JOEY DANCING

Chimo found an old disc of video from 2006. Here is a link that I hope works of Joey during ballet session. He is wearing the garnet Gamecocks outfit. The quality is not the greatest, but still I love it.If I can figure out how to save the video another way, I will add it to this post.

https://drive.google.com/file/d/17Dc-HA_Tqv23Z8e6VZzfBXU1HvlfRJGW/view

LIFECHANCE 2014

It seemed to have warmed up a bit as the boys and I walked out of the Koger Center on Saturday night, no doubt a result of the hot dancing that went on inside as the Columbia Classical Ballet presented its annual Lifechance performance, this year supporting the Ray Tanner Foundation. What a smooth, delightful selection of dances. I was left wanting more---especially of Brooklyn Mack, our local dancing treasure, who enthralled his audience, as always. Not only did he participate in the larger group dances, but his short interpretive dance (I guess it is called) was beautiful as well. Columbia loves Brooklyn and you can feel the crowd buzz when he steps on to the stage. I don’t know most of the new dancers in this year’s rather large company, though there are a few old favorites such as Zoltan Boros, Sasha Vykhrest, and Matthew Waters. The company seems to have a decidedly Asian representation, with dancers from China, Japan, and Korea. The ballerinas were beautiful and lovely to watch, and the men were great too. There was a tall dancers who very much reminded me of Akari Manabe, who I much miss seeing dance, as well as many of the former dancers (who have now scattered all over the globe).

Some of last night’s dances were extremely nice. I really liked the fluidity of Tamas Krizsa and Maki Onuki’s “Together Apart.” Although Lasha Khozashvili looked too skinny to pull it off, he showed great strength and agility lifting and then moving the beautiful Lia Cirio (who has been a regular at Lifechance over the last few years), so she seemed to be floating, in “Giselle.” I especially enjoyed the modern piece (choreographed by Simone Cuttino), with the men barechested and wearing dark flowing skirts, and the crowd seemed to really enjoy it too. If I had any criticism it would have been nice to have a few different backdrops.

After admission there was a cute short featuring CCB dancers, not listed on the program I don’t think, featuring six in a comedy skit of gender-bending. Joey looked at me and said, “You wouldn’t get me out there doing that one.” But the crowd enjoyed it. In another dance, I think it was Kota Fujishima and Sakura Oka, they seemed like two tiny delicate flowers floating in “Flames of Paris.”

Overall, I really loved all the dances and the evening moved along at a brisk and pleasing pace. Been coming for years, often at the generosity of Brooklyn’s mom. I couldn’t see how many people were in attendance, but it looked like a pretty good crowd. I was surprised to find Coach Tanner standing by himself unmolested in the lobby and I thought I would get in a quick handshake, and we ended up chatting for probably ten to fifteen minutes, until his wife Karen joined us and others began coming up. They are really nice nice people. We talked about ballet (I think this may have been his first), Gamecock coaching and basketball, and a few other things. I was honored to have met him. Everyone knows what he means to USC sports, and also his charitable contribution to local children and homeless.

THIS IS BALLET

I seldom stray too far from the Columbia Classical Ballet fold when attending local dance (maybe an occasional City Ballet), but tonight I took the boys to see the Carolina Ballet's This Is Ballet , a 25th-anniversary celebration of civic dance in Columbia. Founded by the late Ann Brodie (and other dance professionals) the company provides training and opportunity to young, pre-professional level dancers and amateurs seeking a venue to continue expanding their skills for the love of dance. The Carolina Ballet has started many dancers onto professional careers, as well as spawned two professional companies in the area. Although there were many levels of experience and talent on display tonight, the overall performance was very solid and entertaining. Probably the most fun dance was "A Young Person's Guide to the Orchestra" which featured many younger girls and boys in the company, giving them a chance to really shine and get experience on the stage in front of a large and appreciative audience. I wish my son had been able to dance in something similar when he was involved in ballet, a reward for hours of hard work. Too often outside of "The Nutcracker" he had the slimmest parts (not unexpected in a professional company), but I think it would have helped keep him on stage. Who really cares if their steps were at times out of line or a pose faltered? They were out there enjoying dance, and that is what really mattered. And they really did a good job. I loved the tiniest dancer. . .so adorable. Younger members also shone in "Jewels" and "Le Carnival." I liked Yhosvany Rodriguez in "Le Spectre de la Rose," despite one mislanding, performed alongside artistic director Mimi Worrell. A crowd favorite was "Spring Waters" danced by Cooper Rust and Caleb Roberts. Also well received was Act I of "Giselle," by Mallory Jones and Patrick Van Buren. The final effort was "Hosanna," a very nice, flowing piece choreographed by alum Jeff Lander in honor of Brodie. The first dance, "The Kingdom of the Shades" from LaBayadere, was probably my least favorite, partly because it was hard not to judge it against the performance given by the CCB earlier this season, but because I think it is one of the more boring (albeit pretty) pieces. We really could do without the march on (especially when so many of the dancers are not as strong or sure as the professionals). The rest of the dance after the first section is very nice. I applaud all that the Carolina Ballet does to inspire young dancer and for its outreach to the community. We need, and benefit, from every opportunity to have any of the arts practiced and presented to the public. It is the first time I have ever been in the Township Theater, newly refurbished and spacious. It was fun to listen to Joey critique some of the dancers, and I know in my heart he would have sparkled alongside them. I wish the Carolina Ballet another successful twenty-five and more.

