Review: ABT Bewitches with La Bayadere' at Dorothy Chandler Pavilion

Even if you have never seen the entire production, you may have seen part of La Bayadere. This ballet is most famous for its "white act," commonly known as the Kingdom of the Shades. It is one of the most celebrated excerpts in the classical ballet world. The dance section begins with a line of ballerinas, from all the way upstage, ultimately 32 women in white classic tutus, slowly, purposefully making their way across stage and down ~ diagonally ~ in unison. The combination is simple, the execution is perfection. It involves timing, incredible balance and acute instinct. The dance thoroughly takes your breath away, set underneath a full moon on a balmy dark night, and often performed by itself, always to much critical acclaim. The music, composed by Ludwig Minkus, with special arrangements by John Lanchbery, is gorgeous and haunting in this section and well-recognized everywhere.

Vakhtang Chabukiani and Vladimir Ponomarev staged the show, which was derived from the Mariinsky Ballet's version, in 1941. In 1974, Natalia Markarova first staged the Kingdom of Shades excerpt for ABT, with Cynthia Gregory as Nikiya and Ivan Nagy as Solor. In 1980, Natalia Makarova's version of the entire ballet performed in the American Ballet Theatre was staged across the world; performed by Natalia Markarova as Nikiya, Anthony Dowell as Solor, and Cynthia Harvey as Gamzatti. That production also incorporated parts from Chabukiani and Ponomarev's version.

Since its origination, other productions have been performed throughout the world. During 1991, Rudolf Nureyev of the Paris Opera Ballet revived the show based on the traditional Ponomarev/Chabukiani version. His production was presented at the Paris Opera, or Palais Garnier, in 1992. In it, Isabelle Guérin played Nikiya, Laurent Hilaire was Solor and Élisabeth Platel performed as Gamzatti. The Kirov/Mariinsky Ballet launched a new production of Petipa's 1900 revival of La Bayadère in 2000.

One of the world's great dance companies, American Ballet Theatre (ABT) has built a repertoire unmatched by any other company. On its 11th visit to The Music Center, ABT is superb in their execution and exactness of the original. Misty Copeland seems to add another dimension to the already famous Ballet. She gives an impassioned turn as Gamzatti, the Radjah's daughter, and is flawless in her portrayal and performance of the character and the choreography. Self-assured and deliberate, she embodies the feelings of conflict of what is expected of her royal status and her inner feelings of jealousy, compassion and love. The other soloists are equally entrancing, and although ideally, I would have liked to have seen all three performances with different soloists performing the leads, it was very gratifying to see there is no compromise in the presentation of centuries-old classic and brilliant ballets.

Isabella Boynton was equally superb in the role of Nikiya, the Temple Dancer. She dances with such ease and lightness, hitting every line, every movement fulfilled, and every emotion conveyed.

Jeffrey Cirio, as Solor, was outstanding in his execution of the difficult leaps, pirouettes and turns required, and was spellbinding in his different solo and partnering turns, garnering gasps from the audience in appreciation and awe.

Another vibrant performer during this performance was Joseph Gorak, as the Bronze Idol, who was not a character in the original ballet. Flashy and compelling, with a costume that looked as if it was painted on, in shimmering gold, gave a fascinating, showy performance. The additional Principal Dancers performing this past weekend were Hee Seo, Cory Sterns, Gillian Murphy, Devon Teuscher and Christine Shevchenko, some of which are shown in the photos here.

The costumes, by Theoni V. Aldredge, of Academy Award fame, and the Scenery and Lighting Effects, by PierLuigi Samaritani and Toshiro Ogawa, respectively, were unparalleled; luxuriant, florid and richly-colored. They were a feast for the eyes.