The Rice Thresher

Location: http://the.ricethresher.org/ae/2006/09/29/dracula_ballet_review

September 29, 2006 > Arts & Entertainment > Missteps detract from Dracula

Missteps detract from Dracula

By Risa Gordon | Thresher Editorial Staff

The Houston Ballet’s rendition of Dracula could have taken a few hints from boy bands of the late 1990s — the group choreography was anything but in sync. The ballet engages audiences visually and musically but suffers from choreographic arrangements that do not allow its talented leads to showcase their abilities. Dracula, which world premiered in Houston in 1997, is very loosely based on Bram Stoker’s novel of the same name, but a fan of the novel would recognize few of the details — even the names of the characters have been changed.

Much of choreographer Ben Stevenson’s work centers on large or small group dances, leaving little room for solo and duet numbers. Unfortunately, the corps de ballet’s inability to synchronize detracts from the overall mood of the dances. For instance, Dracula’s vampire brides, identical from their long flowing blond wigs to their pointed feet, should be performing in perfect unison. Instead, a number of dancers lag a few beats behind: The missteps are impossible to miss and detract from the brides’ effectiveness as characters in the story. And, by focusing on group numbers, Stevenson prevents the lead dancers from demonstrating their dancing abilities without distraction.

It is not until the middle of Act II when Ian Cassidy — who played the male hero Frederick on the September 23rd performance — and Leticia Oliviera, as the heroine Svetlana, were given the opportunity to shine. Cassidy soared with impressive leaps and Oliviera performed arabesques and spins with flawless ease during an outstanding pas de deux. Her casual grace garnered Oliviera a spot as a principal member of Houston Ballet’s corps after Dracula’s opening night performance Sept. 21.

Dracula’s sidekick Renfield (Oliver Halkowich) drew laughter and applause with energetic leaps and frantic movements. As Dracula, Nicholas Leschke did little more than walk around the stage sinisterly, flapping his cape, waving his arms to control the vampire brides and supporting the female dancers as they spun and danced en pointe.

The ballet also had several amusing parts, in which the dancers were able to convey clearly through their movements. All the dancers effectively convey emotion, from Svetlana’s love of Frederick to the vampire brides’ submission to Dracula — but the company rarely manages to do so through perfectly executed routines, and whether this is the company’s fault or the choreographer’s fault is unclear.

The setting and costume details supporting Dracula were well thought out and created appropriate moods. The gloom of Dracula’s crypt and bedroom in Acts I and III contrast with the bright mundaneness of the houses in Act II’s Transylvanian village. Similarly, the vampire brides’ filmy white dresses contrast with the colorful gowns donned by the villagers. The Houston Ballet’s orchestra, conducted by Ermanno Florio, added to each act’s atmosphere.

Despite the choreographic flaws, Dracula is an enjoyable ballet. The pensive musical score complements a visually rich set and talented lead dancers — a combination that makes for a worthwhile performance.

Dracula runs through Sunday, and on Saturday at the 2:00p.m. performance, students may purchase rush tickets for only $10 in the 90 minutes prior to the start of the performance, dependant on the availability of seats.

End of article

Back to top