LIFECHANCE 2013

Was it me, or did this year's Lifechance, the charity event put on by Radenko Pavlovich and the Columbia Classical Ballet seem a bit shorter, a little rushed, than it has in the past? Even so, the performance tonight brought back to Columbia its favorite star, Brooklyn Mack, some regulars such as Lia & Jeffrey Cirio, and a host of dancers who provided both traditional and cutting-edge modern work. The crowd was quite big, it seems, and everyone was well entertained, and I think it shows the growing support for ballet in the city and state. And for me a special treat, because my friend Renata from Brazil, showed up and I always like seeing her. I hope she can bring Waldilei with her next time (I really miss them).

The night opened, as it usually does, with a work performed by the entire CCB. Dressed all in white, they danced "Etudes," a delightful piece that let everyone shine a bit. I especially liked Nana Yamatani. I may have the name wrong, but I also liked very much the dancing of Yukihiro Tamura. Some of the ones I know from the past---Edward, Lauren, Zoltan, Matthew, Sasha, and Christopher danced, and I even noticed that Nations has been promoted. Eight dancers later performed "Pulse," which was crisp and nicely done, kind of favoring a 40's dance hall, the women dressed in red.

Brooklyn, who just about everyone really comes to see, and coming off rave reviews and a neck load of medals from recent international competitions, did three pieces: a traditional turn with the lovely, talented Ayano Kimuro in "Grand Pas Classique;" a nice piece, titled "On the Way," which oddly enough I saw one of the Japanese dancers do about a month ago, and very well, and Brooklyn brought to his performance the strength and power we are familiar with (I was later told that this work is often used in competitions); and a piece he choreographed, "Lost in Time," an athletic, vibrant, energetic dance that wowed the crowd.

Lia Cirio and Sabi Varga presentes "Polyphonia Pas de Deux," parts one and two, a modern selection that emphasized their strength and precision, somewhat gymnastic in style, a bit dark, and the music a bit jarring. But they did a wonderful job. Maki Onuki and Tamas Krizsa also took two turns, the "La Ofrenda," which in style was similar to "Polyphonia, and a piece from "Giselle." Misa Kuranaga and Jeffrey Cirio finished the night with "Don Quixote."

Thanks to Lucretia for getting us tickets, and to Katherine for facilitating. It was a lovely night, and the boys and I had a great time, as usual. Soon enough, CCB may have to perform Lifechance on two nights!

FIRST THURSDAY: JANUARY 2013

Approaching the downtown area usually dedicated to the monthly arts festival that is First Night in Columbia, all I saw was quiet and dampness, and worried that organizers had canceled the event. But lights were on at Tapps (the bedrock facility for the event) and inside dancers of the Columbia Classical Ballet were preparing to perform. And they delivered a nice program of short dances, featuring an interesting mix of traditional and modern, to the appreciative, cozy crowd. It was nice to see these young artists up close. I am sure women in the audience were especially delighted with the "Magic Mike" orientation of the Japanese male dancers. Sasha and Lauren were just about the only dancers I knew from the older company, and they performed well in the more traditional opening piece (featuring two pairs). Unfortunately, Zoltan was nowhere to be seen. One Japanese male dancer wearing a long skirt did a really interesting modern piece that was beautiful; he was followed by a peppy Japanese ballerina doing a quirky and delightful piece. The only drawback was the uncooperative cd player; you'd think they would have a better sound system there. But the dancers carried on nevertheless. I wish I knew this young company as well as I did their immediate predecessors, but I think they are a wonderful and beautiful company. The Korean (I think) ballerina who dances is striking and precise, but would love to see her smile a little more (that was one thing I loved about Akari dancing, she just seemed to enjoy every minute out there). I am glad the CCB got to showcase some of their talent and hope there is a good turnout for the upcoming LIFECHANCE (26 January). This event was like a small tasty appetizer, whetting our appetite for the coming attractions. It was also nice to chat with Radenko and Myra for a little bit. I would like to see more dance as part of future First Night events, maybe setting up a larger outside stage (perhaps right on the street) where less-constrained dances can be offered.

There wasn't too much new art, and fewer venues were showing off stuff, which was sad. I did like some photography on display. My friend Fred showed up. The crowds were sparse, especially in comparison to last month, but I hope that does not discourage the artists or sponsors. We need more events like this and we definitely need to support the arts.

