Joffrey’s 50th a reason for `Celebration’
By Sid Smith
Tribune arts critic
Published October 21, 2005
A quarter of a century ago, Gerald Arpino unveiled his “Celebration” at the Auditorium Theatre in honor of the Joffrey Ballet’s 25th anniversary.
Now the company is turning 50, “Celebration” is back for a rare revival and, like the Auditorium itself, we now think of this remarkable ballet troupe as our own. Ten years here have made them Chicagoans, and those of us lucky enough to catch most of their engagements can attest to the bountiful variety and magic stored in their repertory treasure trunk.
To launch its anniversary, the company’s fall engagement through Oct. 30 boasts a trio of great classics that are delightful studies in contrast, just as they illustrate the late Robert Joffrey’s skills as a curator and his sublime good taste.
“The Dream,” for instance, may not be Frederick Ashton’s greatest work. But it is one of the more beguiling story ballets, and, in an art so dominated by the French and Russians, a work that is demonstrably, delectably British, from its humor to harmonies that sometimes invoke the country air. Aided by Mendelssohn’s lush, seductive score, Ashton manages to condense Shakespeare’s epic pastorale into a taut, focused short story, tossing in just enough of the saga of battling Oberon and Titania, Puck and the ill-matched quartet of lovers and the serio-comic Bottom, the tradesman turned into an ass.
Though the humor is a little courtly by our reckoning, “The Dream” shows off Ashton’s endless technical innovation, so smoothly interwoven into his miniature drama. Restaged by Anthony Dowell (who created the role of Oberon) and Christopher Carr, this “Dream” boasts an expert, arguably ideal cast. Julianne Kepley’s forceful, self-confident style is a natural for the headstrong Titania, but she also injects girlish coquetry, ineffable charm and subtlety of gesture. Her unforgettable partner is Fabrice Calmels, a statuesque dancer who is 6 foot 6 inches tall and yet never gangly, awkward or less than charismatic. He beautifully survives Ashton’s exhausting turns, and his clean technique and classic form gleam with grace. Who better to play a mythical Colossus?
For that matter, who better to play Puck than Calvin Kitten, the impish, extraordinarily showy acrobat, who is the diminutive counterfoil to Calmels and an easy master at holding the story together. John Gluckman, whose star power in “Celebration” shows he’s more than living up to his early technical promise, is a terrific Bottom, fearlessly clownish and expert at dancing on his toes.
The Joffrey first danced Jiri Kylian’s “Return to a Strange Land” in 1980, the first U.S. troupe to feature his choreography. Today, he’s an international star, and this startling, hypnotic work shows why.
Though a memorial to his mentor John Cranko, “Return” is a brilliant exploration of the permutations of abstract ballet, its duets and trios an illuminating series of body sculpture and movement poetry. Maia Wilkins and Willy Shives, an onstage partnership that has been one of the glories of the Joffrey’s years here, were among Wednesday’s memorable cast.
“Celebration” is every bit as joyous, buoyant and intoxicating as its title suggests, a trademark example of Arpino’s showmanship. Moreover, it luxuriates in the Russian theme inspired by its ethnic costumes and the score by Dmitri Shostakovich. Suzanne Lopez is at the peak of her talent here, well met by Michael Levine, silky Mauro Villanueva, exhilarating Erica Lynette Edwards and Temur Suluashvili. For tickets: 312-902-1500.