From the very beginning of the World Ballet’s The Great Gatsby ballet at the Irvine Barclay Theatre, it is clear that the sets, lighting and music will be glorious. The mood is immediately set, and the audience is carried away to another time and place in the memory of Nick Carraway, played by Konstantin Geronik. A projection of a moving train fills the stage and off we go.
World Ballet in “The Great Gatsby” – Photo by Mikki Kunntu.
Choreographed by lLya Jivoy, the opening of the second act begins with what appears to be improvisation that lasts much too long as the silvery curtain opens. There is a point at which it appears that the women are merely prancing aimlessly and stretching their arms to the sky. These phenomenal dancers are capable of so much more. It is here that the dancers needed to invest in creating characters and movement that informed and complimented the characters. When I reviewed the information in the digital program I had the opportunity to see photos of the entire cast, not just headshots of the selected few for the program distributed at the theatre. The full cast photos captured the individuality and energy of each dancer in a variety of poses and attire. I wanted to see these individuals in The Great Gatsby.
World Ballet in “The Great Gatsby” – Photo by Mikki Kunntu.
The story moves quickly and in no time the characters of Tom and Daisy are introduced as the action moves to the home of Nick’s cousin, Daisy. Champagne is flowing and the choreography seems tame against the rich orchestrations. There are several dance sequences that seem a total mismatch for the crescendo that occurs in the music however the jumps and turns danced by the man, in a stylish white suit, are a perfect match. It is difficult to actually match the synopsis provided in the program with what is occurring on stage. The program does not include the information that a playbill includes indicating songs, dances, and artists. Not having this information makes it difficult to know exactly who is performing what on stage but it did not impact my ability to enjoy the presentation.
World Ballet in “The Great Gatsby” – Photo by Mikki Kunntu.
The move to the party hosted by Jay Gatsby includes a wonderful change of pace with a Charleston, lots of “jazz hands,” and an exciting male pas de deux that came to an end too soon. Gatsby and Nick dance with such passion and commitment as the image of Daisy is projected. Their movements are visceral and emotional characterized with expressive arms and hands that reach and stretch and grasp for a love that seems to be allusive. It was a truly beautiful pas de deux! The Charleston flappers with their silver costumes and men in their sleek black suits and hats, sharp snappy movements, flicks, kicks, and personality plus was just what the evening needed.
World Ballet in “The Great Gatsby” – Photo by Mikki Kunntu.
The ambience changes as do the costumes, set, colors, lighting, orchestrations, and the dancing. The music suddenly becomes ragtime and conjures up the feeling of a speakeasy. The four couples proceed to dance like couples at a party in different costumes and with a freedom that is totally different from everything that has occurred up to this point. The women, despite having on point shoes, move with a sexy, abandonment that makes the number work. It’s as if the men are flinging them around effortlessly. The choreography is a perfect match for the ragtime music playing. The dancer portraying Myrtle is absolutely stunning. Her costume and her dancing tell a story. She attacks each and every movement with a passion and fervor that is remarkable. Her point work is clean, sharp, and precise. She is quite remarkable. Of all the women she evokes a unique personality that forces the audience to care about her. Daisy and Gatsby’s pas de deux is beautiful, however, this choreography is what one expects to see at the ballet, complete with a voluminous tutu, seamless lifts, endless arabesques, all executed perfectly.
The opening of the second act begins with what appears to be improvisation that lasts much too long as the silvery curtain opens. There is a point at which it appears that the women are merely prancing aimlessly and stretching their arms to the sky. These phenomenal dancers are capable of so much more. It is here that the dancers needed to invest in creating characters and movement that informed and complimented the characters. When I reviewed the information in the digital program I had the opportunity to see photos of the entire cast, not just headshots of the selected few for the program distributed at the theatre. The full cast photos captured the individuality and energy of each dancer in a variety of poses and attire. I wanted to see these individuals in The Great Gatsby.
World Ballet in “The Great Gatsby” – Photo by Mikki Kunntu.
It Don’t Mean A Thing (If It Ain’t Got That Swing), an Ellington composition from 1931was performed with a vocalist and a small group of “back up” dancers. The melody was barely recognizable and there was no swing to this version. This was a peculiar selection for this ballet clearly set in the 1920’s. It’s an iconic song that has been recorded by jazz luminaries such as Ella Fitzgerald, Tony Bennett, and Cab Calloway. Most recently, the late Phyllis Hyman performed it in the Broadway hit Sophisticated Ladies. The choreography and accompanying orchestral arrangement did not further the story line or serve The Great Gatsby ballet well.
The second act was an interesting mix of fun and interesting dance sequences. Tap dancing (without tap shoes), aerials, jumps, turns, long sinewy lines, classical lifts that seemed to come without preparation, and several lovely fluid expressive pas de deux. As the ballet comes to a close it is here that the dancers truly shine and their movement reflects the anguish, sadness, frustration, and melodrama that characterize The Great Gatsby.
World Ballet in “The Great Gatsby” – Photo by Mikki Kunntu.
It is important that music and dance be so much more than notes on a page and steps on a stage. The roaring twenties was a time marked by jazz music, economic prosperity, and cultural excitement. It was time characterized by “a freewheeling, exuberant popular culture…” It was the beginning of prohibition and alcohol was illegal. There was a relaxation of society’s moral codes and this was reflected in what women wore and how women behaved. I am not sure that this was captured in World Ballet Company’s The Great Gatsby.
For more information about the World Ballet, please visit their website.
For more information about the Irvine Barclay Theatre, please visit their website.
Written by Leah Bass-Baylis for LA Dance Chronicle.
Featured image: World Ballet in “The Great Gatsby” – Photo by Mikki Kunntu.