LA BAYADERE

Last night patrons of the arts were gifted with the Indian-themed ballet La Bayadere (or, if you followed the first act, also to be forever known as La Bayaderriere. Of course, I am being "cheeky," as there was a lot of posterior flashing going on), performed by the excellent company of the Columbia Classical Ballet. And although I jest, this was really a wonderfully lavish and colorful ballet performed by a talented group of dancers, many new to our state. Radenko Pavlovich is a master at attracting superior international talent, mixing it with young local dancers, and topping it off with the vibrant athletic power of our most-popular star, Brooklyn Mack (freshly awarded several gold medals in world competitions this past summer). I owe the opportunity to see this ballet (the first time) to Brooklyn's mother Lucretia (via Katherine Macedon). Thanks.

Columbia often waits with baited breath for Brooklyn to take the stage and wow us with his soaring leaps and captivating presence, but this time we got him for the entire length of the production (which is truly a great pleasure), as he became Solor, bedecked in white and sparkles. Anyone who follows ballet locally is aware of his growing international fame and primary position with the Washington Ballet. He danced wonderfully, as he always does, and it was a great performance. I enjoy watching him dance and look forward to every time he is here.

As great as Brooklyn is, he was accompanied by a sterling group of dancers. While there have been many additions to the CCB company, with a large contingent coming from Asian locales (especially Japan), there are many wonderful holdovers from past years, too. My friend Zoltan Boros was great as the High Brahmin, though it was more an acting than dancing role. Wonderful costume! Five-year professional Oleksandr Vykhrest danced in several roles, principally as the slave Ali, and bravely, I must add. The tall, lithe, Lauren Frere, who has been with us since 2008, had several lead roles. A host of second and third year performers added to the show, including Edward Persondek, Maggie Hegarty, Matthew Waters, David Greenberg, and Nations Wilkes-Davis.

[Somehow the printed program insert seemed to have messed up the names of some dancers with their roles, so if I missattribute, please forgive me, because many faces were unfamiliar.] The new dancers were lovely and wonderful to watch. Nana Yamatani was impressive and excellent as Nikiya, and she was delightful in her pairing with Brooklyn. Also spectacular was Tamako Miyazaki as Gamzatti. I really adore the Japanese ballerinas. Yukihiro Tamura may have stolen the show with his golden turn as the Bronze Idol (I really hope this is attributed correctly, because he seemed to float in his dance). Tae Seok Kim was very good also. There were quite a few new dancers in the corps, and I especially liked their Shade dance.

My favorite part of the show was act III, with wild dancing and lots of activity. I thought the costumes were very nice overall and the scenery generally pretty good. There wasn't as much humor as in some of the productions, and no swordplay (odd, isn't there always swordplay?) I really enjoyed the dancing and pageantry. A good night. We are lucky to have this group.

LE CORSAIRE "THE PIRATES"

Last night Columbia, South Carolina was invaded by Pirates (who knew the Congaree was deep enough!), but instead of stealing booty, they delivered a sparkling treasure to the ballet-going public. Indeed, Radenko Pavlovich's Columbia Classical Ballet gave a beautiful, exciting performance of Le Corsaire, probably one of the best ballets this reviewer has witnessed in person. With tickets graciously provided through Lucretia Mack (via Katherine Macedon), my boys and I experienced a delightful evening of dance. Although my knowledge and understanding of ballet is still in its infancy, I thought the show wonderful, especially the middle scene, with its glorious costumes and backdrops, and almost the entire cast on stage in motion.

The undisputed captain of this ship, and outright star in the eyes of Columbia, was Brooklyn Mack, whose presence on stage (as Ali) absolutely alters the atmosphere in the audience. I think he could walk out and just stand there, and Columbians would go crazy for their native son, who now dances principally with the Washington Ballet. His masculine grace, precision, and soaring leaps never fail to capture bounteous adulation, and the loudest cheers are always reserved for him. Columbians turn out for him when he comes for a visit. I have seen Mack dance this role before (often at Lifechance), but it was even better to see it with a full cast and in relation to the story. But Mack was not the only star of the evening, especially in this ballet which gives the boys plenty of opportunities to shine. Cuban-born Christopher Miro was very good as Conrad. Ivan Popov gave a solid performance as Lankendem, and he always dances well in tandem with Lauren Frere (Guinare). My friend Zolton Boros was a delightfully comic presence as Seyd. Company veteran Oleksandr Vykhrest was great as Birbanto. There were not enough roles for every guy to star, but Willie Moore and Jose Pereira stood out as well as pirates.

Let's not forget the beautiful ballerinas. Besides Lauren, who has graced our stage as a principal for a few years, was newcomer Tamako Miyazaki, who was wonderful in her role as Medora. She was especially great in her pairing with Brooklyn. Although I can't name them all here, company regulars such as Natalie Robinson, Mercedes Schindler, Saif Wilkes-Davis, Katherine Jaco, and Emma Stratton were wonderful. Along with familiar faces, both men and women, were many new dancers who I hope grace our stage for years to come.

