Issues to Do in Fort Lauderdale: Miami City Ballet’s “Prodigal Son” at Broward Center May 21-22, 2022

Miami City Ballet’s season nearer Prodigal Son encompasses a program of 4 works: “The Source,” a world premiere by Claudia Schreier and director Adam Barish, adopted by Christopher Wheeldon’s 2005 “After the Rain pas de deux,” together with an organization premiere of William Forsythe’s 1992 “Herman Schmerman Duet” earlier than closing with George Balanchine’s 1929 story ballet, “Prodigal Son.”

The program pairs two notably totally different narrative ballets and two duets for a considerate program that packed emotional depth.

MCB carried out Prodigal Son in West Palm Beach on the finish of April and Miami earlier this month. The ultimate performances are in Fort Lauderdale on the Broward Center for the Performing Arts Center on Saturday, May 21, and Sunday, May 22.

The program opens with the world premiere of Atlanta Ballet resident choreographer Claudia Schreier’s “The Source,” a multimedia fable for 16 dancers informed via dance, theater, and strikingly produced digital results.

Film performs a key function in “The Source.” Schreier’s associate and filmmaker Adam Barish, in addition to projection results designer Alex Basco Koch, deserve credit score for the seamless method the visible results and dance sequences mixed to relate a narrative of therapeutic.

The motion begins with an oppressing scene of a port at dawn. Dancers in outsized shirts and pants in shades of grey plod throughout the stage, head down, sometimes stumbling or erupting in fights. Occasionally, a viral-like streak streams down the entrance scrim. Many dancers maintain their palms or fists to their chests as if in ache.

The narrative then transitions from the oppressive opening to an encounter with a bunch of beings in white that revitalized them. The piece ends again on the port with dancers interacting in an environment of heat and hope.

click on to enlarge Miami City Ballet dancers Stephen Loch, Ellen Grocki, and Juliet Hay in Claudia Schreier’s world premiere of "The Source." - PHOTO BY ALEXANDER IZILIAEV

Miami City Ballet dancers Stephen Loch, Ellen Grocki, and Juliet Hay in Claudia Schreier’s world premiere of “The Source.”

Photo by Alexander Iziliaev

Applause from the Miami viewers indicated that the work’s message of grief and therapeutic comes via throughout the stage.

However, “The Source” suffers some weaknesses. These embody an excessively simplified dance vocabulary and the randomness of some scenic and video components. For occasion, it is not clear why the motion opens and closes at a port or the importance of the repeated solar photos. Ambiguities comparable to these distract from the work’s simple message of therapeutic and hope.

Next up is Christopher Wheeldon’s enchanting “After the Rain pas de deux.” Originally a two-part ballet carried out by New York City Ballet’s Jack Soto and Wendy Whelan at NYCB’s annual New Combinations Evening in 2005, MCB performs the work’s second half pas de deux.

Pianist Francisco Rennó and violinist Mei Mei Luo hauntingly play Estonian composer Arvo Pärt’s 1978 composition, “Spiegel im Spiegel” (“mirror(s) in the mirror”). At the 2 Miami reveals, each Hannah Fischer and Cameron Catazaro and Katia Carranza and Chase Swatosh danced this tenderness-drenched duet memorably.

The work’s beautiful lifts and quirky contortions talk emotional intimacy via bodily vulnerability, as when the girl holds a full backbend as her associate rotates her or when she stands on his bent leg, leaning ahead, sweeping her arms as if flying.

Opposite in temper and method is the corporate premiere of William Forsyth’s “Herman Schmerman.” With a title borrowed from the 1982 Steve Martin comedy, Dead Men Don’t Wear Plaid, Forsyth famously said the ballet “meant nothing,”

The ballet could “mean nothing,” however what’s necessary is what it “does.” It mocks gender distinctions in ballet mercilessly. It gestures to how ballet as an artwork type is a coaching for gender, the place in a different way skilled female and male our bodies are disciplined to satisfy expectations audiences have round gender stereotypes.

click on to enlarge Cameron Catazaro and Hannah Fischer in Miami City Ballet’s "After the Rain." - PHOTO BY ALEXANDER IZILIAEV

Cameron Catazaro and Hannah Fischer in Miami City Ballet’s “After the Rain.”

Photo by Alexander Iziliaev

To a Thom Willems’ electro-funk rating with a distinctly Blade Runner vibe, the 2 {couples} — Nathalia Arja and Chase Swatosh on Friday, and Adrienne Carter (simply promoted to soloist) and Steven Loch on Sunday — carry out their roles powerfully, with Swatosh handing over a stand-out efficiency.

The pas de deux begins with the male dancer struggling to help his haughty associate, whose classical sequences demand his whole funding, blocking him from dancing. The frustration communicated by each Swatosh and Loch is tangible.

Both feminine and male dancers execute a fast costume change and return sporting yellow pleated Versace skirts. The male dancer executes wild sequences, and the rawness of his actions noticeably distracts his associate from her sequences.

When he once more agrees to help her, he not presents the sculpted experience anticipated from a classical male lead. She has to work throughout the types of help he’s prepared to supply.

The program’s finale is George Balanchine’s 1929 “Prodigal Son.” Set to composer Sergei Prokofiev’s Le Fils Prodigue, the piece is one among two nonetheless carried out works the choreographer created for Sergei Diaghilev’s firm, Ballet Russes.

The ballet opens in a Georges Rouault-designed Middle Eastern panorama with servants gathering the son’s inheritance. The Prodigal — danced on the primary evening by Alexander Peters and Shimon Ito on the second — enters the scene able to bolt, beating his knees, lunging to all sides with an awesome mimed yell earlier than abandoning dwelling regardless of the entreaties of sisters and father (carried out by Cameron Catazaro).

The scene shifts to the tent of the Siren, the place ape-like servants, costumed in white with skeletal accents, parade throughout the stage.

Their antics arrange the doorway of the Siren — carried out by Dawn Atkins (simply promoted to principal soloist) and by Adrienne Carter.

MCB’s season finale is price seeing twice simply to absorb two very totally different takes on the Siren function, with Atkins imperiously dominating Peters and Carter emphasizing the function’s carnality in her seduction of Ito.

If “The Source” suffers at factors from narrative ambiguity, “Prodigal Son” presents few interpretive choices. Still, the dancers generate dramatic rigidity so skillfully that the viewers is left in suspense to the ballet’s ultimate second, whether or not the daddy would, in reality, take his errant son again.

– Sean Erwin,

Miami City Ballet’s “Prodigal Son.” 7:30 p.m., Saturday, May 21, and a couple of p.m., Sunday, May 22, at Broward Center for the Performing Arts, 201 SW Fifth Ave, Fort Lauderdale; Tickets price $30 to $148 by way of

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