'The Lottery' proves a lucky ticket for Ballet West

By Heather Hayes

For the Deseret News

Published: Monday, Nov. 5 2012 11:23 a.m. MST

SALT LAKE CITY — Drama, poetry and power merged during Ballet West’s mixed-repertory performance Friday night at the Capitol Theatre. With a world-premiere story-ballet bookended by two returning abstract pieces, the evening showcased the many shades of contemporary ballet.

The season-opener kicked off with Helen Pickett’s “But Never Doubt I Love,” set to selections by Felix Mendelssohn and Franz Liszt. Pickett’s program notes include a verse from “Hamlet” about unfaltering love — an apropos line for the poetic pas de deuxs to follow.

Arolyn Williams and Christopher Sellars proved a beautiful pair during the first segment in what felt to be a nod to young love. Like Shakespeare’s star-crossed lovers, Williams and Sellars painted a picture of impassioned urgency tempered by inexperience and timidity.

The couple validated that rapture, newness, naivety, longing and innocence could be danced just as precisely as penned. Many memorable choreographic feats were achieved during the piece, specifically when Sellars gripped Williams’ pointe shoe during an attitude and lifted her through him, while she untangled herself with an effortless leap.

Other standouts included the love-hate pas de deux between Elizabeth McGrath and Beau Pearson. McGrath is a seasoned dancer who has grown into a strong, expressive force. Pearson, whose distinguished brow gives him the look of a gallant Jane Austen gent, is always the strong and stately dancer, but this role allowed him to flex other muscles in portraying a torrent of complicated emotions.

Katie Critchlow and Tom Mattingly also deserve a nod for their precise — if not a bit too careful — rendering of Pickett’s work.

Next up was the night’s centerpiece: Val Caniparoli’s world premiere of “The Lottery.” Set to a newly commissioned score by Robert Moran, the music takes us on a wild ride, bouncing among Americana optimism, Hitchcockian suspense and Stravinsky-like abandon.

The scene begins with a joyful “gathering” of sorts. Men and women in '40s-era attire cheerily gather stones as if amassing a harvest, greeting the other married couples, conversing, dancing and celebrating. It’s like a scene out of Mayberry, the white picket fences crisscrossing a close-knit town.

Then, each couple introduces itself to the audience with a gentle pas de deux.

Caniparoli's choreography evokes a Jerome Robbins style: the twist of shoulder, the open, relaxed steps; the tilted axis of leaps and turns, the thrown arcs and slides. The piece feels like a revival of early contemporary dance, which may (or may not) have been Caniparoli’s aim, based on the era in which the story is set.

After seven couples dance, with a few dissenting expressions about what looms ahead, the ballet gets down to business. The music darkens with the percussion clanking and droning, and the dancers become somber as they make their way toward a black box from which they draw their lots. Slowly, as the audience's stomachs tie in knots, they open their pieces of paper and — without looking — display them outwardly.

At this point, the dancers are at the mercy of fate as much as the characters they are portraying. The drawing is truly random, and as they spot the mark of the Chosen One on the paper of a fellow dancer, they drop their own lot to the ground. Within moments, it becomes clear to the bearer of the marked lot that her fate is sealed.

On opening night, the “unlucky” lot (as luck would have it) belonged to Christiana Bennett, Ballet West’s premiere principal ballerina.

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