Ballet BC, the superb Canadian dance company, performed for one night only, November 23rd at The Soraya. As The Soraya’s resident dance company, Artistic Director and Choreographer Medhi Walerski put together a diverse program that features both his choreographic work and that of the brilliant Crystal Pite.
After a fifteen-year career as a dancer with the renown Netherlands Dance Theater, (NDT) Walerski is now, a noted choreographer in his own right while also helming Ballet BC as the Artistic Director. The night began with “Chamber,” his homage to Nijinsky’s “Rite of Spring” choreographed for its centennial in 2013 for NDT. The original Stravinsky score is referenced but not used here. Instead, composer Jody Talbot brings a contemporary music-scape to the fore which works well for most of the piece but ultimately loses its punch rather than building in dynamics.
Artists of Ballet BC in “Chamber” by Medhi Walerski – Photo by Luis Luque, Luque Photography.
As the lights come up to just above dim, the dancers line the stage which is enclosed with a series of turning panels that allows them to enter and exit as if by magic. The stark yellowish lighting gives a haunting look to the static dancers who appear nearly nude in thin unitards exaggerating their musculature. Through the low light we see robotic movement that morphs into intense contemporary dance executed with exacting precision by these top-notch performers. Walerski’s keen sense of staging keeps things moving yet allows for quieter almost romantic moments to emerge when two dancers engage in a kind of remotely beautiful pas de duex. Here a hint of a melody within the dissonant score might allow the viewer a moment to breathe.
Ballet BC Dancers Rae Srivastava and Sarah Pippin in “Chamber” by Medhi Walerski – Photo by Luis Luque, Luque Photography.
However, Walerski has successfully created an Orwellian dystopia by the use of intentionally repetitive and constant movement. His dancers can and do keep up with the very specific and difficult choreography all the while maintaining the somber mood. The distinctive lighting by Jordan Tuiman becomes a character in of itself by moving restlessly from dark to pale, from shadow to form, and by bringing the dancers in and out of focus. Because there is no real plot line ala “The Rite of Spring” we are left questioning the motivation yet we are still drawn into this starkly impressive work.
The set and costumes were designed by Medhi Walerski.
Walerski’s “Silent Tides” a dance for two followed a short intermission. Choreographed just after the pandemic shutdown this is an examination of the human connection. Walerski states, “The result is an intimate work that reflects the relationship to one another and ourselves.” Indeed, this idea is evident in the hypnotic and meticulously deliberate choreography which requires the utmost technique from dancers Sarah Pippin and Rae Srivastava. Dancing to an ambient composition by Andre Cronet, Pippin begins the piece as she dances alone in contemplation with only a strip of white light accenting the upstage wall. She is exquisite in her movement never wavering from her commitment to perfection. When Srivastava takes the stage, he too is perfect in his approach to the languid yet impactful style. When the atonal music finally morphs into Bach’s beautiful “Andante” and the dancers touch, we understand that the plague is lifting. It is a beautiful moment and the dance flows in a satisfying arc from there.
Sets and costumes were designed by Walerski. The couple both wore flowing white pants and both were topless. For some this may have been distracting but soon the surprise dissipated and the dance was the focus. Perhaps that was the intention of Walerski but it begs the question as to why. Luckily, it did not impinge on the work.
Expert lighting design was by Pierre Pontvianne and Lisette van der Linden.
Artists of Ballet BC and Arts Umbrella Dance in “Frontier” by Crystal Pite – Photo by Luis Luque, Luque Photography.
The next intermission morphed into a long break of perhaps forty minutes and the audience was becoming restless and perhaps tired so, whatever followed needed to bring the room back and did it ever! “Frontier” a 2008 work created by Crystal Pite delivered the knock-out punch to this already excellent night of dance.
“I liked the idea of things being moved invisibly—of these unknown forces that are at work in our galaxy and in our universe and in our brains.” Crystal Pite.
A dark cavern-like space with light filtering from above slowly comes into view as a dancer in white moves through the shadows. Slowly black clad creatures emerge from the pit and squirm their way into the scene. From this introduction we are swept into the obscure world of the unknown. These “puppeteers” manipulate and move the dancers into and out of the space just the way our thoughts flow into and out of our control. Often when a choreographer basis their work on existential or esoteric ideas the meaning is lost. But Pite can make something nebulous become real by adding a semblance of a storyline and creating an atmosphere based on something tangible. Here the push and pull of the “shadows” renders the dancers in white helpless as their doubts and fears get the best of them so that by the end all are “shadows.”
Artists of Ballet BC and Arts Umbrella Dance in “Frontier” by Crystal Pite – Photo by Luis Luque, Luque Photography.
No one uses a large mass of humans/dancers more distinctively than Pite. It’s as if the sea of bodies morphs into one living spirit all while maintaining individuality and the necessary impeccable technique.
Noted worldwide for her extraordinary talent, Crystal Pites’ ability to bring an idea to life through dance is unsurpassed.
The eerie sound-score is by Owen Belton and Eric Whitacre with words by Charles Anthony Silvestri. When done this well, the “soundscape” feels like the absolute right choice to underscore the action without becoming mundane or repetitive.
Artists of Ballet BC and Arts Umbrella Dance in “Frontier” by Crystal Pite – Photo by Luis Luque, Luque Photography.
The evocative scenic design by Jay Gower Taylor along with mysterious lighting by Tom Visser denotes the underworld by the use of light and shadow. Nancy Bryant created the costumes.
Thanks to Thor Steingraber and The Soraya for their commitment to bringing high caliber dance companies such as “Ballet BC” to a wider audience so that we too may leave the theater grateful for the privilege of seeing art in motion.
The exceptional company dancers not mentioned above are; Luca Afflitto, Sidney Chukas, Emanuel Dostine, Michael Garcia, Orlando Harbutt, Eduardo Jimenz Cabera, Kiana Jung, Pei Lun Lai, Benjamin Peralta, Vivian Ruiz, Kaylin Sturtevant, Jacalyn Tatro, Sydney Tormey, with Emerging Artists, Nathan Bear, Imani Frazier, Joziah German and Kelsey Lewis.
To learn more about Ballet BC, please visit their website.
To learn more about The Soraya, please visit their website.
Written by Tam Warner for LA Dance Chronicle.
Featured image: Ballet BC Dancers Sarah Pippin and Rae Srivastava in “Silent Tides” by Medhi Walerski – Photo by Luis Luque, Luque Photography.
I saw this performance of Ballet BC, and I agree that the dancing was truly spectacular. This is a well-coached, dynamic company of dancers. I did not really take to the choreography of Medhi Walerski and found both of his dances dynamically flat, but I’m glad to get Tam’s viewpoint on his work. Perhaps my judgement was too harsh. I thought Ms. Pites’ work the most fully developed of the three dances and actually had a clear dramatic arc, which I appreciated. I am reminded that it is hard to make good dance work.