Displaying items by tag: Yoshihisa Arai

All apologies to the teachers and professors who groomed me to be a ceaseless reader and sporadic writer — I never finished Anna Karenina. But while I never plowed through all 900 pages of Tolstoy’s novel, moments from the book have stayed with me. One of them is just a line, one seemingly effortless line among pages full of them, and what a line it is: “All the variety, all the charm, all the beauty of life is made up of light and shadow.”

As I reflect on the variety, the charm, and the beauty I was privileged to behold at the Joffrey Ballet’s world premiere of Yuri Possokhov’s production of his countryman’s classic, I realize I witnessed a whole world of light and shadow being created right there on the Auditorium Theatre’s stage.

The creation of that entire world was, most obviously, performed by Possokhov’s choreography carried out by the Joffrey’s outstanding company, of course. Victoria Jaiani’s Anna navigates said world in both light and shadow — beautiful but damaged, faced with reality but delirious. Her husband Karenin, towers over the stage, as portrayed by the magnificent Fabrice Calmels, as a stately, stern husband and father and statesman. Just as stately, while also boyish and beautiful, Alberto Velazquez’s Vronsky lures the audience just as he lures poor Anna. And parallel to the love triangle and tragedy that envelope those three is the love story between Yoshihisa Arai’s Levin and Anais Bueno’s Kitty. If the former affair gives us the shadow, then the latter relationship brings it into the light.

These lights and shadows do not flicker before us thanks solely to the dancers, however. No, the spectacle of sight and sound beyond the dancing are every bit as stunning. Tom Pye’s sets and David Finn’s lighting navigates from dusky railyards to sunny Tuscany, from opium dreams to canapé flings. Of the many delights dished out by the Joffrey’s Nutcracker, perhaps my favorite was its use of projections, and Finn Ross’ projections for 'Anna Karenina' equal those, coloring the story and conjuring spirits.

But from curtain to curtain, the visual thrills are always complemented and often eclipsed by Ilya Demutsky’s original score directed by Scott Speck. The Chicago Philharmonic’s accompaniment, shifting seamlessly from elegance to dissonance, while always both classic and contemporary, is joined by Lindsay Metzger’s mezzo-soprano — who literally joins the show by the end — to craft this world of light and shadow in multiple dimensions that quicken multiple sensations.

So join the Joffrey Ballet at the Auditorium Theatre for Anna Karenina through February 24, as all of these world-class talents work together to shade and illuminate, to craft and create the variety and the charm and the beauty one would expect from a hefty literary classic written a century-and-a-half ago and half a world away.

The Joffrey Ballet closes its 2016-2017 Season with Global Visionaries featuring works of international ballet visionaries: Russian born choreographer Yuri Possokhov with The Miraculous Mandarin, Swedish choreographer Alexander Ekman with Joy, and Colombian-Belgian choreographer Annabelle Lopez Ochoa with Mammatus.

The show opens with sexy, dark The Miraculous Mandarin. It’s a disturbing tale of a girl forced to act as a decoy by thugs, luring men into her room, only to be robbed and kicked out. The girl (immensely talented dancer Victoria Jaiani who moves with otherworldly grace and can possibly express just about any emotion with her body or even a subtle turn of the head) seduces men with her beauty, and then turns them over to her “friends” who finish the job. The wealthy mandarin (wonderfully performed by Yoshihisa Arai) is her last victim. He is cool and composed, like a Kung Fu master, but falls hard for the girl, and refuses to let go of her even when her deceitful nature is reveled to him. There’s nothing abstract about this performance: there’s an engaging plot, and all seven characters are extremely well developed; the brutality of the Chinese man’s murder is quite uncomfortable. Set to Bela Bartok’s score composed in 1918-1919, this “pantomime grotesque” was based on a magazine story of that time. Premiered November 27, 1926 in Cologne, Germany, it caused a scandal and was subsequently banned on moral grounds. Yuri Possokhov has created this work specifically for The Joffrey Ballet in collaboration with Cleveland Orchestra, which premiered in March 2016 in Cleveland. This is the Chicago premiere with Chicago’s own Philharmonic Orchestra, led by Joffrey Music Director Scott Speck providing live accompaniment on stage.

Here comes Joy! Alexander Ekman’s piece is original and playful, its delightful silliness reminiscent of a circus show. It opens with the stage brightly lit and slippery, crowded with dancers acting like happy children on a playground: they run and slide around, walk upside down, dance and act out while wearing suits. When prompted, everyone strips down to flesh colored underwear and things get even less serious. There’s a pack of gorgeous female ballerinas dropping their shoes on the floor in unison, like some bratty toddlers. They are childish and gracefully feminine, all at the same time. A very young audience member sitting next to me (she was around four-years-old) found the sketch very entertaining: she laughed the entire time. Joy is a ballet/ mixed media of sorts, with voice narration and the dancers having speaking parts. It’s unexpected, whimsical and energetic; a pure joy. Set to a mix of modern music featuring selections from Grammy-nominated Brad Meldau Trio, experimental rock band Django Django, Tiga’s pop hit Shoes, and Moby.

The final part of the event, Annabelle Lopez Ochoa‘s Mammatus, is a stimulating twenty-minute abstract piece featuring twenty dancers in a series of ensembles and duets. Right away, there’s a thunder on the stage, then the music begins ("Weather One" by composer Michael Gordon). The music is sharp and urgent, the frantic forceful strings giving it that old world quality. The costumes (designed by Dieuweke Van Reij) are stylishly black, enveloping dancers’ hands and making them look animal or bird-like. The dancers’ movements are precise and fast, there isn’t much emotion here, just breathtaking fluidity of ever changing shapes and positions. Towards the end, a dance pair clad in all white comes in; their dance is sensual and full of grace. Is it possible that the contrast between the colors and the styles of dancers allude to the duality of our reality: the good and evil, the light and darkness, the emotion and thought?

Joffrey’s Global Visionaries is being performed at the Auditorium Theatre of Roosevelt University: April 26-May 7, 2017. For more show information, or to purchase tickets, click here.