Also this issue:

Northern Lights
A report from Toronto’s World Stage festival.
-Toby Zinman

Are You Hot?
Two artists answer that question with technology, not washed-up celebrity judges.
-Robin Rice

Artsbeat
-Debra Auspitz

No Show
-Patrick Rapa

La Traviata
-David Shengold

Mamma Mia!
-Debra Auspitz

"Back to the Future" at SkateNerd Gallery
-Brian White

Faust
-Peter Burwasser

May 1- 7, 2003

dance

Miami City Ballet

by Janet Anderson

Miami City Ballet is youthful as ballet troupes go -- a mere 17 years old. What lifts it above other fledgling ballet companies is that founding Artistic Director Edward Villella wasn’t just a famous dancer himself, but one who soared during the glory years of George Balanchine’s New York City Ballet. This explains why Miami was on the big Academy of Music stage last weekend performing the complete three-part Balanchine Jewels instead of doing "beginner" ballet at a more modest theater. Big expectations and hopes hover over this little company at a time when New York City Ballet seems to be steering away from its Balanchine legacy.

Jewelsis tough. A gorgeous, three-part full-evening ballet that is totally abstract. There's no story to pull the audience along and, gosh, it's all about dancing. Each section takes its name, and mood, from a precious gem -- "Emeralds," "Rubies" and "Diamonds." The first (or green) section, "Emeralds," is danced to selections of delicate Faure music all andante, or walking, tempo. Second comes red "Rubies," which is modern Stravinsky sounds and snappy jazz moves blended into ballet jetés. The male lead in "Rubies" was originally created for Villella. Finally comes "Diamonds," which is glorious Tchaikovsky and a homage to the Imperial Russian Ballet tradition with white sparkling tutus and grand promenades. As ballet goes, this is strictly big-time.

The young company looked well-schooled and correct. They got it right. In "Emeralds" the pace is slow and poetic, and initially Miami seemed uneasy, too careful, especially for a dance constructed around soft porte de bras (arm movements) and delicate walking steps. But Miami captured the poetry of the stop-action silhouetted ending of "Emeralds." Then, they whizzed through "Rubies," and why not, with Villella on hand to coach. If no one leapt as high, or showed the sheer personality of the boss in his prime, they still made it zing. Lastly, Miami luxuriated in "Diamonds," literally filling the stage with sparkling white-clad dancers against a starry backdrop and glorious Tchaikovsky. The Academy was awash in ballet glamour. You could feel the audience congeal into a solid mass of -- ohhhhh. Whatever the Miami company lacks in finesse and star-power, it makes up with courage. This was a huge undertaking for a company too small to have different casts for each of the Jewels. Yet they got better as they went along -- and I suspect will keep doing same.