Balanchine, Backhaus...Meet BroadMarch 20, 2009/FineArtsLA.comReview/ Penny Orloff

LOS ANGELES BALLET added two George Balanchine dances to its growing repertory of the legendarychoreographer’s work, for the LAB Spring ‘Directors Choice’ program at Santa Monica’s Broad Stage last Saturday.

“The Prodigal Son,” set to music of Sergei Prokofiev, was one of the first ballets to launch Balanchine’s interna-tional reputation. Commissioned by Serge Diaghilev for the Ballet Russe de Monte Carlo in the 1920s, the work is still very avant garde, with sharp, angular arms and legs, flexed feet, hunched postures, and unexpected lifts. Danced by permanent guest artist, Cuban-born Eddy Tovar on loan from Orlando Ballet, the central character is a portrait of recklessness, self-destructiveness, regret, and ultimate redemption. Tovar’s impeccable technique and dramatic intensity announced him as an important dancer at the dawn of what may prove to be a major career. Opposite Tovar is Melissa Barak dancing the role of the Siren. Her arresting performance in this role is in no small measure thanks to the services of LAB Co-Artistic Director Colleen Neary’s sister, Patricia Neary. Patricia Neary staged LAB’s performance and throughout her career, has danced the Siren countless times under Mr. Balanchine himself.

From Balanchine’s inspired late period, toward the end of his life, comes the “Violin Concerto” to music of Igor Stravinsky. Staged by Balanchine Trust repetiteurs Colleen Neary and Karin von Aroldingen, who danced in the first production of this work, this abstract ballet shows off the precise ensemble work of LAB’s corps de ballet. Soloists Melissa Barak, Corina Gill, Andrew Brader, and Peter Snow all offer exemplary execution of the intricate and demanding choreography.

LAB’s dedication to commissioning new ballets yields a second world premiere by local-born choreographer, Jennifer Backhaus. Her exuberant “An American Camelot” references the late 1950s and early ‘60s with its 6 movements danced to songs of Eartha Kitt, Ella Fizgerald, Dean Martin, and Count Basie. Fusing elements of classical ballet with swing and jazz, there is an unapologetic lightness and happiness about her piece. “I was going for a JFK-ish optimism, romance, and hope,” Backhaus tells Fine Arts LA. “I think it’s something everybody needs right now.” About mounting a second new work with LAB, she says, “This company is very supportive. The dancers are so open to new movement and improvisation, to the collaborative process. And their skill level means they can do absolutely anything.”

Photo: Reed hutchinson