The other star of the evening was the gorgeous set (and costumes), borrowed from the Washington Ballet. No doubt much praise has to go to the crew that transported and installed it. Pavlovich has been bringing new ballets for us to enjoy, and training new generations of dancers (as well as inspiring children through the outreach program), and I hope people continue to financially support this important resource in the Midlands.

LIFECHANCE 2011

As Radenko Pavlovich and the Columbia Classical Ballet have done for fifteen years, on Saturday night they reprised community favorite LifeChance (International Gala of the Stars), combining the presentation of a variety of styles which benefit both local dance followers and charity, in this case Big Brothers Big Sisters. The interesting dichotomy of classic performances and modern renditions were much appreciated by the large crowd, which was bigger than I have remembered. Almost all of the performers have danced here before. I wish there had been more dances, but we are so lucky to have this wonderful event every year. The crowd also reflected the fact that LifeChance (as are most CCB shows) is accessible to a wide range of patrons, from the well-heeled to families and students.

Most attendees, it seems, come especially to see hometown favorite Brooklyn Mack, presently of the Washington (D.C.) Ballet, who again did not disappoint with his athleticism, grace, and energy. The capitol crowd is lucky to have him up there; I could easily watch him dance all night. His selection from Lacrymosa was beautiful and inspiring, and elicited the usual enthusiastic response from the audience. Although my memory may be off, I remember seeing him dance the selection from Don Quixote before, but it was still great, especially his soaring, powerful leaps behind his beautiful partner, Maki Onuki, who is lovely and enjoyable to watch as well (sue me, cause I am a sucker for the Japanese ballerinas). Yet, despite my admiration and love of his work, I think Brooklyn seemed just a bit off, maybe a little tired, in some of his performace.

The show, however, belonged this year to the energetic dancing of Chanel DaSilva and Dylan G-Bowley, who especially wowed the crowd with Surrender. Last year I thought DaSilva slightly outshone her partner, but this time they were equally matched and highly entertaining. I remember seeing Wild Sweet Love last year, but it was likewise a crowd favorite. Their style is brisk, funny, and athletic; it reminds me of watching swing dancers from Harlem. Also returning to Columbia were Lia Cirio and James Whiteside, of the Boston Ballet, who combined traditional dance in La Bayadere with a little lighted flash in Indestructible (which my boys called Tron). I really enjoyed the elegant Lauren Ciobanu (with Joseph Walsh) in the selection from Madame Butterfly. Jeffrey Cirio (brother to Lia) was very good in Fleeting. Great Galloping Gottschalk by USC dancers Ashley Johannsen, McCree O’Kelley, and Ryan Thomas, was interesting, but in the choreography the guys didn’t seem to have much to do.

The CCB corps presented two nice dances, Essence and You Don’t Own Me. I thought both were well done, though not as spectacular as they could have been. Perhaps the outfits in the first dance could have been a little more exciting, but I loved the red on black of the second. Lauren Frere and Ivan Popov were featured in Essence, as well as in a piece of their own, Manon, which was theatrical. I thought the company did a good job, especially despite being robbed of practice time due to bad weather. Thanks to Myra for remembering me and the boys. My favorite memory of the night was watching Joey react to the dancers, occasionally turning to me and critiquing, “that was really nice” or “she didn’t seem to be trying too hard on that one.”

LIFECHANCE 2010

Tonight, Columbia was treated to a wonderful experience, a crowd-pleasing performance put on by the Columbia Classical Ballet and several guest artists from around the world. Lifechance: International Ballet Gala of the Stars not only gathers great dancers and offers fresh material to dance lovers of the Midlands, it raises money for charity, in this case for the Palmetto Health Children's Hospital Special Care Center. It also, I think, allows local dancers the chance to work with their peers, develop new skills, and form networking friendships that can be helpful down the road. Despite its size, Columbia does not lack for opportunities to see a wide range of dance, but this annual event (the fourteenth)---put on largely through the hard work of Radenko Pavlovich---brought together a diverse and accomplished group. This year's production was probably the best attended and most rewarding ever. Thanks to our good friend Renata Franco, the boys and I were treated to excellent seats and we left the auditorium inspired and thrilled. The Koger Center seemed to be practically sold out and the dapper crowd was in the mood for high-level entertainment and was very appreciative of the presentation. They came to see the best young dancers displaying their talents and they were not disappointed.

The star of the show was hometown favorite Brooklyn Mack, whose coach and mentor is Pavlovich, and he did not let down his legion of local fans. Although many of the male danceurs were excellent, when Mack steps----no, SOARS---onto the stage, he is a thing of beauty and energetically shows why he is such a sparkling talent. His jumps are tremendous, his enthusiasm infectious. He feeds off the crowd, and the Washington Ballet is lucky to have him as a principal. His Song for You, done to the music of Donnie Hathaway (one of my favorites) was wonderful, as was his duet with Grace-Anne Powers in Le Corsaire (though I think I would have liked a better selection of costumes for that one). Many times I heard people gasp in awe and comment positively on this jump or that move.

