Ballet Project OC was founded/created in 2019 and has since been presenting works in the “Balanchine Style”. “Building a “New Legacy” means expanding on the New American Classism of the past, paying tribute to the Balanchine Style, and forging forward in a new creative path that entertains the audiences of this generation” (From the website). This is a laudable endeavor and no easy feat in this era of defunding for the Arts and higher costs for theater rentals, rehearsal space, etc. The tenacity and ‘can-do’ spirit of the sisters Ally Helman (Artistic Director) and Emily Helman Berry (Founder and Ballet Mistress) are to be recognized and celebrated. Wherever the Muse may be conjured to appear is a welcome event artistically and culturally across the board. I also spoke briefly with Jon Helman (Executive Director) who was very charming, attentive and handling front of the house for the company. By the similarity of last names this seems to be a family affair which keeps the operation tightly run. This was obvious to me watching the show on Saturday night.
Ballet Project OC – Christina Ghiardi in “Bandera” by Emily Helman Berry – Photo by Jack and Kathleen Hartin.
The program for the evening at the Bank of America Performing Arts Center in Thousand Oaks was certainly ambitious. There were five pieces in all with one duet from The George Balanchine Trust. This show had an overall U.S. patriotic and nationalistic undertone to it. There was a heartfelt gratitude and honoring of the different military branches as well as a comedic send-up of the Wild West and a nod to Jazz great Harry James. All culturally Americana by nature. I want to say here that “paying tribute to The Balanchine Style” means also to be aware of his incredible musicality when working in different musical genres. This was not the case in three of the five pieces on offer.
Ballet Project OC – Nick Sedano, Isaiah Sedano and Skylar Burson in “Bandera” by Emily Helman Berry – Photo by Jack and Kathleen Hartin.
“Bandera” choreographed by Emily Helman Berry was one of the two pieces which worked well for this company. The dancers were well rehearsed, clean and game for the romp that the music provided. This was Berry’s answer to Aaron Copeland’s music from “Rodeo” and “Fanfare for the Common Man”, both extremely popular pieces immortalized by Martha Graham in her own very “American Style”. The problem with using such popular music is the contrast one must make between the two styles and two different techniques applied to its structure. It is, as far as Dance History is concerned, inevitable. Bandera was plotless and utilized the stage well with patterns and unison movement all making satisfying symmetry and lovely ballet lines. The costumes were short skirts for the women with mock turtleneck, sleeveless tops in peach color. The men wore blue leggings to the knee with tank tops the same color. The choreography was very precise and contained. In this Berry was following Balanchine’s lead. “His choreography is characterized by plotless ballets with minimal costume and décor, performed to classical and neoclassical music” (Biography George Balanchine). The problem was that the music often overpowered the choreography. The soaring themes in “Fanfare” were not equaled in movement. Although the dancers valiantly performed, the steps themselves seemed to ignore the temperament of the music. This was the case in other pieces as well.
Ballet Project OC – Madeline Houk and Robert Fulton in George Balanchine’s “Stars and Stripes Pas De Deux”, staged by Zippora Karz – Photo by Jack and Kathleen Hartin.
“Stars and Stripes Pas De Deux” staged by Zippora Karz for the Balanchine Trust worked the best. This was solid, well-performed, and showed Balanchine’s unerring musicality. The music by John Philip Sousa was made intrinsic to the choreography. It is not easy music by any means and the dancers; Madeline Houk and Robert Fulton did a fine job of making it their own.
Ballet Project OC – “Salute” by Christina Ghiardi – featured dancer Sarah Hurty – Photo by Jack and Kathleen Hartin.
“Salute” choreographed by Christina Ghiardi was a tribute to the different branches of the armed forces, one of which her husband belongs to. I know this because before each piece in the program there was a short film explaining what the piece was about and why it was made. I recognize the effort in creating these short blurbs was to inform the audience about what they are going to see. However, if you realize your material fully no explanation is necessary, and the audience will understand it. Explaining an audio/visual artform such as dance is redundant. Again, the ballet choreography went along seemingly ignoring much of the music playing in the background. I personally love the ‘Battle Hymn of the Republic’ by Andy Williams. His voice is smooth as silk and has a powerful resonance to it. The quality of this anthem was missing from the steps seen onstage. It seemed as if the theme of the piece was thought enough to carry it through to the audience. It was not. The anthems require movement that is as bold, full of power, and foster the same feeling as the music does. This did not happen.
Ballet Project OC – Ally Helman and Nick Sedano in “Count Me In” by Ally Helman – Photo by Jack and Kathleen Hartin.
“Count Me In” choreographed by Ally Helman had music by Harry James. The orchestrations by Big Band leader Harry James were soaring with blasts and stings, his signature trumpet, and an incredible life-altering Sax solo tearing through the space. The choreography was not. I became aware of the same steps, jeté lifts, saut de chats, and the obligatory preparation to fourth pirouette ending in fourth position before moving along again. This music is from the big-band jazz era and worthy of great attention to nuance. The limited ballet vocabulary and absence of musicality did not lend itself to the choice of music. Classical Ballet could accompany this music quite well as has been seen in “The Band Wagon” with Cyd Charisse, “Invitation to the Dance” with Tamara Toumanova, or even “Slaughter on Tenth Avenue” with Vera Ellen, all accomplished ballet dancers. There was no acclimation of jazz riffs or melody in the choreography. The temperament of the music was not realized.
Ballet Project OC – Isaiah Sandano and Cleo Taneja in “Count Me In” by Ally Helman – Photo by Jack and Kathleen Hartin.
“High Noon Saloon” choreographed by Anthony Cannarella was introduced as a comedic piece and set to various musical selections somewhat western in nature. Costumes in this piece were quite fun although uncredited in the program. Lighting also uncredited in the program. This piece utilized the same vocabulary and steps seen in the other pieces although the music was quite different. There was character work with a drunken brawl and barmaids, but none of it held the music. Consequently, there were times when no movement supported the saloon motif or the music being played. The women were in pointe shoes and the men in black jazz shoes with jeans making for an odd visual. And again, the group does a fourth preparation for pirouette and ends in fourth position and then continues on with the scene. It was an odd and anachronistic choice given the setting of the Wild West bar and the characters illuminating it.
I understand this is a young company, some five years old, and I look forward to the inevitable growth which it has in store. The Directors are also young and have so much possibility in their future. The diversity of the music and themes in the program were great. Following through with those bold choices in the movement and choreography will be a wonderful addition. The Dancers were very clean and capable: Natalia Burns, Skylar Burson, Robert Fulton, Christina Ghiardi, Ally Helman, Emily Helman Berry, Madeline Houk, Sara Hurty, Camille Kellems, Leah McCall, Annabel Macdonald, Isaiah Sedano, Nick Sedano, Cleo Taneja, and Sareen Tchekmedyian.
To learn more about Ballet Project OC, please visit their website.
Written by Brian Fretté for LA Dance Chronicle.
Featured image: Ballet Project OC dancers in “Bandera” by Emily Helman Berry – Photo by Jack and Kathleen Hartin.
