The Royal Ballet fielded three casts for Both were expertly and elegantly per- the Boston engagement of Manon. While formed by the Dutch dancers. each was interesting in its own right, one Guangdong Modern Dance Company proved head and shoulders above the rest. also used film, a computer-generated ani- Zenaida Yanowsky — relatively new to the mated look at calligraphy, in its ensemble role of Manon — and her partner Kenneth piece Upon Calligraphy by Liu Qi. The Greve were outstanding at creating the sort dance was evocatively brought to life of chemistry that made Lynne Seymour with the supple and controlled power of and Rudolf Nureyev thrilling in these dra- the Chinese dancers. Beijing Modern matic roles. Dance Company, on the other hand, Yanowsky is, in fact, one of the few danc- used explosive steps and red scarves for ers tackling this role today who is capable of dramatic effect in the big and booming suggesting the conflicted emotions of a All River Red by Li Han-zhong and Ma woman torn between lust for jewels and Bo set to a crashing Igor Stravinsky score. money, and love for Des Grieux. She sug- The Europeans mostly eschewed gests brilliantly the inner drama that drives drama in favour of cutting-edge dance this very human character. When Mon- theatre such as Ballet der Staatsoper sieur G.M. clasps a choker of diamonds Hannover’s Thundering Silence with its about her elegant neck, she shivers with a Zuska’s Les Bras de Mer, presented at canopy of hanging Magritte umbrellas frisson of lust for the wealth and power it Houston’s annual Dance Salad Festival, and black-corseted women flying and suggests. Somehow Yanowsky suggests April 13-15 at the Wortham Centre’s scooping through an abstract work by sweetness and danger all rolled into one. Cullen Theatre, married a simple Stephan Thoss. Their freewheeling Yanowsky combines strength and weak- straight-back chair and table into a com- movement and hand fluttering, despite ness in one body. She gives a performance plicated emotional duet for Silja the avant-garde trappings, perfectly of wonderful daring, desperate risk taking. Schandorff and Jean-Lucien Massot of matched the music by Antonio Vivaldi Tamara Rojo and Alina Cojocaru may the Royal Danish Ballet. The duo, in and Alessandro Marcello. dance the role more expertly, but they simple, muted clothing, used the two Göteborgs Operans Ballet danced sec- haven’t anything like the dramatic power pieces of furniture less as props and more tions from American choreographer Yanowsky unleashes. Kenneth Greve is a as partners in their emotional depiction Nicolo Fonte’s Re: Tchaikovsky, a power- perfect partner for Yanowsky’s desperate of a troubled relationship. It was one of ful yet lyrical examination of a compos- passion. He may not be as elegant as Johan the more moving of the international er’s life and emotional turmoil. The piece Kobborg, nor as athletically thrilling as presentations staged over three nights contained a particularly beautiful pas de Carlos Acosta, but when he stretches his leg and almost 10 hours. deux for two males. in arabesque it is from some point of yearn- There was no single theme to the 11th Trey McIntyre’s pick-up company ing, not just a romantic step that is techni- annual Houston contemporary festival showed excerpts from his quirky and cally precise but empty of feeling. this year, with 11 different companies very amusing Chasing Squirrel. Dancers None of the dancers who came to Bos- coming from seven different countries, en pointe with cartoon hairstyles enticed ton managed to create a believable all curated by producer Nancy men in red pants and suspenders, in a Lescault. Thiago Soares came close, but Henderek. Instead of a salad, it was more rousing pursuit of love between the sexes. like Viacheslav Samodurov and Jose Mar- a buffet of tastes from several different Effortless partnering and a sheer delight tin, he didn’t have the sense of dark treach- cultures. There were dances presented in the steps charmed the audience like a ery that Anthony Dowell and David Wall from China, Europe and America, rang- Bugs Bunny ballet. used to bring to this role. ing from classical and contemporary bal- Maurice Béjart’s La Barre also used Genesia Rosato and Elizabeth let to post-modern movement. The Chi- humour in a loving and brilliant tribute McGorian were both delicious as Madam, nese, particularly, chose dramatic to the life of dancers. To the strains of recalling the glory days of Gerd Larsen and ensemble pieces to show, while the Johann Strauss and the running com- Rosalind Eyre who danced this part to Dutch National Ballet sent three su- mentary of an instructor, the immensely perfection. perbly danced duets, two of which were talented William Pedro of Béjart Ballet Overall, the 75-year-old Royal Ballet preceded by short, amusing films. Lausanne addressed his barre with a looked in great form under Artistic Direc- Morning Ground, David Dawson’s Chaplin-esque wave before commencing tor Monica Mason. Mason worked closely delicate pas de deux between the lovely his pliés and ports de bras. The barre — with MacMillan and knew him as well as and lithe Yumiko Takeshima and Cedric “the barre is alive” — was held by a anyone. Not all of the 3,600 Wang Centre Ygnace, followed a charming short film, black-clad dancer and moved to its own seats were full at each performance, but the To the Point, by Altin Kaftira — showing choreography. From the barre to the audience cheered long and loud for this how Freed puts the pointe shoes together mirror to the floor, this short piece ex- great company celebrating 75 years of and then how Takeshima takes them plored the daily work of a ballet dancer. dance. apart before wearing. The same film- And, although there were comic antics Gary Smith maker produced a short on romance in incorporated, Pedro was a masterful the rehearsal studio that served as the dancer exploding onto the floor in el- opening act for The Man I Love from evated leaps with a suppleness and spring George Balanchine’s Who Cares?, a suite that belied the ease of his huge grin. Like Houston of dances to George Gershwin songs. Charlie Chaplin on film, it takes great Igone de Jongh and filmmaker and talent and training to play the clown in Not since Fred Astaire graced the silver dancer Kaftira starred in both the short dance, and Pedro was the clown prince, screen has choreography been so inti- and the following duet set to a rousing articulating right down to his toes. mately entwined with furniture. Petr rendition of the popular Gershwin tune. Marene Gustin Above: Anthony Krutzkamp of Trey McIntyre Project Dance International Fall 2006 performing Chasing Squirrel 60 Photo: Rene Micheo.