Not to be outdone by any measure, the corps of Columbia Classical Ballet gave three beautiful performances. While Satanella and Majissimo were delightful in every way, I was simply blown away by the job they did in Assassin's Tango. It was an absolutely delightful arrangement, and it had the crowd atwitter. I thought all six ballerinas and the six guys were great (and as always, the ladies were lovely). I must compliment the choice of costumes, especially the black outfits, in all three parts. The dancers were crisp and seemed to be enjoyed themselves. Lauren Frere and Journy Wilkes-Davis have become something of a pair on stage (they also starred together in the recent Nutcracker), and since both are tall and svelte, they match well in their duets. Of course, my favorites are Renata and Akari Manabe, but then again I am somewhat biased. Akari can simply melt you with her smile and Renata is a genuinely beautiful spirit. Kaori Yanagida (and I think Aoi Anraku, though I might be wrong) got the center stage in the first dance. DeeDee Rosner and Kaleena Burks were also great. I think the company really showed the crowd how lucky we are to have them here. Satanella was very good and set the tone for the evening. They can really be proud of their performance tonight. I may not be a ballet afficiando, but I was really impressed and pleased to have seen it.

I will not bore you with a detailed description of every guest performance, though I will say that they were uniformly excellent and each brought a different flavor to the banguet. We were treated to dances put on by five members of the Boston Ballet. Several really stood out. Lia Cirio and Sabi Varga's Tsukiyo pas de deux was sensual and impressive. Cirio is strong, almost feline, in her command of the stage. I thought there was a little too much arm movement in As One, but overall, she is impressive, as was her partner. Jeffrey Cirio, James Whiteside, and Whitney Jensen were also good.

Two dances given by members of the Trey McIntyre Project of Boise, Idaho, were crowd favorites and extremely well performed. Chanel DaSilva and Dylan G-Bowley's Wild Sweet Love was athletic and playful, and really got a rousing reception. G-Bowley's Nitelite was equally impressive. I would love to see Mack and DaSilva share the stage in a duet someday.

The adorable (ok, she's only thirteen) Alexandra Parsons of North Carolina danced two beautiful numbers and she definitely has a wonderful future ahead of her. Alexander Buber (of Belarus via Japan) was crisp and light in much of his dancing, and I enjoyed the Flower Festival at Genzano, with the lovely Kayo Sasabe. Much credit should be given to Sasabe, whose initial foray onto the stage was interrupted by a technical glitch; the crowd warmly applauded her return. Rounding out the first act were Meaghan Hinkis and Alberto Velazquez, from New York's American Ballet Theater, in Don Quixote, and I thought both were good, though Hinkis seemed to outshine her partner.

My only criticism was that too often, dancers standing in the wings had their shadows projected onto the backscreen, possibly by the lighting being at a bad angle or the performers standing too close to the stage. For example, it was disconcerting when G-Bowley was performing his modernist dance, to see the shadow of Parsons twirling behind him. Most people probably didn't even notice it, though.

Overall, I think the night was wonderful. I am delighted that my son dances with this group. I wish I was about twenty and could dance with them. Much thanks should be given to the cities of Forest Acres and Columbia for providing funds for the arts, because we are a much better community because of it.

NUTCRACKER 2009

My weekend---and pretty much all of the weeknights preceding---was taken up with driving the boy to practice, rehearsal, and presentation of Columbia Classical Ballet’s annual Nutcracker at the Koger Center for the Arts. I sat through both rehearsals and was present in some capacity at all five shows. I still am hearing sections of music playing in my head. My son danced in three roles this year, a much larger part than he has undertaken before. Of course, Radenko’s company worked on the ballet for about two months.

This time I did not confine myself solely to behind-the-scenes duties (such as serving as den father to the younger guys back in the dressing rooms), but took the opportunity to catch at least three full performances, in addition to portions of others, and I got to watch from the wings as well as in the audience. I even contributed a tiny bit by cutting the round felt spots that went on the dancers’ cheeks (soldiers and bon-bons) in several scenes. Not only did I get to enjoy the pageantry and beauty as a spectator, but I got an extended peek into the backstage world. My focus, naturally, was on my son, but I managed to concentrate a little on the work of those dancers whom I have come to know and like, particularly those I count as friends. Although I am largely unschooled in the nuances of ballet, I am learning. I will record observations, wrong or right, of things I saw and experienced during the weekend. One thing I found was that each show has a different dynamic, even when all the dancers are the same--- there are subtle shifts in delivery and attitude, in spirit and showmanship, in enthusiasm and enjoyment.

