Tradition met contemporary and creative liberties Friday Night at the Orlando Ballet’s performance of Le Corsaire. A vocal crowd, thin in comparison to the Battle of the Sexes, was treated to art, dance, and a well-choreographed production.
Captivated by an eternal thread called love, artistic director, Robert Hill, engineered a steady and attractive pace, disallowing viewers from turning away. Given the intensity defining each moment, eyes and concentration never wandered from center stage… never wanting to wander.
Le Corsaire played out amidst a backdrop of slaves, gypsies, pirates, and swashbuckling. Held in two acts, the first drew a landscape detailing a calm sea feeding into a marketplace buzzing with activity.
First note: Eddy Frank Fernandez, my appreciation and recognition for your outstanding work goes out to you. Much like a grand Hollywood movie set, the costumes and atmosphere you created took a thirsty audience seeking visual gratification onto a virtual tour, satisfying beyond query.
After not settling for an advanced line of beautiful subjects, Princess Medora, brought to life by Katia Garza, stole Conrad’s heart, performed by Patric Palkens (whose training in jazz and tap at the age of four added a depth of talent few in the world could equal—though this is your first year with the Orlando Ballet, it had best NOT be your last).
Midway through the first act, lead gypsy Jessica Sibley stole the imagination and heart of every audience member. Her moves, establishing purpose through desire, confirmed passion and stage belonged together.
Torn by a lack of funds and a most insisting merchant (portrayed by Douglas Horne), Conrad schemed for his true love beckoning to be by his side. Partnering desire, Conrad found relief the old fashioned way… threw the merchant to the floor and kidnapped his beloved. As the curtains drew, Douglas banged his fist against the market streets, oh the bitter taste of reality… a taste all have shared in one form or another.
During a brief intermission leading into the final act, I asked several audience members if there was a specific series not to be forgotten in the near future. Without cause for re-election, the Odalisques’ presentation had all at “pirouette.” Andrea Faria, A reum Chung, and Rosalinda Moeller synchronized admiration flawlessly.
Received by a continuous sea of clapping hands, three into one held more than their own when left alone on the stage… doing what they were meant to do… dancing as if Mother Earth touched their very essence. If one word could describe their beauty, grace, and passion, it would be “flower blossoms floating atop tranquil meadows;” okay so I’m not so good at counting and sticking to the number one.
Act two more than equaled the first 40-minute warm up. Through rough seas, fighting for love (ignoring all cost or consequence), and the eventual personification of sharing one’s soul, Princess Medora and Conrad prove devotion truly can conquer all.
Second note: Deonté Hansel’s performance depicting Ali (Conrad’s slave) requires isolated recognition. Rarely does one encounter an individual so gifted that words can not classify the ability and potential yet to be fully realized. When this happens, ballet and dance will never be the same as he will re-define standards to which all professionals strive to become.
A beautiful story continues Saturday, April 24th, at 8:00 pm and Sunday at 2:00 pm at the Bob Carr Performing Arts Centre. For the city of Orlando, it is a privilege and honor to home such a gifted family of individuals as we have in the Orlando Ballet. As such, I encourage all to support the arts. Though this concludes the 2009 – 2010 season, the 2010 – 2011 season promises to raise the bar even higher. As for me, I can’t wait.
With pen in hand and a smile treading dreams, I am…
dhuffman
All I can say is your description of the ballet has now encouraged my wife’s “must go” attitude. Another brilliant post.
Mr. Huffman,
Your style of writing makes me think of my days as a professor. I taught English and Creative Writing a few years back. Your use of metaphors, images, and abrupt tone shifts keeps me interested.
I read the post from the Orlando Sentinel, noticing your perception conflicted with theirs. Though I did not go to the ballet, I find it interesting how one review could be less flattering than the other.
I look forward to more of your work.
I, too, noticed the discrepancy between your review and the Sentinel’s. I also noticed the vast difference in the writing styles. I’m glad there is any interesting and entertaining alternative. I look forward to reading more of your articles.
Huffman, you have the fingertips of a magician. Your pen bespeaks pure poetic power. Your prose encircles me with sparkling magic. My hunger to see this particular ballet is aflame in response to your writing. You’ve catapulted WON to a new level with your wordsmith mastery!
Jane,
Always a pleasure hearing from our readers, especially those who appreciate the finer art of writing. Unfortunately the Orlando Ballet is off for the season–but next season promises to be even more delightful.
Thank you once again for trusting WON to deliver your news, sports, and entertainment.