New series terrific addition to RWB repertoire

‘See the music, hear the dance,” is a famous quote from quintessential ballet influencer George Balanchine, whose pithy bons mots have defined much of American classical dance since the legendary Russian-born choreographer first blazed a trail with the New York City Ballet.

Local balletomanes were given a golden opportunity to experience both up-close-and-personal Thursday when the Royal Winnipeg Ballet officially kicked off its 87th season with its newly minted Studio Series, which runs until Sunday.

The brainchild of the company’s artistic director, Christopher Stowell, the series features an abridged “concert version” of Balanchine’s seminal Who Cares?, set to a playlist of catchy George Gershwin tunes that make up the backbone of the Great American Songbook.

The Studio Series is the latest initiative taken by Stowell as he settles into his arguably still new position. Some of those endeavours will invariably stumble; others will hit their mark. This venture belongs in the latter category, bringing a 500-plus-year-old art form, often perceived as rarified, to audience members who may be hesitant, shy or just plain intimidated to visit the cavernous Centennial Concert Hall.

Several newbies attending ballet for the first time happily shared their newfound love for the genre during the post-show Q&A with the artists (one quibble: the evening’s let-your-bun-down vibe would have been enhanced had the clearly spent dancers been provided with stools during the 10-minute interactive chat, rather than required to stand awkwardly in line formation).

Their palpable wonder proved worth the price of admission alone — and precisely the point as made during Stowell’s opening remarks, in which he shared his goal to connect with newer audiences and “make everyone feel welcome at the ballet.”

The program’s pre-show chats featured a guest speaker, Jazz Winnipeg artistic director Zachary Rushing, sharing informative insights about George Gershwin, followed by Stowell’s own quick spin through Balanchine’s trailblazing artistry.

The latter’s own anecdotes and familial connection through his parents, both former dancers with the NYC Ballet who worked extensively with the iconic choreographer before his death in 1983, provided invaluable wider context to the evening.

The infectious, charming work showcases a six-dancer ensemble (with different alternating casts) of principal dancer Alanna McAdie, soloists Kyra Soo and Logan Savard, second soloist Rio Fukunaga and newly renamed “company artists” (formerly known as corps de ballet members) Joseph Dufty and Kallie Green, who offer a melting pot of jazzy movement vocabulary with pristine classical technique performed en pointe.

Kudos to the fine, live jazz quartet of University of Manitoba Desautels Faculty members — Karly Epp, vocals; Karl Kohut, bassist; Fabio Ragnelli, percussionist; and Will Bonness, keyboard — seamlessly delivering eight Gershwin numbers that transformed the black box dance venue into a “smoky” late-night jazz club.

This is also the first time Who Cares? has been performed with Ira Gershwin’s lyrics, thanks to Stowell’s receiving permission from the protective George Balanchine Trust to step away from the work’s traditional, solely instrumental format.

Hearing the elder Gershwin’s witty texts sung by the expressive Epp underscored the ballet’s series of dreamy pas de deux and brightly spirited solos with greater emotional resonance, as the performers brought their timeless sentiments to life.

Each tuneful selection brims with sparkle and sass, with the dancers often appearing to channel their inner Bob Fosses with all the razzle-dazzle of Broadway hoofers.

McAdie was like a young colt in spring during Embraceable You, her graceful fluidity underpinned by coquettish playfulness, including a final peck on her cheek from her partner and RWB newcomer Fukunaga.

Soo threw sparks during her own solo, Fascinatin’ Rhythm, her innate musicality shining throughout, as it did during her lushly romantic opening pas de deux, The Man I Love, performed with the always rock-solid Savard.

Another new company member, the charismatic Green, marked an impressive debut as she burst onstage in a fireball of energy in I’ll Build a Stairway to Paradise, infusing her propulsive solo with confident swagger.

She also showed off her knack for Balanchine’s idiosyncratic choreography during the show’s title work, performed with Dufty, the latter pulling out all the stops during the solo Liza, in which he gaily skips, finger snaps and leaps across the stage.

The entire ensemble cut loose during the highly syncopated finale, I Got Rhythm, earning loud whoops and cheers from the opening night audience.

Jazzy ballets are no stranger to this company, which in the past has also staged Paddy Stone’s Variations on Strike up the Band (1969) and Val Caniparoli’s A Cinderella Story (2004), not to mention Brian Macdonald’s irresistible crowd-pleasers.

Who Cares? is a terrific addition to the RWB’s repertoire, bolstering its body of Balanchine ballets (one can have never enough).

holly.harris@shaw.ca