Amongst a crowded Bob Carr Performing Arts Centre, Robert Hill and company interlaced screen, dance, ballet, and story into a two-hour creative journey un-bridled by time, space, and expectation. Shouldered by globally recognized choreographer Peter Chu and local talent Arcadian Broad, audience members erupted cheerfully concluding each set while eager anticipation of what could transpire next saturated apprehended breathes.
Act one began with a crowd pleaser in the form of “Cabaret,” merging successfully into another familiar song and ballet routine, “Mission Impossible.” After a suspenseful shoot’em up stage scene highlighted by lifts, jumps, and athletic elegance, my favorite set of the evening was easily held hostage by dancer Katia Garza where humor, satire, and silver screen meshed to an edge-of-the-seat routine. Katia, in her thirteenth year with the Orlando Ballet, has not-so subtly become the ballerina all others are measured by.
“Singing in the Rain” followed and, with props in hand, dancers Anamarie McGinn and Douglas Horne substantiated that ballet, dance, and romance are inseparable. Anamarie, beginning her eighth year with Orlando Ballet, received her BA in Liberal Studies from UCF and is from Marathon Key, Florida (a well-deserved shout-out to one of our local talents). Douglas has been with the Orlando Ballet for several seasons and, in his spare time, writes, records, and produces original music as one half of the band “Raspberry Pie.” Those wandering in the Winter Park area may be fortunate enough to hear Raspberry Pie performing… keep on the lookout.
Inspired by the movie “A Street Car Named Desire,” a search and find for Stella played out on stage. Enjoyable in sight and sound, Robert Hill’s vision came to life in a fashionable way. To quote an unsuspecting audience member sitting two seats to my right, “Wow.”
Several sets into action and guest choreographer Peter Chu’s insight came to life. Drifting between shadow, light, and mist, “Touching Drops” intentional fragmented experience forced each member in the audience to reach beyond sight, sound, and sanity. At moments audience members shifted to appreciate dance and human sculpturing in this raw and contemporary style. Still, Peter Chu’s brilliance edged the line without compromising splendor.
With emotional baggage nearing empty, the first act concluded not too soon.
The second act found several clear winners struggling against a few near collisions. A skilled dancer beyond his years, Arcadian Broad proved why he was a top performer in Americas Got Talent several seasons ago. Arcadian’s solo was, to put quite bluntly, impressive. His ability to transcend physical limits is purely magical. Unfortunately, his choreographic debut was disjointed and lacked consistent purpose, ultimately losing audience members for the sake of shock value.
Sanity quickly restored by silent interlude “Charlie Chaplin,” Alberto Blanco and Luis Gonzales held captivation while restoring previous slippage as only masters could do. Overall, the pair stole the show as each skit timely soothed and brought all hands together once again.
A crowd pleaser, “Diamonds,” held more than sparkle and glitter. Choreographed by Robert Hill, the ladies controlled the stage in sync to music, moves, and muscle. Positioning the house back in place, the “Charlie Chaplin” duo shared a laughing story and re-introduced nostalgia onto a world too often misplaced. Busting the house down, the full company un-expectantly joined in the Charlie Chaplin routine, bringing smiles, awe, and please don’t stop crowd murmur.
Keeping on stage, the full company dazzled with their “Panic’ rendition. No doubt rivaling all previous sets, Robert Hill’s ingenious whisper blew everyone away.
“Hooray for Hollywood” concluded the night with an understated recital. Still a respectable slice on its own merit, the final statement felt like a complacent escape from well-thought out and played upon pulls, tugs, cohesion, and chaos.
What’s next? Glad you asked.
Encouraged by a talented Orlando Ballet and company, I eagerly await seeing A Choreographers’ Showcase at La Nouba Theater on March 4th, 2013 as Cirque Du Soleil and the Orlando Ballet join forces to what promises to push ballet to a new level.
In a groundbreaking collaboration for Orlando Ballet, Carmina Burana concludes the 2012-2013 season with a live orchestra and 150 member chorus of the Back Festival Society of Winter Park. The place to be on April 12 – 14, 2013 is the Bob Carr Performing Arts Centre. For tickets call 407-426-1739.
For those who have yet to see this season’s Orlando Ballet, take an evening to experience for yourself why the Orlando Ballet and artistic director Robert Hill are considered to be one of the best in the nation.
See you at the ballet,
Danny Huffman, MA, CEIP, CPRW, CPCC
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