This was a Fundraiser for Luminario Ballet and an opportunity to honor Nigel Lythgoe and his many achievements for all things Dance. This was a worthy endeavor and Lythgoe’s acceptance speech and video were very entertaining, adding a level of relaxed amusement to the proceedings. The Avalon Hollywood is the perfect venue for such an occasion as there are tables in front of the pit which serves as a Cabaret setting and then banquettes between the bars which make for a nightclub atmosphere. There are also three screens on each side of the stage matching the large scrim upstage used as a backdrop. On these during the evening were projected various images and artistic renderings of color. I will say here that while these are engaging during the preshow portion of events, they quickly take our attention away from the dancing and dancers on the stage and often do not enhance but detract from the work being presented. Especially Diaz’s premiere and Helle’s Firebird could have benefitted by less projections and more stage lighting.
Luminario Ballet – Photo by Sheri Determan.
“Keep on Loving You” opened the evening and was a 2025 premiere choreographed and danced by Adrian Hoffman and Stephanie Kim. The music and lyrics were written and performed by Ray Angry (on piano) and Wallette (on vocals). This was a lovely pas-de-deux with Kim on pointe and Hoffman executing many lifts and some difficult partnered turns. Both were in white costume, Hoffman sporting white jazz pants and Kim in a slinky white short dress. There was a promenade made slightly awkward by Hoffman partnering Kim’s thigh as he ducks down so her leg in arabesque can go over his head while she is grounded on pointe. This is the second time I have seen this “move” in two different shows and I wonder at its worth as the manipulation of it is so cumbersome. I believe it is meant to “wow” the audience but only elicits a “huh?” from me. The rest of the piece was passionate, matching the soaring vocals of Wallette and the sensitivity of Angry.
Luminario Ballet – Photo by Ted Soqui.
“Siempre Amor-Always Love” is a 2025 Premiere choreographed by Co-Artistic Director Damien Diaz and set to music by Astor Piazzolla. Throughout the four sections we see various incarnations of Love, from a passionate couple to a bi-curious foursome, then a flirty threesome, to the whole cast switching partners a’la dating app. Costumes were appropriate black Tango wear with the men in all black with a blazing red sash and the women in black skirts with red piping. The choreography utilized very strong ballet technique. All the women on pointe and the men partnering up a storm. There were many lifts showcasing the strength of the men and dexterity of the women. This was a fun romp through various consequences of Cupid’s Arrows. The dancers were: Matisse Love, Natalie Palmgren, Sadie Black, Stephanie Kim, Adrian Hoffman, David Prottas, Joey Steinauer, and Omri Mishael.
Luminario Ballet – Photo by Emerson Chen.
“Lala”- This was an aerial work with choreography by the aerialists Dreya Weber and Jamal Story set to music by Paul Mirkovich. In the background via projection was an immense panorama of the planet Earth, taken from satellite and rotating on its axis with the moon behind in the same frame. This was an extraordinary visual that perfectly captured the essence of their duet high above the stage. To see these two perform such a controlled and weightless pas-de-deux floating above the Earth in the background was to invite wonder and a sense of awe into the show. Their movements beautifully reflected the music, and like the scene at the end of “2001, A Space Odyssey”, made us marvel at the accomplishments and possibilities of the human race.
Luminario Ballet – Photo by Sheri Determan.
Closing the evening was Judith FLEX Helle’s excerpts from “The Firebird”, also a 2025 Premiere. She had started this ballet back in 2019 but had to postpone its creation due to the pandemic theater closures. The Los Angeles fires gave her further inspiration for the piece. This work was based on clean classical ballet vocabulary. She has done away with the original storyline and created a new narrative concerning the coming together of many Firebirds. This was a showcase for the considerable technical talents of her dancers assembled: Matisse Love, Natalie Palmgren, Sadie Black, Shannon Beach, Joey Steinauer, Adrian Hoffman, David Prottas, and Omri Mishael. As mentioned earlier, I would have liked to see the performers more isolated in space and not always accompanied by the vividly altering projections onstage and in the house.
Luminario Ballet – Photo by Sheri Determan.
Halle has produced a complex and spectacular show with many moving parts and has gathered together an excellent array of artists to show their skills and also participate in her company’s fundraiser. This was well-done. A highlight of the evening throughout was the live music presented by first, Ray Angry and Wallette, then by Conductor Bryan English and the fantastic Thrillharmonic Orchestra: Flute: Janelle Janovich, Oboe: Victoria Lee, French Horn: Kristin Morrison, Trumpet: Chad Lee, Trombone: Michael Rushman, First Violin: Kaitlin Wolfberg, Violin: Emma McAllister, Viola: Tess Scott-Suhrstedt, Cello: Danica Pinner, Piano: Adam Bravo, Bass: Cooper Appelt, Percussion: Joey Muska. They tore into the Piazzolla and beautifully handled the “Firebird” score by Igor Stravinsky.
For more information about Luminario Ballet, please visit their website.
Written by Brian Fretté for LA Dance Chronicle.
Featured image: Luminario Ballet – Photo by Sheri Determan.
