THE VIRGINIAN-PILOT
Copyright (c) 1996, Landmark Communications, Inc.
DATE: Tuesday, October 29, 1996 TAG: 9610290035
SECTION: DAILY BREAK PAGE: E4 EDITION: FINAL
TYPE: Review
SOURCE: BY JUDITH HATCHER, SPECIAL TO THE DAILY BREAK
LENGTH: 64 lines
BALLETOMANES longing for old favorites had hungers eased. Those craving a taste of something new had appetites teased. The menu was just right Saturday night.
The Virginia Symphony 1996-97 Dance Hampton Roads Series opened at Norfolk's Chrysler Hall with New York City's Stars of the American Ballet. This troupe, managed by Robert LaFosse, was formed with the goal of performing with a live symphony orchestra - a combination that is becoming (alas) more uncommon.
Miranda Weese and Jock Soto opened the evening with George Balanchine's ``Stars and Stripes'' Pas de Deux. Soto was centered and focused from the start, whether spinning off unwavering touras a la seconde or weaving Weese through intricately connected port de bras. Weese, though smiling intermittently, seemed at first unsure of either Chrysler Hall's floor or the audience's response to her. As their piece continued, her focus sharpened to match her fine technique.
``Valse Trieste'' was a poignant piece danced by Kelly Cass and Peter Boal. Once the pas de deux moved past choreographer Peter Martins' repetitious opening moves for Cass, with Boal popping in and out just to do one lift, this little ballet developed into a seamless and structurally sound creation of emotional sculpture. Associate conductor Wes Kenney ensured the string section caught the throbbing undercurrents of tension and Cass mirrored that in her fluid performance.
Norfolk-born Stacy Caddell and her partner, Petter Jacobsson were fired up and flying high in Balanchine's Tchaikovsky Pas de Deux. He peeled off five pirouettes easily. She caught every nuance in the music and clarified it in her dancing. Caddell, who can make even a simple echappe a la seconde elegant, did not disappoint her local fans with either her execution or her performance.
``The Duel,'' choreographed by Robert LaFosse and performed by LaFosse and Soto, was the dramatic highlight of the evening. LaFosse captured in simple wrist and arm gestures what some ballets take three acts to say.
``Tarantella,'' Balanchine's mini-marathon, was well done by Cass and Boal. She flipped through oxygen-depriving turns with unceasing energy. Boal was a rollicking rogue. Neither had a misstep.
``Who Cares,'' a nifty combination of Balanchine and Gershwin, was an audience-pleaser from top to toe. Caddell, oh so darkly divine, was smoothly partnered by LaFosse in ``The Man I Love.'' He was there for her every time in her her tricky combinations, which were made to look like nothing at all. Also deftly done was the grand jete en tournant across his back, ending in a cantilevered suspension. Her solo in ``Fascinatin' Rhythm'' was just that. She cut loose and let down all but her lovely red hair, partnered expertly by trumpet and Chris Kypros' pizzicato piano.
Stacey Clavert was a saucy miss, building her ``Stairway to Paradise'' with charm. Her crisp blink-length brises voles were exceptionally sharp.
Weese returned in sparkling sprite-like form with LaFosse for ``Embraceable You,'' both hotly cool in blue. His solos were a little Astaire, a little Kelly and a lot of fine LaFosse. Weese returned to cause a second wave of swoons in ``My One and Only.'' She deserved her two curtain calls.
Caddell, Calvert, Weese and LaFosse wrapped it up with ``I Got Rhythm.''
Four fine dancers, an open stage and live music - life is good. ILLUSTRATION: DANCE REVIEW
Stars of the American Ballet with The Virginia Symphony, Saturday at
Chrysler Hall. by CNB