Firstly. . .my son. Joey danced wonderfully. He was the star! Well, for me at least. He reprises his usual role as one of the party boys, which he has been for about five years now. He was so handsome. You can tell when he is on the stage, because his posture improves and that rare smile sneaks across his face. He loves the part when he gets to run through the party scene with his saber held aloft. He then served as a member of the troops during the battle scene with the mice. They marched and danced and fought. All of them looked great in their red uniforms. I marveled at their precision on stage, fraught as it is with potential collisions and such (especially as the fog got quite thick at times), even more so this year as it seemed there was a larger group of young dancers involved, but it was colorful and flashy and the group carried it off in fine fashion. Then he was a bon-bon in the second half, dressed in shiny black and white; he tumbled and danced with the best of them. Unfortunately, he and most of that crew were not afforded much of a curtain call, but I knew he was there, standing to the rear, and I was so proud and happy for him. He really loves the Nutcracker.

I must say that the children and younger dancers were quite professional and efficient backstage. I was surprised how well-behaved they were. Much credit for this preparation and behavior should go to Renata, as well as to the parents and volunteers who managed the miniature hoard. Although there were typical mishaps (a broken hat, a wig malfunction, a lost shoe), they were quickly repaired and unneeded drama was kept to a minimum. And the kids seemed to have more activity on stage, which was nice. Both Claras (Ella Shealy and Dylan DeJames) danced wonderfully and were quite impressive. Vision is following in the steps of his older brother. DeeDee, one of the professional corps, danced as Louisa and was good in the role.

The women of the professional troupe were stunning (as always) and the guys were handsome. It is truly special to be able to see them performing up close. Despite being shorthanded due to unexpected visa problems for two male dancers, the men carried it off splendidly, though at times you could clearly see that they were weary (especially during the Friday night performance). There were some missteps that normally I would not notice, but after seeing it over and over, you start to catch things. A few dancers slipped on the snow and I thought one was going to fall, but she caught herself as she slid a foot or so. Another dancer somehow got himself turned around in one scene and was clearly out of position. It was interesting to watch the dancers come off stage---sweating, grimacing, and breathing hard---and talking to each other about how they thought things had gone. Afetr one of the snow scenes (that I thought had been crisply and cleanly performed), a ballerina came off muttering: "That was crap, crap, crap!" At least she didn't throw anything. When one thinks about the physical effort and precision required, I am surprised there are not more mishaps; no doubt as artists they are always striving for perfection, seldom reached. For me, however, I thought almost all of the dancing was lovely (well, except for the giant foam heads in the nightmare scene).

Zolton Boros was a good Drosselmeyer, and I was so happy they dispensed with that awful grey wig. The leading man of the troupe is now Journy Wilkes-Davis, who was featured prominently, which is quite an advance since he is one of the newer members. He did a very nice job and I predict a bright future for him. The other guys also were excllent. Lauren Frere is gorgeous, with long lines and precise movement, and her dancing was wonderful, especially in her role as the Arabian princess (danced in tandem with Journy). I bet the guys were lining up to take pictures with her during the meet-and-greet. I could go down the line and praise all the dancers, because they all looked great and danced splendidly. They didn’t seem to have as much time to relax as they have had in past performances, and they were kept constantly running in order to make quick changes and get back on the stage.

What a pleasure it was to see my friends Renata Franco and Waldilei Goncalves dance, not once but several times, together on the stage. They are such a wonderfully nice couple (my neighbors for several years, as well). My only complaint about their Devil Dog scene. . .was that it was too short! I wanted them to keep on dancing. They also were paired in the Spanish scene. Waldilei was also one of the Cossacks, always a crowd pleaser. No doubt Renata must have been worn out this weekend, because she served not only as the ballet mistress, but she appeared in most major scenes with the corps.

My favorite dancers, the three Japanese ballerinas, were fabulous. Kaori Yanagida was a beautiful and excellent Columbine (dancing alongside Kazuki Ichihashi). I also liked her Sugarplum fairy, though on one occasion my heart was in my throat when she almost hit the deck; thankfully she was caught at the last moment. You really have to admire the bravery and confidence these women have that the guys will always catch them. When you think about all the practice time involved, it is a wonder more are not injured. The lithe and alluring Akari Manabe, who always has a beaming smile when she performs (and in real life too), stands out with her long delicate features and graceful dancing. The newest member, Riiko Kitayama, did well in several roles (Nanny, Rat, Chinese dancer); it was nice to meet her mother, who came all the way from Japan to watch her dance.

The Koger needs to get new smoke machines. . .one spewed as if it were a 1940s bus and a few times it was so thick one might have thought the cast was in San Francisco. They should also retire Edward's wig. . .quite often by halfway through each Marzipan segment he looked as if he had just woken up and was having a very bad hair day.

FRIENDS

I snuck a photo off of my friend's site. I met Renata and her partner Waldilei through our dancer friends Junio and Humberto a few years back. Then they were neighbors. They are respected dancers from Brazil and have been active in the Columbia Classical Ballet for about three years. One of the sad things about getting to know the dancers is the likelihood that they will eventually be moving on, especially the foreign dancers. Here is the pic.

