It's always exciting to see performance debuts, but we see them frequently enough - whenever a new work enters into the repertory. A different type of excitement sets in, however, when there is a debut that amounts to the biggest, most important performance in a young artist's career. Add to that: the debuting artist must dance with one of the most revered dancers on the planet who has performance standards that can only be described as Biblical. Just add on to that pressure cooker that the ballet has a history of legendary interpretors, some of whom may even be sitting in the audience.
No sweat.
Not for Kristi Boone in her debut this evening as the Siren in Prodigal Son opposite Angel Corella. She was a smashing success! Gorgeous from top of the head right to her toes with legs and feet that presented a stunning curve when she walked on pointe. Where last evening's Siren (Michele Wiles) was seductive in a cool and calculating manner, Kristi was the confident predator who stalked and enticed her prey (Angel Corella) into unmentionable activities and positions. Then stole everything he had.
Corella was a spoiled wild child whose excesses finally brought him to his knees before The Father, once again perfectly portrayed by Vitali Krauchenka. Corella's powerful interpretation of the Son has not lessened as the artist has matured. If anything, his character has become more desperate, more selfish, and more repentant.
As last night, Sean Stewart and Aaron Scott were superb as the Prodigal Son's servants.
And oh what 24 hours and a cast change did for Kudulka's Desir. Last night the theme was athletics and punching out the movement. Tonight it was all about finesse and phrasing and enjoying the company of the one you were dancing with – of course while you were doing all of the requisite athletic manuevers. What a delight it was to see Yuriko Kajiya and Craig Salstein find time to play with the musical phrasing while moving at warp speed. They were the second couple. The first couple, Xiomara Reyes with Roman Zhurbin were lovers – just dancing for the sheer enjoyment of dancing with each other. The pretzel PdD was performed by Maria Riccetto and Jared Matthews who must have been channeling Julie Kent and Robert Hill. Oh yeah, subtlety can be beautiful. Haglund truly enjoyed this piece tonight from start to finish.
The second viewing of On the Dnieper had the cast of Jose Manuel Carreno, Diana Vishneva, Hee Seo and Alexandre Hammoudi. Last night the main character Sergei dumped his love Natalia (Veronika Part) for a sweet innocent Olga (Paloma Herrera). Tonight Sergei dumped the young one (Seo) for the more emotionally mature Olga (Diana Vishneva). Same steps, different story.
The story here is a serious one. The soldier comes back from war to discover that he no longer loves the one who has been (presumably) faithfully waiting for him. But we don't know why he fell out of love, and that could be an interesting story. It's not the norm (exception: John McCain.) Neither the music nor the choreography support the seriousness of the story which, as indicated, is incomplete. Nor do we know why Sergei chose Olga. Was it just because he wanted new candy? Not much of a story if that's the case.
Haglund's own father came back from war and realized that he was in love with his brother's fiancee. He stole her, married her, and had three kids before Uncle Joe knew what hit him. He still lets Uncle Joe date Mom now and then, but for a long while, it was a pretty contentious brotherly relationship. Is there a story there for a ballet? Probably not.
Actors are forever asking, "What's my motivation?" Sergei should ask that, too, and then explain it through the choreography.
For tonight's stunning Prodigal Son, Haglund is pulling out this rose satin Pump Bump for Kristi Boone's debut and of course her beyond-words-wonderful partner, Angel Corella:
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