BWW Dance Review: Pennsylvania Ballet's LE CORSAIRE

When Angel Corella assumed the position of Artistic Director of the Pennsylvania Ballet and didn't renew many contracts of its former dancers, there was a negative buzz all over. I can't comment on that, since I was not privy to any information, but judging by the performance of his new production of "Le Corsaire" on Sunday, April 20 2017, Corella has my great admiration and respect. In fact, this entire season has been one of artistic excellence and a new shot of creativity with dancers. After a shaky start with Corolla, the company has assumed a role as one of our top companies, something it never quite had in my estimation before.

"Le Corsaire" is what they used to call, and still do, an old warhorse. The plot, concerning pirates, a pasha, a shipwreck, is preposterous. Also very funny if you take the time to figure out who is who. What I like about this production is the respect that Corella took in re-staging the ballet. Usually when you see "Le Corsaire" the audience snickers or just plainly laughs out loud. Not here. We know that the plot is silly about three minutes in, but I was so taken with the pure beauty and sensuality of the production, and the power and focus the dancers brought to it, that I told myself to forget about the plot and just focus on the ballet.

Which is the way it should be to view any "Corsaire." The music by Adolphe Adam is tinkly, boisterous, but monotonous. The scenery and costumes, uncredited, were very bright and highly theatrical, almost making one look there first if events became too wacky, while the lighting by the credited Christopher Frey is highly atmospheric, shadowing and shading the ballet carefully.

But what stood out-and what to me is most important-was the dancing. Corella promised to bring the company to a new artistic height, and this he has accomplished. The Pennsylvania Ballet's corps in the past always seemed ragged, undisciplined, as if there was not enough time given to rehearsal. Here, Corella has made sure that even when they stand about watching the action, their repose, their interest in the events transpiring around them is noticeable. Corella, I imagine, while assuming more responsibility and expertise in running a company, took time to assess each dancer's talents and work wisely with them.

Honors of the afternoon went to Amy Aldridge, dancing the role of the harem girl Medora, and Aaron Anker in the role of Conrad, a pirate captain. I've seen these two parts performed poorly in the past, the dancers seemingly taking artistic liberties, playing it up for laughter and outrageous physical pyrotechnics. Corella didn't allow this, giving them steps and directions that were enhanced by their innate talents, not allowing them to take liberties if they chose.

Other outstanding performances were given by Ana Calderon, Sterling Baca and, especially, Albert Gordon in the small but important role of Ali, Conrad's servant. It is of great importance to point out that Ali gets the most rewarding dance of the evening, which has become known as the "Corsaire Pas de Deux" in galas and film excerpts, even if it really is a pas de trois. This is a talent that should be nurtured, for there is great potential there.

So what's in store for the Pennsylvania Ballet? Always known for their Balanchine repertoire, their forays into the 19th century canon have, in my estimation, been spotty. Which is why I look forward with anticipation to Corella and what he has in store for us.

Due to circumstances beyond my control, I was not able to see as many productions as I would have liked this past season, but I am going to make it a priority to visit Philadelphia on as many occasions as possible. Right now I feel that the company is moving into a new orbit, something it direly needed.

And it has it now.

To post a comment, you must register and login.