To the Pointe

by Janet Anderson

The Sleeping BeautyThrough May 12, Pennsylvania Ballet at the Academy of Music, Broad and Locust sts., 215-893-1999

The Pennsylvania Ballet’s staging of The Sleeping Beauty is stately. It looks and feels more like a pageant than an unfolding dance drama. Since the ballet is famously built around a series of celebrated dance variations performed to Tchaikovsky’s glorious score, that’s OK. But there’s not much stage magic, no flying, floating and little transforming for those who need it. The scenery is pretty, but it’s obviously painted and doesn’t shift, turn or disappear; it’s backdrop. And the ballet’s very long, with a danced prologue and three full acts. There are many Sleeping Beauty productions full of stage magic, revolving sets and brisk pacing, but, egad, our locals chose a version that emphasizes -- ballet!

Opening night the company gave a steady performance, feeling its way toward the comfort zone it will hit mid-run, but in the key roles there were exceptional performances from the get-go. Dede Barfield as Princess Aurora pulled off the first act's treacherous Rose Adagio, which had her balanced on single pointe receiving a rose from four suitors, who each then turned her a full circle on pointe. Then they did it again. It's breathtakingly difficult. At the end, as Barfield balanced alone on a single pointe, she threw back her head and arms in a flourish. She carried that burst of radiant confidence and huge smile right through to the Grand Pas de Deux finale. Her partner Alexander Iziliaev, as Prince Desire, almost stole the show with flawless dancing and wonderful partnering. He led Barfield through a perilous sequence where he threw her nose first toward the ground (ballet's famous fish dive) and then effortlessly whipped her upright onto pointe, and then did it again, and again.

The Bluebird Pas de Deux, one of ballet's benchmark variations, gave poised Martha Chamberlain, as Princess Florine, a showcase for her sparkling technique. Her partner Jonas Lundqvist, as the Bluebird, took on a virtuoso male role of non-stop bravura moves. He managed all this famous hardball stuff with no major gaffes, while never losing for a minute a look of utter concentration that was rather endearing. With more confidence, he'll soar; he certainly has the flight pattern. Lilac Fairy Arantxa Ochoa was a delicate delight every minute she was on stage.

Audience alert -- William DeGregory's final performance, marking his official retirement as principal dancer, comes May 12. Many of his retired colleagues will be in the cast -- his wife, Tammy Hadley (as evil Carabosse), longtime friend Jeff Gribler (wandering around almost hidden under a huge wig) and Anne White. My hunch is that we'll see Roy Kaiser join in.

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February 13, 2003
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