Festival Ballet Providence
Festival Ballet Providence
Veterans Memorial Auditorium Arts & Cultural Center
April 20-22, 2007
Reviewed by Theodore Bale
Skepticism loomed when I heard that choreographer Viktor Plotnikov made a new ballet inspired by Michael Crichton’s 1978 film Coma. That is, until the curtain opened, and then I gasped along with the rest of the audience. From its first startling scene where suspended bodies float and sway horizontally to the simple tolling of bells, it’s evident that Plotnikov’s Coma is not merely a danced sci-fi thriller but rather an emphatic and deeply personal effort, realized with singularity and intelligence.
Experienced viewers could see both the classical legacy and a unique contemporary sensibility in Plotnikov’s latest dance. Those new to the ballet experience appeared to be won over as well, evidenced by the standing ovation at the conclusion of the premiere by Festival Ballet Providence. We need more choreographers like Plotnikov, who revere tradition while forging a new language, and still command the attention of an everyday family audience.
Well-organized into three movements (titled Our Dreams, Reality, and Their Dreams) and set to an assortment of passionate music by Estonian composer Arvo Pärt, Coma has no obvious narrative. It deals in polarities: horizontal against vertical, those traveling and those caught motionless, the praying and the ones being prayed for. The absence of plot keeps this ballet dreamy and imaginative, like the middle section of Fokine’s Spectre de la Rose. And as Coma progresses, it becomes apparent that polarity is embedded into the movement itself. A woman crosses the stage in a series of vigorous deboulé turns, but her elbows are at sharp 45-degree angles, pointed down, instead of the traditional soft oval. A quick set of petit jetés seems at odds with static, robotic gestures in an upper body. But it’s these sorts of contradictions that make Plotnikov’s work so compelling. When the dancers are traveling, they usually began with a vicious thrust of the arm to send them on their way. There is also daring floor work juxtaposed against the still bodies floating in the middle of the proscenium space. Ensemble passages for the nine dancers came in the form of interlaced duets performed in canon, or staggered unisons, organized in a seamless fashion that kept one’s eye moving from event to event without noticing entrances and exits.
What makes this work so exciting is Plotnikov’s skillful blend of cryptic, non-ballet movement and gesture with good old-fashioned ballet showmanship. In the second movement there is an unexpected lift – a ballerina stands triumphantly on a man’s shoulders as if she’s about to ascend into the realm of the comatose -but he isn’t yet ready to let her go.
After a long stint with Boston Ballet as a principal dancer and now-and-then fledgling choreographer in Boston Ballet’s Raw Dance series, with Coma Plotnikov proves himself to be deeply accomplished.
Opening the show was an inspiring performance of Balanchine’s “Rubies” from Jewels, followed by Robbins’ austere and brilliant 2 & 3 Part Inventions (performed to a Glenn Gould recording of Bach), danced with the utmost clarity. Formed in 1978, the progress Festival Ballet Providence has made under the artistic direction of Mihailo Djuric in the last 9 years is stunning, and the company’s 30th season next year is eagerly anticipated.