PAGE 22

OHIO AND

CANTON BALLETS

by David Connelly

The weekend of Oct. 22-24 was a gala dance weekend in northeastern Ohio with the Ohio Ballet, the resident company at Akron U., and the Canton Ballet, in residence at the Kent State University Stark Campus, opening their new seasons.

Heinz Poll, artistic director of the Ohio Ballet, presented his new work, "Twilight of Birches," with music by Tchaikovsky, at the E.J. Thomas Performing Arts Hall. This work was a great disappointment. The long, flowing dresses by A. Christina Giannini hid the movement. While Giannini may have been hinting at trees in full foilage, Giannini's costumes were a special letdown here, for in the other works, they freed the movement, instead of inhibiting it.

What I did see of the movement was rather boring. The dancing between partners (Jane Startzman Ron Earley; Nancy Muller Paul Frame) was all repose, no tension, and that gets sleepy. In any pas de deux, we like to see an element of resistance between the dancers. Ann Corrado, however, danced aggressively and beautifully in a spirited and precise interlude.

From the repertory, Poll gave us "Summer Night," with music by Chopin, and "Concerto Grosso," with music by Ernest Bloch. Presented at the recent N.Y. Dance Festival, "Summer Night" is one of my favorite Poll works. It reminds me of a tenderly restrained first love and perfectly captures the spirit of Chopin.

Christine Jones and Nancy Muller were the essence of awakening womanhood, but the choreography for David Bondio and Marc Ozanich was ultra traditional and uninteresting. For the most part, they were mere props for the women, and Poll needs to be reminded that this is a day for men's liberation, too. He needs to unleash the strength of his male dancers.

Of special note here is Thomas Skelton's lighting which gave us a summer night, not its mere appearance. Skelton's lighting artistically illuminated the mood of the dance at every turn.

The dancing in "Concerto Grosso" was uneven. In the first movement, the corps was disoriented. Some of the dan-

Icers seemed confused about where they were supposed to be. As a result, I was baffled by the movement. I couldn't tell where the dancing was going. In the adagio, the superb Corrado danced with tender majesty, but Scott Heinzerling did not have the physical or artistic strength to support her. Heinzerling was too earthbound and too obviously challenged in completing his movements.

I especially like the Balanchinian effect in the third movement. The dancers kept coming and coming. Each new measure brought darting virtuosity from the wings.

As a finale, the company presented Ruthanna Boris' ever popular "Cakewalk," a vaudeville spoof loaded with high camp. It's splendid fun and was splendidly danced. I especially liked Ron Early's balletic soft shoe and Ann Corrado proved that she is also an accomplished comedienne, using pantomime to the hilt.

The men showed their skill here and indicated that Poll did not capitalize on their virtuosity in the other works. The piano accompaniment by David Fisher and Michele Horner was brilliantly on target. And Campbell Baird's set literally took us back to vaudeville.

To the south, John Begg took a stab at the neo-classical style of Balanchine in his new work, "Concerto Grosso," with music by Handel. The stab missed the mark. The dancers had difficulty maintaining the plastic poses and completing the demanding moves. But the dance was, by no means, a complete failure. The company, presently in growing pains, needs this kind of challenge and even if there were awkward moments, Begg is forcing his dancers to grow.

Michael Mears and Catherine Howley danced in an isolated fashion with little reference to Doyle James and Deborah Reeves. But James danced with cool distinction and his lifts. were something to see and admire.

From the repertory, the company presented "Schattentanz" (Shadowdance) and "Take A Look: A Clown Show." Both works, of course, were choreographed by Begg.

Continued onPage 26

HIGH GEAR

NOVEMBER 1976

CLEVELAND BALLET

After two years of development through preview performances, Cleveland Ballet made its professional debut on November 19, 1976 at Cleveland's downtown Hanna Theatre. The company, which is directed by Cleveland native lan Horvath, performs an original eclectic repertory based on the discipline of classical ballet, a repertory choreographed by Mr. Horvath and by Associate Director, Dennis Nahat.

Mr. Horvath and Mr. Nahat have both had extensive careers as professional dancers and choreographers with such companies as the City Center, Joffrey Ballet and American Ballet Theatre.4.

The 1976-77 Cleveland Ballet includes performing season three seasons at the Hanna Theatre in November, 1976 and in February and April, 1977 and the return Cleveland engagement of the incomparable American Ballet Theatre. These four ballet programs are included in six different subscription series.

The offices and rehearsal studios of Cleveland Ballet are located in the Stouffer Building, 1375 Euclid Avenue, Cleveland, Ohio, 44115. The company is supported by the professional school of Cleveland Ballet which includes on its faculty, in addition to Mr. Horvath and Mr. Nahat, Mr. Charles Nicoll, Mr.

George Ramos and Miss Pamela Prisbisco.

Cleveland Ballet is available for touring dates, lecture demonstrations and work in

schools. Please contact Gerald Ketelaar, General Manager for additional information. Cleveland Ballet's phone number is 621-3634.

WHAT SHE

Send check to: "What She Wants" c/o WomenSpace 3201 Euclid Avenue Cleveland, Ohio

44115

CLEVELAND'S MONTHLY WOMEN'S PAPER Yearly subscription rates. Regular $6.00 Contributing $15.00 Sustaining $25.00

Institutional $15.00

WANTS

GAY RAP GROUP

FRIDAYS 8-10 PM

The Free Clinic, 12201 Euclid

(across From the 120th Rapid Station) Individual Counseling Thursdays 6-10 pm

call 721-4010 For Information