Ballet Arkansas brings a contemporary edge to this operatic classic
There is nothing more glamorous than going to the Arkansas Museum of Fine Arts in Little Rock to witness the world-class artists of Ballet Arkansas bring to life the iconic opera CARMEN that opens with the most exquisite voice you have ever heard. On Saturday, Oct. 12, Broadway World was treated to this experience of passion, elegance, and drama, merging the intensity of Georges Bizet's famous score with the fluid grace of Rodion Shchedrin’s “modernist perspective.” Under the guidance of Choreographer Michael Fothergill, the audience was thoroughly captivated from beginning to end.
Before I delve into the fiery zealousness that is CARMEN, I want to acknowledge the auditory treat that set the mood for what was to come. Mezzo-Soprano Sarah Dailey enters the stage oozing with confidence as if she were the true Carmen, and when I tell you that the audience didn’t know what a veracious powerhouse performer she was, we soon found out and became instant fans. Accompanied by Pianist Julia Buckingham, Daily chose Carmen’s three arias from the original opera: The Habanera, (“L’amour est un oiseau rebelle”), the Seguidilla (“Prés des ramparts de Séville”), and “En vain, pour éviter” from the end of what’s known as the Card Trio. Their musical marriage alone was enough to evoke emotions full of torrid fervency. I was in love!
When you enter the theater, you notice a frame hanging, almost magically, in the center of the stage. According to the program synopsis, the frame represents “the creative vision of Bizet himself.” Then at the closing of the ballet, the frame reappears “signifying the handoff from Bizet’s creative genius to Shchedrin’s modernist perspective. This duality of vision—both honoring the past and innovating the future—underscores the timelessness of Carmen’s story, while giving Ballet Arkansas’ rendition a unique, contemporary edge.”
The dancers with Ballet Arkansas are great storytellers and are captivating to watch. For our particular performance, the role of Carmen was performed by Murray McCormack who landed her movements without making a sound. It was truly amazing. Her love triangle consisted of the not so nice Don Jose (David Cummings), who is engaged to Michaela (Lauren Yordanich), and Escamillo (Keith Newman), a bullfighter who is also in love with Carmen. Carmen goes back and forth between the men deciding who to love, and in a jealous rage, Don Jose kills Carmen. With a few tears shed, the audience was entranced through the whole performance. Bravo! You all told an exciting story.
Next for Ballet Arkansas, they head to Arkansas Repertory Theatre for a fundraising event themed SEVEN DEADLY SINS Thursday, Oct. 24. Emceed by Funnyman Brett Ihler, this event will have live music by Little Rock's favorite band, Bad Habit, plus VIP experiences, themed auction items, and decadent food and drink from Colonial Wines & Spirits and Cache Restaurant. According to their Facebook page, the patrons will indulge in a bold and captivating dance performance, where the company artists will dive deep into the emotion of LOVE — the driving force behind both sin and redemption. Tickets are on sale at https://e.givesmart.com/events/E0E/
Cast of Carmen
Carmen – Murray McCormack
Don Jose – David Cummings
Escamillo – Keith Newman
Michaela – Lauren Yordanich
Mercedes – Sage Feldges
Frasquita – Brittany Dowdy
Cigarette Girls – Meredith Loy, Leah Norwine, Deanna Stanton, Emmakate Franz
Captain of the Guard – Benjamin Piner
Guardia – Aldrin Vendt, William Heide
Daughers of Seville – Mary Austin Griffin, Haighlee Dorris, Randi Renfro, Eden Beck, Anna Beth Bagley, Presley Webb, Shelby Fullington, Alex Sebree
Gypsy Girls – Ava Claire McGraw, Annabelle Miller, Chloe Chance, Chloe Timpa, Holly Whiddon, Emma McGraw, Olivia Edmondson, Maggie Wippo
Creative Team
Choreographer – Michael Fothergill
Stage Manager – Alan Malcolm
Lighting Design – Griffen Birdsong
Photographer -- Matthew Sewell Photography
Stage Crew—IATSE Local 204
Community Cast Ballet Masters – Celeste Lopez-Keranen and Keith Newman
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