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Dancers bring Pinocchio to life
Review by Kathy Valin Cincinnati City Beat February 14-20, 2002 | 
Hannah Spiegel, Alexei Kremnev, Leigh Lijol |
Alexei Kremnev (with assistance from his wife Anna Reznik) has now had four of his full-length ballets for young dancers and professionals produced in Cincinnati. The most recent addition to the list was Next Generation Dance Company’s Pinocchio, which premiered in early February at the Aronoff’s Jarson-Kaplan Theater. Headed by Artistic Director Tatyana Makarova, Next Generation's Pinocchio cast included 20 local students plus Kremnev and Cincinnati Ballet dancers Andrey Kasatsky and Michael Wardlaw.
As with Kremnev’s “Blue Bird,” “Snow Queen” and “La Fille Mal Gardée” (to be performed again the first weekend in April), the program was not purely “professional.” It was, however, leaps and bounds above a student recital, and these talented “pre-professionals” were worthy beneficiaries of the professional-style presentation, including the choreography.
Before becoming principals with Cincinnati Ballet (they resigned from that company in December 2001) Kremnev and Reznik were brought to Cincinnati by Claudia Rudolf-Barrett at her ballet tech ohio studio. They were recently appointed artists-in-residence at Northern Kentucky University. Still at the peak of their stellar performing careers, the couple have never stopped teaching around town during their five years here — and the results are remarkable.
A salient example is 12-year-old Hannah Spiegel. In “La Fille Mal Gardée” she was a standout in a solo as a friend of Lise. Her tiny whirling form exuded energy, and her stage presence drew attention like a magnet. Technically, she probably appeared especially phenomenal because of her size.
Today, her line is more stretched with the help of longer legs, and they are obviously toned in all the right places without being muscle-bound. Yet it’s the confidence of her demeanor and her apparent joy in dancing that make her a dancing starlet. Her timing is precise — she knows how to hit her mark — as is her epaulement. Even in a character role, wearing a fake nose up until the last triumphant scene, the tilt of her head and her shoulders and arms speak of hours of attention to detail in her training. Without a doubt, the agile Spiegel has abundant native talent. She recently won a Gold Prize in a Chicago dance competition that will allow her to perform at New York City’s Lincoln Center in May — but she’s also found dedicated teachers who not only help draw her out but take care to create roles to suit her size and personality.
In Pinocchio Kremnev’s scenes were tightly structured without filler, a mix that kept the plot moving quickly along with variety and suspense, and included fine performances from the whole cast. Musical selections from various composers, including Dmitri Kabalevsky, were chosen for their atmosphere and energy and the dancing fit the score like a glove, mixing classical steps with vaudevillian energy and humor. Guest actor Michael G. Bath was a silly Chico Marx-looking narrator who got things off to a flying start with a loud balloon-laden entrance from the audience. Other standouts were Courtney Sanborn and Leigh Lijoi as Pierot and Malvina, and Megan Muldoon and Kristen Phelps as Cat and Fox.
Behind a Rasputin-like beard the tyrannical, black-clad, booted Kasatsky was cast in the cartoon tradition of Boris and Natasha, hilarious in his rage at being thwarted. The transformation of Pinocchio from a piece of wood with little feet sticking out to a greedy, foolish puppet who plants money in the Field of Fools, and finally to a “real” boy after finding the Golden Key to Happiness, was deft. Three alehouse waitresses carrying silver trays (Alyssa Ingle, Lijoi and Sanborn) nearly brought down the house with their quickness and execution. Pinocchio’s casually tossed off back flip drew gasps, as did the overhead lifts in her triumphant duet with Kremnev (as Geppetto).
The ballet, full to the funny, suspenseful brim — with cleverly costumed Cricket, Bulldogs, Weightlifters, Sea Horses and Frogs — was a welcome addition to Kremnev and Reznik’s fine reputation, and that of their lucky students.
Click for details on:
The Title Page and Production Credits
The Pinocchio Program Cover
