OK, “Aarrrg! Pirates!” is a cheesy name for a ballet. And I have to admit it — the name, along with some pretty over-the-top press photos — predisposed me to under-appreciate Ballet Idaho’s title piece for its season opener concert series this weekend.
The silly wigs and over- done costumes were ditched, and what was left was a fun, clever, delightfully silly, comic ballet by artistic director Peter Anastos.
A band of ballet pirates stumbles on a group of women, who are as skilled as they — perhaps more so — at swordplay. What ensues is a series of ballet variations as these two tribes square off. And they show off this company very well.
Anastos lifted the music from Verdi’s long-lost opera “La Regina Trovatiara,” and he makes good use of it, employing the architecture of classical ballet structure, and then turning it on its side.
The company, led by Ryan Jolicoeur-Nye and Heather Hawk, is now in its fourth season under Anastos, and it’s getting stronger, especially with nine new dancers. It looks fresh and ready to grow.
Dancer Andrew Taft, back after a season away, was dashing. He makes up for what he lacks in facility with verve and energy. Adrienne Kerr was lovely as always, and showed a penchant for humor, as did Graham Gobeille, in his solo with a parrot on his shoulder.
Jessica Sulikowski and Monique Betty squared off humorously with swords, and spitfire Amanda Murray was a delight, doing double duty as a woman and a pirate. Other nice moments came in James Brougham’s athletic solo, and in Daniel Ojeda’s and Adam Bloodgood’s funny duet.
A highlight of the evening was Jolicoeur-Nye’s opening piece “City Symphony,” his first full company ballet. His idea and movement syllabus gave the piece a cohesive through line. Some of the contemporary movement, however, was out of the comfort zone for some of this classical company.
The white-on-white costumes on the women and white pants on the men gave the piece a clean, contemporary look.
Burke Brown’s lighting design offered a few beautiful moments, such as at the top of the third movement when the corps comes forward bathed in rich side lighting. The silhouette gave the scene an almost “Close Encounters,” otherworldly effect.
The dancers had issues with unity and timing. Overall, though, it was a dynamic and visceral performance. Lead dancers Phyllis Affrunti and John Frazer focused the energy of the relentless Philip Glass score. They are an attractive and intriguing couple to watch.
“City Symphony” is a physically demanding piece that pushed the dancers. They appeared tired at moments. It will be exciting to see what Jolicoeur-Nye will produce in the future.
The middle piece was Anastos’ “Clair de Lune,” a piano ballet danced by three couples to accompaniment by pianist Felix Eisenhauer.
It’s a beautiful, romantic piece filled with nice lines and classical references. It was well-executed by Jolicoeur-Nye and Hawk, Affrunti and Gobeille, Nathan Powell, and lovely new dancer Ashley Hartigan.
Eisenhauer’s depth and emotion helped the dancers find their way. The piece suffered a bit for lack of space. The SPEC stage felt crowded. There wasn’t room for the couples’ work to be seen to its best effect.
Dana Oland: 377-6442