This is a chalk drawing by Joey titled "Renata." It is even prettier when you see it in person. It is now on my wall at work.

And here is a link if you would like to see a video of her dancing. http://www.youtube.com/watch?v=2mVsDiSR2Us

DIMMED EMERALD CITY

This past Friday the Columbia Classical Ballet presented OZ. Directed by Radenko Pavlovich and choreographed by Simone Cuttino, the company continued its record of fine dancing in the pursuit of providing Columbia with quality ballet. The night performance was sold out (I think, or nearly so), which is quite an achievement when considering all the competition available for the entertainment dollar. Yet, I was a little disappointed in the show, probably the first time I could say this about any CCB production I have attended.

First, in the spirit of openness, I admit that I am not an experienced ballet reviewer, so my criticisms come from a rank amateur. I also am awed by the ability and physicality of these dancers (standing offstage watching them dance is an amazing treat), and I really enjoy attending the dances. My son has danced for Pavlovich for several years now, and this was his second appearance in this particular production (having also been part of several Nutcrackers and Robin Hood). I like Pavlovich personally and recognize his value to the community and to the young dancers he brings under his wing; I support efforts of the company to the best of my ability. Furthermore, I enjoy and have gotten to know many of the dancers. CCB provides a great stepping stone for many careers.

The dancing in OZ, of course, was inspirational. Kaleena Burks, as Dorothy, was wonderful throughout the production. I especially liked her open-armed twirls, such as when she came onto the stage in Scene 3. Peter Matkaicsek and Zoltan Boros were very good as the Scarecrow and Cowardly Lion, respectively. I thought young Journy Wilkes-Davis was excellent as the Tin Man---I suspect he has a great career in store for him. Oleksandr Vykhrest is quite impressive as Oz. Akari Manabe, besides being beautiful and a very nice person, is a wonderful dancer. . .she practically beams when she is on stage. She was Glinda; and she looked great in orange (in the rainbow scene) too. My friends Waldilei Goncalves and Renata Franco (in several roles each) were wonderful as well. I think this was one of the best performances put on by Waldilei since he has been in Columbia; he soared in several scenes (and he is not the tallest dancer). Lauren Frere is simply too pretty to be the Wicked Witch! (She just doesn’t seem "mean" enough, but she sure dances well). There were a lot of other good performances, too many to mention----Kaori Yanagida is great.

Act One was much stronger of the two parts. I wish that they could have dressed one of those little tykes in a doggy suit and let him/her run across the stage a few times with Dorothy a-chasing; Toto is totally missing (other than being alluded to with the basket and collar) in the production. The opening scenes are solid and colorful and inviting. The visionary/conman aspect of Professor Marvel does not really come through, but Vykhrest is expressive and playful in his dance. One thing that somewhat bothered me was the sense that they really didn’t know what to do with Marvel/Oz. . .it seemed they wanted to make his relationship with Dorothy a love affair.

Something was just a little off in the Muchkinland scene. There should have been a bit more "happiness" and movement. The outfits were beautiful, though. The last Nutcracker had a lot more motion in their use of the kids. The little bumblebee captured the most "ahhhs" from the audience. I realize that this portion is where the company shoehorns younger members into the production in hopes of giving them time on the stage and to showcase a little of what they have been working at, largely to keep the parents happy. I wasn’t too happy, though, with my son’s role. [Parent Alert!] The only person on the stage who had fewer dance steps was the Wicked Witch of the East, and she was dead flat on her back.

The "poppy" dance was my favorite scene. The red dresses were eye-catching. One minor quibble, however---the Tin Man and Scarecrow did not fall asleep in the poppy field, as best that I can remember. It would have made more sense if they had run off to get help from Glinda, or danced around in trepidation.

Act 2 seemed to start off badly and went downhill from there. Supposedly the Dorothy entourage arrives at Emerald City, but the backdrop indicates that it is actually far off in the distance (all of the backdrops, however, were very nicely done). They are supposed to be joyously, or at least happily, greeted in a colorful, wondrous way, but one does not get much sense of this. I am not sure why (possibly financial), but the fairies are all dressed in pink and tan outfits. . .where is the sparkling color? I expected that there would be lots of greens (somewhere along the visually attractive poppy scene) and spakling shininess. And then we also come to that section where Oz and Dorothy "feel an instant connection". Excuse me, but. . . .isn't that the slightest bit creepy to anyone?

The attack of the flying monkeys is nicely danced, though the outfits looked a little too much like mice, and were "cute" rather than menacing. Further troubling to me were the splashes of white attached to the dancers' bottoms, which in the darker scenes and against the black costumes (at least from where I was sitting) made the monkeys look more like mice/rabbits, since the eye immediately went to the white (well, maybe it was just my eye). I was told that this was intentional so that people could see that the monkeys had tails, but I just don’t buy it. It looked as if the tails were coming loose and stuffing was popping out. In the next scene the Wicked Witch tries to transform herself into Dorothy (yuck. . .was that in the book? I can’t remember). Then a fight ensues in which Dorothy slays WWW as she is trying to kill Oz. Returning to the Emerald City (or not to the city, depending on how it appears) there should have been raucous joy. . .but there really isn’t.

