Madison Ballet, LOVE

Solidifying its identity as a midwest repertory ballet company, in its varied and well-balanced concert, Madison Ballet's LOVE spanned history and style in a concise evening of dances highlighted by its bookends—the opening re-staging of Paquita (first performed in 1846) and a rousing 2021 contemporary closer brought in by guest, Stephanie Martinez. Sandwiched between came three brief and light dances contributed by Madison Ballet Artistic/Executive Director, Ja' Malik, and an earthy duet from Richard Walters.

Traditional in every sense of the word, Paquita, opened the program, exhibiting the companies classical bravura abilities. Staged by Andrea Long (after the original Makarova and Petipa choreographies), this dance-for-dance-sake for ten was tightly done with a stiff, presentational beauty matching the customary tutu costumes. After a bit of a shaky start with the old-school vocabulary, the corps grew into the demands of speed and dexterity as the piece evolved. Solo sections allowed them each to shine, especially the leggy Farrah Johnson matching the demanding rapid pace, and the rock solid Fernanda Yamaguchi's effortless balances en pointe. Overture Center's Promenade Hall is too small for such a work, and at times the dancers appeared crowded and struggled to keep the precise spacing the piece demands. Highlighted soloist Lauren Thompson performed the traditional variation fouettés with ease and clarity, like a music box dancer turning repeatedly on a dime. As her partner, Benjamin Shepard presented Thompson with confidence. But when left on his own, Shepard wobbled with uncertainty through the solo variations.

Malik gave three short pieces to the program, clearing taking this formerly Balanchine-focused company in new directions. Playful and light, both his Guitar Concerto and Dance Odyssey are joyous romps in which we see, hear and feel the dancers breathe—a welcoming contrast to the rigid Paquita. In Guitar Concerto, a quintet lunges, lifts and leaps with the ease of a group of longtime friends. And Dance Odyssey places two couples clad in shorts, sun dresses and squeaky sneakers making their way through intricate athletic swinging lifts as if enjoying a high-spirited picnic on a warm summer day. The piece feels raw, refreshing and fun. Like that warm summer day, it ends too soon leaving a want for more.

Taking a darker turn, Malik's Farewell, danced by Eric Stith, puts one man through a journey of grief and loss. Stith commands the space in this work, muscularly pulling himself across the floor in contracted attitudes, darting and lunging with desperation, and articulating hand and fingers---waving, grasping, and rubbing his fingers together as if sprinkling ashes. The piece needs a little more breath to reach deeper and move away from some moments of balletic stiffness, but Stith brings the emotion and clarity to a devastating pinnacle, reaching for a hug, only to realize no one is there.

In Walters' Armistice, two dancers of similar stature (danced by Fernanda Yamaguchi and Charlotte Junge) in gold shimmery full-length skirts ground themselves with repeated aerobic movements, isolated from each other, turning, kicking and pitching their torsos, building until it's almost too much. Stillness takes over skirts drop as if a layer of skin is removed. The pair shifts to a more emotional tone, exposing inner feelings while rarely leaving their connection to the floor. Returning to their skirts but not their struggle, the armistice here seems not about any global war, but about a war within. Thankfully, Walters gives us hope, resolving any conflict with a poignant joining of hands. Breathy and earthbound, the piece feels very modern, and highlights the virtuosity of the company that Malik has attracted.

Something to Remember You By, choreographed by Martinez, featured the full ensemble guiding a refreshing, high-spirited and sometimes humorous journey. Martinez draws from ballet, folk, jazz, modern and contemporary movement forms, blending these forms into something new—a ballet stew, in this case, with just the right spices—comical pelvic tilts, detailed fluttering hands, and surprising entrances and exits. In the breath-taking opening beats of the dance, a soloist leaps on from the wings. She enters so high and with such force, as if she's been catapulted on stage, immediately drawing us in to experience the trip that follows.

Groupings come and go, shifting and creating physical oppositions that don't seem humanly possible. Dancers suddenly drop to the floor and scramble as if starting a running race, circle their torsos like slow motion tornados, and effortlessly pirouette from their knees. Duets, trios and quartets lead to a final sinuous duet for Alex Vrba and Michele Prudente. With the full group of ten dancers nearly stock still sprinkled across the stage in stark contrast to the beginning of the dance, there is a softness to this ending. Downstage Vrba and Prudente gently toss their arms with an Eastern European folk dance flair, calmly encircling each other as if to tell us, “We have arrived.”