On Thursday, June 15, 2023 at the Eli and Edyth BroadStage, the long awaited performance of Memoryhouse by the Los Angeles Ballet indulged the audience with Melissa Barak’s newest endeavor. This heroic effort was inspired by the music of German composer Max Richter, also called Memoryhouse, released on vinyl in 2002. Memoryhouse is a full length 90-minute ballet that was originally planned to premiere in 2020 but was preempted until 2023 because of Covid.
Barak’s vision of soulful narratives from the holocaust was clearly the intention of the piece. “I really wanted Memoryhouse to feel like lost stories floating in the ether.” (Barak) This dream state of the holocaust symbolized testimonies of the tragedy of those moments in time. These were ethereal allusions, danced beautifully by Laura Chachich, Sadie Black, Jessica Gadzinski, Stephanie Hall, Edgar Khachaturov, Stephanie Kim, Adrian Blake Mitchell, Robert Mulvey, David Prottus, Lucas Segovia, Brian Simcoe, Evan Swenson, and Sareen Tchekmedyian.
LA Ballet – Jessica Gadzinski and cast in Melissa Barak’s Memoryhouse – Photo by Cheryl Mann
However, as evidenced in “1945” (Amazon) which unveiled actual footage of the “camps” (Sobibor, Treblinka, Auschwitz-Birkenau, and others), bodies in unmarked graves, many hidden forever, and the bestiality and violence that is the subtext of one of the most horrendous events of the 20th century. This cannot be ignored…it is the story… it was the Final Solution.
To be sure, there are exquisite elements that need to be acknowledged. The gorgeous and haunting music of genius Max Richter, evokes the essence, threats and humanity as a reminder, in his mind, to that of Sarajevo, with undertones of the “camps.” His music often labeled “post classical” or “Indie-classical” was free to be whatever inspired ideas and memories. The use of piano and brass, bells and electronics, with overtones of John Cage’s voice, were tools for expression.
LA Ballet – David Prottas and Lucas Segovia in Melissa Barak’s Memoryhouse – Photo by Cheryl Mann
There were lovely and poignant stand out moments. Andras, A stunning pas de deux that awoke the agony of separation, in a touching and sensitive movement piece performed beautifully by David Prottas and Lucas Segovia. In Arbenita, with Evan Swenson and Aviva Gelfer-Mundi is a remembrance of father and daughter’s soulful connection and traceless disappearance. The power of Barak’s design of the final act and subsequent soul lifting metaphor of doves released, was striking sans program notes.
LA Ballet – Aviva Gelfer-Mundl and Evan Swenson in Melissa Barak’s MemoryHouse – Photo by Cheryl Mann
Costume designs by Holly Hynes, chose to use neutral cream colored loose-fitting body suits for the first act, with dramatic color relief in the Second. Dancers Sadie Black and Jessica Gadzinski dressed in rich Green and Royal Blue while Lucas Segovia and Evan Swenson were suited for an elegant gathering. Then, gradually Hynes turned the colors to black in Jan’s Notebook.
LA Ballet – Laura Chachich and Jessica Gadzinski with Brian Simcoe, Evan Swenson, Robert Mulvey and Adrian Blake Mitchell in Melissa Barak’s Memoryhouse – Photo by Cheryl Mann
The classical and sparse designs and use of scrims to form powerful imagery were created by Hagy Belzberg, founding partner of BA Collective and architect of the Holocaust Museum. A simple table became the slippery slope for the slide into oblivion in the second act. The subtle yet exquisite partnership of Nathan Scheuer’s emotional lighting was a welcome addition to the piece, utilizing gobos of birds, as a metaphor for escaping souls from their devastating tragedy. The art design was beautifully effective looking through a scrim of a forest, or a gray sky filled with crows and created a dramatic dreamlike state, as did the transitions from torrential rain, to forest, to city, and into the last release.
LA Ballet – Stephanie Kim and cast in Melissa Barak’s Memoryhouse – Photo by Cheryl Mann
Less evident in this important retelling, was the sense of evil lying in wait, and what horrors were yet to happen to get us to the “final solution” of so many innocent lives wasted. In Barak’s brave yet unattainable choice to separate souls from the bestial hatred and degradation, like quicksand, became an impossible task to climb out of. Perhaps, to integrate the two may call for the guidance of a Dramaturg. It is a possibility to consider this piece as an aesthetic workout, a remix of the truth only half told. This is an opportunity to show the balance, or imbalance, to dig deeply and intently and express a warning for mankind.
To be sure the horrors are clear in the Museum of Tolerance along with every graveyard across Eastern Europe. This is one of the most important stories to be told in the 20th and 21st Century. And as Barak said, “ We must remember [these events] through the arts.” (Barak). And as an artist the responsibility is to tell the story with all its colors.
To Learn more about the Los Angeles Ballet, please visit their website.
To learn more about the BroadStage, please visit their website.
Written by Joanne DiVito for LA Dance Chronicle.
Featured image: Los Angeles Ballet – Sareen Tchekmedyian and Evan Swenson in Melissa Barak’s Memoryhouse – Photo by Cheryl Mann.