I was also a little put off by most of the music, too (except for the choice for the rainbow scene). I especially didn’t like the use of the sorcerer’s music from Mickey Mouses’ Fantasia (as you can see, what a classical music putz am I, but what do I know?). A few more props, particularly in the EC scene, possible off to the sides, would have helped. Maybe if they had been able to have some false buildings off to the side in the Emerald City scenes.

Overall, though, I thought OZ was a nice performance and the dancing itself was great. Now, I know most people are familiar with the movie version, while still others still read the books. And dance is a different art medium, and much leeway has to be given to artistic interpreatation. Still, it bothered me when I heard a couple of little girls turn to their mother/chaperone and declare, "I didn’t like it." How can anyone not like OZ? Maybe some tweaking is in store for a future presentation, because clearly the Columbia community was willing to come out to see it and support ballet.

BALLET

Last night my eldest son Joey, who is ten, was asked to be in a photo shoot for his ballet company, Columbia Classical. I bought him new black tights so that he would look trim. After the shoot the director invited him to stay and attend a master class with some of the professional and older dancers, and he was so excited. I heard that he did very well, even eliciting a chorus of applause when he mastered some move. I seldom get to watch him dance, and I peeked in to see him doing some step-over move, and I just about started to cry. I am so proud of him. Just before he went to bed I pulled him aside and told him just how I felt. He is not the most demonstrative kid, but he did smile and I got a nice hug. I don't really care if he stays in ballet or makes it a lifetime activity, but as long as he feels drawn to it I will support him to the best of my ability. He will be dancing in THE WIZARD OF OZ next weekend. Yes, the children's roles are usually small, and little more than filler and an excuse to subsidize the senior troupe, but I will be there to enjoy it.

NUTCRACKER

"Hmmmmm. Wow!! The color and motion seems so much better this year, and the male dancers seem to be a bit stronger than in the past. I love those two Japanese ballerinas, and there just seems to be more color and motion in the troupe this year. Did she just miss there? The girls in the party scene are really. . . .!!!" Wait a minute, let me go and ram my head into the wall a few times to regain my senses! What the heck am I doing critiquing the latest Nutcracker???? No one would ever believe it.

Well, actually, I am getting better at understanding what is going on about the stage, and recognizing perhaps a well-executed move or a mistake or two here and there, and I am also gaining a greater appreciation and affection for the art as a whole. Although I was prevented from watching the entire production each time it was performed this past weekend, I generally think that these were the best presentations I have seen since becoming associated with the Pavlovich School of Dance and the Columbia Classical Ballet around four years ago. And of course, the shining little star was my son Joey, who had his biggest part yet since taking up dance and performing in the Nutcracker, though unfortunately they don’t really give the little boys much to do in the way of dance steps (they are little more than window dressing). But Joey does love being on the stage; he seems to glow when he is out there. I hope he gets to dance in the Wizard of Oz again. Several of the dancers and teachers said he took a more active role in leading this year. As you can expect, I was darn proud of him. Perhaps the influence of my Brazilian friend Renata Franco (who served as Ballet Mistress this year) had a good impact on the overall look of the Nutcracker this year.

If you ever get the opportunity, you should watch a ballet from backstage, because you get a better appreciation for the athleticism of the dancers, as well as an understanding of all the work that goes into putting on these shows beyond all the hard work of the individuals on stage. This year I think things were much calmer and organized. Columbians are blessed to have a number of good ballet groups, both professional and in the local colleges. It is hard to see how they all make it financially.

Most of the time I was trapped in the dressing rooms, supervising the boys. This year I had a smaller group with me, two of which (I think) are Gamecocks coach Steve Spurrier’s grandsons. Last year I had about 12 of them to look after and that drove me crazy. Much more manageable this year; unfortunately, because of transportation problems, I wasn’t able to do as much at the Koger as I normally try to do. Larry Payne, one of the board directors, was also back there a lot, and he has a good rapport with the boys and members of the company.

It was very nice to get to meet Alberto Liberstoscioli, a new dancer from Italy. We chatted a bit (he shared the dressing room with Waldilei Goncalves, another of our Brazilian friends). II also met Damien and Oleksandr. One of my favorite dancers is the beautiful and talented Japanese ballerina Akari Manabe. One nice thing about the company is its ethnic diversity, with dancers from Brazil, Cuba, Hungary, Italy, Japan, Ukraine, and of course from the United States. I do miss our old Brazilian dancer friends, Junior and Humberto.

The motto for the company (which is celebrating its tenth year) is Music + Dance = Joy. No doubt about it, and you could feel the joy on the stage.