Choreographer Garrett Ammon teams with Dvotchka’s Tom Hagerman in a modern version of ‘Sleeping Beauty’
Which comes first, the movement or the music? Individual choreographers answer the question differently, but the most fortunate are those who discover a musical collaborator whose aesthetic aligns so closely with their own that the two elements meld
seamlessly in the works they createk. New York City Ballet’s George Balanchine and composer Igor Stravinsky were arguably the greatest dance collaborators of the 20th century; among the works they created together it is impossible to see the dancing without responding simultaneously to the power of the music.
Wonderbound co-Artistic Director Garrett Ammon has had the good luck to find such a collaborator in Devotchka’s Tom Hagerman. The two have created a number of ballets before, and with Wonderbound’s current production, Awakening Beauty, they demonstrate again an affinity that provides even greater impact than what the movement or the music could have on its own. The result is an evening-length story ballet that dazzles from start to finish.
The original concept was Ammon’s when he began almost three years ago to think about reimagining Sleeping Beauty as a contemporary ballet using Tchaikovsky’s original score. But as he played with the idea, he decided to create something more attuned to today’s audiences and the issues they face. That meant a modern score and another joint effort with Hagerman. Clearly up to the task, Hagerman has created a score that brilliantly blends recognizable components of Tchaikovsky with an eclectic range of other styles including Eastern European folk tunes, modern tango a la Astor Piazzolla, vocalise and various other forms.
Cameron Cofrancesco and Morgan Sicklick | Photo: Amanda Tipton Photography
A visual treat as well
As with all Wonderbound productions Awakening Beauty is a total feast for the eyes and ears. The ballet opens slowly on a darkened, almost bare stage with a young girl named Talia (Danielle Lieberman on opening night) playing with her dolls and dollhouse. At this point this might be the start of a traditional telling of the Sleeping Beauty story, which continues through the next scene when Talia’s parents (Morgan Sicklick and Aidan O’Leary) enter. They perform an elegant pas de deux, expressing love both for each other and their innocent daughter — and all seems well in their world.
Soon, however, the mood changes and it becomes obvious this is not the Sleeping Beauty we might have expected. The father meets and falls in love with another woman, infuriating his wife, shocking his daughter and fracturing the family. So begins Talia’s exposure to “real life” and her journey through various happy and not-so-happy experiences to a mostly sweet and joyful ending.
One of the most compelling visual aspects of Awakening Beauty – apart from Ammon’s beautiful, flowing choreography – are the geometric, movable, white set pieces (designed by Ammon) that the dancers push and pull together to create different shapes and a wide range of physical environments. The pieces become the walls of the home that Talia and her parents inhabit. In one of the most striking effects, the home is literally pulled apart to signify the parent’s split. The wheeled pieces also quickly convert to a classroom, a subway car, a bedroom and other locations. The dramatic set pieces loom so large and are so essential to moving the narrative along that they almost become another character in the story.
Logan Velasquez plays Talia on alternating nights | Photo: Martha Wirth
Talented troupe
As in virtually every Wonderbound production, the dancers are equally talented. Even the newest members of the troupe have mastered Ammon’s challenging style, which alternates between elongated, lyrical movements and athletic jumps, turns and twists. The choreography changes so quickly and is so complex it is impossible to take your eyes from the stage for a second without missing some stellar moment.
As Talia, Lieberman was compelling, both in her acting and her dancing, and Nathan Mariano was well matched as her main partner. But this is a company where it is difficult and unfair to single out individual performers, given how consistent and uniform their dancing and acting are. With an alternating lead couple (Logan Velasquez and Richard Romero) at some shows, it is safe to say the performance will be as rewarding.
As for Hagerman’s score it is such an intricate mosaic that there were times when I wanted to just close my eyes and listen (of course I didn’t). For those of us familiar with the original score, it was fun to try to identify the themes from Tchaikovsky and hear how Hagerman has modified them for a contemporary purpose. But that isn’t at all necessary to appreciate his ever-changing music. In particular, Evan Orman’s playing of the bandoneon (a type of accordion) made me want to get up and tango, while Nadya Hill’s lovely voice provided an additional musical element to certain scenes.
Given the commitment of Ammon and co-Director Dawn Fay to overall production values, the costumes and lighting are always an important aspect of any Wonderbound show. Here, lighting designer Karalyn Star Pytel makes it easy to know exactly where to look even in the ensemble sequences, and Fay’s flowing, pastel costumes enhance the beautiful lines of the dancers as they move into Ammon’s extended positions.
NOTE: The entire run of Awakening Beauty is sold out. If you want to see the troupe’s next show, Sam and Delilah (May 2-12), be advised that tickets are going very fast.
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