Richmond Ballet
It is probably safe to say that when the Richmond Ballet opened its latest home-stage production in November at the Studio Theatre, the dancers were still reveling in the accolades they garnered during their New York City debut, at The Joyce Theater, the previous spring.
The Studio Theatre, a 53,500-square-foot, state-of-the-art dance facility created from a converted factory, has been the downtown home of the Richmond Ballet since 2000. “Studio 2,” an intimate program of two ballets, was the second of three studio programs scheduled to be presented there this season. It provocatively paired two works—To Familiar Spaces in Dream and Fauré Melodies—as disparate in style and dynamics as they could possibly be.
The company premiered To Familiar Spaces in Dream, a ballet created by Jessica Lang with all-white costumes, a white set and white props. Kinesthetically, it has a compelling perpetual-motion theme. Dancers constantly moved pillars into various arrangements, giving them the appearance of pedestals, towers, ramps, benches and other structural forms. At the same time, Lang maneuvered the dancers using lines and shapes that may have been familiar to a classical eye, but she treated them with anything but a classical dynamic. Rather than gracefully lifting and carrying their partners, dancers dragged one another across the floor or pulled people under ramps. One dancer walked precariously across an uneven row of towers as another moved them into position for her.
Lang’s contemporary ballet had the dancers changing costumes—from pants to briefs, adding a train here, a Martha Graham–like shift there—as often as they changed partners and scenery. To Familiar Spaces in Dream could be described as a deconstructionist ballet that explores spaces, forms and movements from a variety of dance genres and even other art forms.
In contrast, the resurrection of William Soleau’s Fauré Melodies, a ballet the company first performed in 1992, is a smooth, flowing and romantic work for five pairs of partners. The ballet is set to the music of French composer Gabriel Fauré, best known for his unusual harmonies and musical modulations; and it was performed live—and well—by pianist Joanne Kong and soprano Lisa Edwards-Burrs. Soleau set the dancers flowing through a series of transitions, creating along the way a stunning diversity of lines, positions and patterns.
The women’s soft, flowing skirts and the men’s poet shirts, all in coordinating shades of blue, turquoise and purple, presented an overall picture of serenity and a sense of order.
Both works are good fits for this company, which has evolved into a strong and versatile troupe of dancers who seem willing and capable of taking on with assurance any and every challenge a choreographer may toss at them.
Julinda Lewis, author of the young adult book, Alvin Ailey: A Life in Dance, reviews dance for the Richmond Times-Dispatch.
