Two Stepsisters With Adam’s Apples
By JOHN ROCKWELL
The New York Times
Published: October 6, 2006
link to article here: The New York Times
CHICAGO, Oct. 5 – The Joffrey Ballet, no matter where it was based, built its image on mixed bills, partly as a matter of aesthetic philosophy and partly as a matter of budget.
Its new production of “Cinderella,” which opened at the Auditorium Theater here on Wednesday, is its first “brand-new, full-length story ballet” since 1987, in the curiously
legalistic qualifications of the artistic director, Gerald Arpino.
This “Cinderella” is billed as the first time an American company has been licensed to perform Ashton’s version, although it has been seen in various guises courtesy
of the Royal Ballet on tour. The result is worth the $1 million budget, in terms of company prestige and box office (story ballets sell) and in giving the dancers something balletically meaty
to chew on.
Not to mention that the Ashton version of “Cinderella,” quite apart from being a landmark in British ballet history, is a loving, funny, choreographically elegant
setting of this beloved story and Prokofiev’s stirring score, even if the Prince’s worldwide search for his shoe-wearer is omitted. The grand romantic duets are an epitome of formal, classical
style.
Presenting this “Cinderella” was a dream of Robert Joffrey, who died in 1988. It was his dream, and that of the two performers, Gary Chryst and Christian Holder, now
honored Joffrey veterans from the late 1960’s and 70’s, to have them dance the two Stepsisters, which Ashton presented in English pantomime drag. Now everyone has his wish, even if Joffrey’s
had to be fulfilled posthumously.
The Royal Ballet has clothed this ballet in three decors since its premiere at the Sadler’s Wells Theater in London in 1948. The Joffrey uses version No. 2, seen at Lincoln Center in 1997 and
purchased for this run from the Dutch National Ballet, which is moving on to No. 3.
By now, David Walker’s sets from 1987 — even though “acquired in mint condition,” in the words of a news release — look a little dowdy, drab and old-fashioned,
despite some nice touches, like the rising scrims to reveal each of the seasonal Fairies. The Fairy Godmother’s coach, which drew oohs and aahs from the audience, was tacky. But the Walker costumes
are still vivid and, when called for, amusing.
The ballet has been staged for the Joffrey by a double-barreled Royal Ballet team consisting of Wendy Ellis Somes, a former dancer who now owns the intellectual rights to the choreography, and
Christopher Carr, the Royal Ballet’s rehearsal director and senior ballet master. Mr. Carr is credited for additional choreography; too bad he omitted the bit in which a Stepsister stamps at a
loose wig as if it were a rat.
Unlike most companies, the Joffrey dispenses with rankings (principal, soloist, corps). Everyone is listed alphabetically, except for the apprentices and two billed as “seasonal dancers for ‘Cinderella.’ “
The company is presenting nine performances with four sets of leads, and, given the considerable but not dazzling strengths of the opening-night cast, one has to wonder about the depth of the
roster, compared to other regional ballet troupes.
That groused, Maia Wilkins made a pert and appealing Cinderella, ably partnered by the graceful Willy Shives (the Joffrey’s assistant ballet master), who neatly matched her small stature. Their
duets, especially at the end, were touching. Julianne Kepley, in other performances a Cinderella herself, danced the Fairy Godmother brightly, and Calvin Kitten won cheers for his hard-working
leaps and determined cheerfulness as the Jester.
Still, all eyes were on Mr. Chryst and Mr. Holder, scheduled as the Stepsisters in seven of the performances. There is always the danger of over-the-top campiness in these parts, and there was
some of that here. But Mr. Holder’s imperious height (he looked like an elongated Oprah) and Mr. Chryst’s sweet deference made a charming pair.
Leslie B. Dunner conducted the Chicago Sinfonietta, which played solidly but a little roughly. Perhaps the musicians were still recovering from their labors last Sunday in David N. Baker’s Concertino
for Cellular Phones and Symphony Orchestra.
The Joffrey Ballet’s “Cinderella” is at the Auditorium Theater, 50 East Congress Parkway, Chicago, through Sunday, and next Friday through Sunday, (312) 902-1500 or
ticketmaster.com.