BWW Reviews: American Ballet Theatre Presents Othello, of Lar Lubovitch

On Wednesday evening, May 20, 2015, a superb cast of ABT principal and soloist dancers performed Lar Lubovitch's dramatic ballet, Othello, A dance in Three Acts, premiered by the Company on May 23, 1997 and now presented to commemorate its 75th anniversary.

The ballet is set to a score of Elliot B. Goldenthal, with scenery by George Typson that included plexiglass or plastic columns, throne, and other additions to the set; with lighting by Pat Collins; and changing projections, first on the curtain and later on the backdrop by Wendall K. Harrington. The marvelous costumes, worthy of this story, are by Ann Hould-Ward.

Marcelo Gomes as Othello, a General and noble Moor in the service of the Venetian State, was kneeling, center stage, opening the tale with a solo. His dynamic presence set the stage immediately and anchored the ambiance throughout the ballet. Desdemona, of noble birth and wife to Othello, was played by the lovely Julie Kent, who will retire after her farewell performance in Romeo and Juliet, on June 20, 2015. She was sweet and lithe, portraying this wronged heroine. Iago, ensign to Othello, was well played by James Whiteside, who has grown enormously of late, demonstrating the ability to give largess to the character he is portraying, not relying only on technique. Stella Abrera as Emelia, wife to Iago and handmaiden to Desdemona, showed herself to be a fine dramatic dancer/actress, as well. Abrera is an artist with depth. Cassio, a young ensign, promoted to lieutenant by Othello, was played by Joseph Gorak, whose presence seems diminished in accordance with this story. Misty Copeland as Bianca, a woman of Cypress, led the Tarantella in Act II and helped Iago to carry out his scheme. In every role, Copeland, a fine actress, was both convincing and captivating in her part, while gracing us with her charm and beautiful dancing. While not all of the choreography was particularly noteworthy, the many pas de deux were choreographically the most interesting. Kent looked like she was being floated about by Gomes, as did Abrera by Whiteside, demonstrating the male dominance over their wives and their agreeable compliance. The lifts shared by Copeland and Whiteside were of a different nature, as the conversation was of conspiracy and deception, but also inventive and fascinating. These dancers breathed life into this tale, which is centuries old.

Photo credit: Andrea Mohin