chandler, Frannie Gierard, Chantel Gordanier, Emerald Henthorne, Ashley Kessler, Emily Lloyd, Lucy Ortiz, Britta Pihl, Brittany Thompson, Samantha Walters and Jessica Williams were bright, colorful, bold and beautiful as they came on stage in their purple and turquoise tops with floor-length flowered skirts.   Despite the fact that they must have been hampered by the voluminous fabric of their costumes, the girls did a wonderful job as they danced to Jen Alverson's choreography of Sakamoto and Watanabe's combined talents.   
 
Although it must be said that "Origami" was somewhat removed from the stunning Balinese imagery and the heavy African rhythms of the two preceding offerings, it was, nevertheless, a stunning experience with its melodic movements, full-fanned skirts and cheerful dancers.  Overall, it was light, exotic and somewhat jazzy and made an impact on the audience by the intensity of a joyful essence.

 

After the Jazz II class finished, the Museum Personnel took a lunch break.  Appearing with lunch buckets in hand, they appeared more fully awake than before.  Their steps were higher and their arm movements more energetic.  Even their tapping toes seemed louder.  Kaila Cowan, Serena Jackson, Rachel Koons, Jordan McLean, Ali Montecillo, Hayley Morin, Colette Peters, Olivia Round, Jessica Schenck and Kimberly Stone had choreographed their own steps to "Mickey" by Toni Basil and "Footloose" by Kenny Loggins in this number.  They did a wonderful job of it and the antics they included in trying to keep the visitors from barging into the lunch room were great. 
 
Then it was time for the audience to take a break.  After some friendly conversation and a quick leg stretch during a fifteen minute intermission, Ballet VI opened the "Fine Art Exhibit" and began the third act of the Spring Gala with "Da Vinici's Mona Lisa."  In T-shaped medieval gowns of a filmy, ivory fabric topped by circle-capes of tapestry-like cloth trimmed with golden braid and matching braided circlets on their heads, the thirteen girls imbued DaVinci's talent with even more refinement.   

The music was divine; "Rondeau" by Mouret and "Le Coucou" by Daquin.  "Rondeau" is often used in weddings, with good reason.  The rich orchestral strings are blissful and beautiful.  Likewise, Daquin's work is gentle and peaceful; giving evidence to the fact that he is one of the defining composers of the Baroque period.  Listening to the strains as they played, one could imagine oneself in a very ornate theatre with gold Baroque murals set here and there beside velvet curtains draped over stone walls. 
 
Carol Schafer was responsible for setting choreography to the works of these two Masters and succeeded in creating a wonderful routine.   Deandra Banie, Samantha Barnes, Stephanie Brown, Victoria Crabtree, Shawna Hofmann, Karyssa Holstrom, Marianne Hottenbacher, Stasha Lee, Chelsea Nusbaum, Colette Peters, Anne Schuerger, Janelle Stacy and Haley Widness were just as successful in bringing Schafer's inspirational work to its full potential.  With consistent energy tempered by softness, they captivated Mona Lisa's mysterious smile in spirit.   
 
"Degas' The Dance Class," was choreographed by Marguerite Auger and followed next.
 
To Be Continued . . . Don't miss the final continuation of this review later this week in another SitNews edition!

On the Web:

Part I: A Review of Ketchikan Theatre Ballet's Performance of "The Museum" by Sharon Allen...
May 23, 2005

KIDS OF NOTE; Ketchikan Theatre Ballet's Younger Dancers Perform "Our Symphony" By Sharon Allen
May 19, 2005

Our Symphony Photo Gallery I by Carl Thompson

The Museum Photo Gallery II by Carl Thompson

 

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Ketchikan, Alaska