By Jennie Schulman
Stuttgart Ballet hasn't been seen here in almost two decades. The company appeared for only a few performances at the New York State Theater during the week of July 7-11, in John Cranko's Onegin. Just a few minutes of the three-act ballet, which is based on Alexander Pushkin's verse-novel, indicated what a glorious work has been missing from our dance world. Even with a wealth--almost a surfeit of ballet here this season--Onegin manages to eclipse some creations.
The plot, which follows the Pushkin book quite closely, sees the world-weary Eugene Onegin, cynical and sophisticated, brought to the country home of Madame Larina by his friend, the poet Lensky. Madame Larina's daughter Tatiana is so smitten with Onegin that she writes him a passionate love letter. He rejects her and tears up the letter, telling her that she has been reading too many romantic novels--which only marks the beginning of all the heartaches caused by the bored Onegin.
At Tatiana's birthday party he decides to tease Lensky by flirting with the poet's fiancƒe, Olga, who joins Onegin in dancing and teasing. The enraged Lensky challenges Onegin to a duel and Onegin kills him.
Years later when Onegin returns to St. Petersburg, he is received at a ball in the palace of Prince Gremin. Onegin finds that Tatiana has married the prince and is now an elegant princess. In an emotional meeting Onegin declares his love for her and attempts to sway her away from her husband. Although her attraction to him is obvious, she refuses to betray the kindly prince. She finds the strength to order Onegin to leave her forever--this after tearing up the letter that he had sent her declaring his love.
Onegin may be the principal character, but in the performance seen on July 8 the Korean dancer Sue Jin Kang as Tatiana stirred and stunned; the conclusion of every scene in which she appeared brought tumultuous acclaim from the audience. And this reaction was for a dancer who appears to possess the delicacy of a butterfly. She may give the illusion of almost floating out of her partner's arms while supported in pas de deux. In dramatic ability she is pure dynamite.
The other electrifying performance came from Robert Tewsley as Lensky, the ultra-sensitive poet. He is mild mannered and gentle until he witnesses the perfidy of Olga and Onegin. At first disbelieving what is occurring in front of his eyes, he works up to a tremendous rage. When he takes off his glove and strikes Onegin, challenging him to a duel, the force of the blow is so powerful we almost recoil in empathy.
When Olga and Tatiana attempt to persuade Lensky to abandon the idea of a duel, the scene turns into a pas de trois of searing dimensions, with the repenting Olga (performed by Elena Tentschikova), bearing the brunt of Lensky's rage. While he kisses her fiercely before throwing her to the ground, his actions indicate that he still loves her but can't absolve her from blame.
No one could achieve the startling effects of a pas de trois, or for that matter, whole series of dynamic pas de deux, as did the late John Cranko. Everything was achieved with coruscating originality.
While Roland Vogel was a credible enough Onegin, it was Sue Jin Kang's Tatiana who dominated the ballet to the extent where it could have been titled Tatiana rather than Onegin.
Sets and costumes by Jurgen Rose were an enormous attraction, as was the conducting of Stewart Kershaw.
Cranko's "Romeo and Juliet"
John Cranko's Romeo and Juliet can't be considered just another version of the Shakespeare play which has been long favored by many ballet companies throughout the world. What generally makes Cranko's ballet on the everlasting theme so unique is his probing the depth of human emotions and relating everything in startling choreographic forms.
Our own modern dance pioneer Doris Humphrey stated, "Movement without motivation is unthinkable." While I doubt that Cranko ever had the opportunity of meeting Ms. Humphrey, who was one of the greatest of American contemporary choreographers, aspects of his choreography would seem to bear out her contention. It follows that the dancers of Stuttgart Ballet are as well trained in drama as they are in dance.
Ivan Cavallari was the Romeo seen in the performance on July 11, and we have seldom witnessed a more handsome, noble, dashing figure. Still, he is believable as he turns away from his mischievous, youthful antics when he is rapidly consumed by his love for Juliet, becoming one of the most enraptured and ardent Romeos ever seen.
The Juliet of Julia Kramer was also thoroughly endearing. She possesses a wraith-like appearance and spiritual radiance that can only result in a flawless characterization of the role.
Lior Lev was Tybalt, Juliet's belligerent cousin, who is always aching for a fight. He does appear to be quite a rotter. His swordplay with Mercutio and Romeo was dauntless. The three men were such expert swordsmen, it would seem that they must have been trained in fencing from dawn to midnight for months on end.
Thomas Lempertz's performance as Mercutio was also one of the most memorable ever seen. His clowning before and after being dealt a mortal blow by Tybalt, and his disbelief that he was about to die, were sufficient to tear at the innards.
Of course, everyone was pleased to see the former prima ballerina of Stuttgart Ballet, Marcia Haydee, in the role of the impervious Lady Capulet. As Juliet's loyal nurse, Ludmilla Bogart left lasting images of a truly warm-hearted soul. Sonia Santiago, Bridget Breiner, and Dominique Charlier were the fiery gypsies.
The crowds during the carnival, performing on two different levels, were among the most vibrant and exciting that we have ever seen, with a vast assortment of clowns, vendors, gypsies and harlequins. The street and a huge balcony in the background, overhanging the area, made up the settings for the merrymakers, all going in different directions. Raul Moreno Pradana, Giulia Menicucci, Milena Porzio, Eric Gauthier, and Massimo Dalla Mora were the madcap clowns who led the street dancers.
Stuttgart Ballet can truly be labeled an international company, as many of the dancers not only come from Germany, but from Italy, Poland, Russia, Spain, England, America, Canada, Brazil, Korea, or Japan.
While we've had a long hiatus since the company last appeared here in 1969, there is little doubt that we'll see Stuttgart Ballet frequently in the future; its few appearances here were met with such tremendous acclaim.
Five Choreographers Come Together
Coming Together, an informal evening of new works by five young choreographers, will be offered at Alvin Ailey American Dance Center, July 25. The program features the talents of Astrid von Ussar of Slovinia, Carlos Durval Dos Santos Jr. of Brazil, Edmond C. Giles of St. Croix, Richard Rivera of the Bronx, N.Y., and Steven E. Brown of Atlanta, Ga.
Performances: Sat., July 25, 5 pm and 8 pm. Venue: Alvin Ailey American Dance Center, 211 W. 61st St., NYC, 3rd floor. Suggested donation: $5. Reservations: (212) 645-5821.
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