Audiences familiar with Rochester City Ballet’s annual performance of “The Nutcracker” will f
ind a refreshing contrast in the company’s latest production, “Anastasia: A Ballet Reimagined.” Trading tutus and sparkle for elegance and charm, this story ballet offers a more mature and intimate aesthetic. Costumes and staging reflect this shift, drawing viewers into the heart of Anastasia’s journey.
Co-produced with the Society for Chamber Music in Rochester, the production is unique in its live music component: a six-piece orchestra performs onstage alongside the dancers. This creative choice sets the tone for the entire evening, emphasizing connection over spectacle.
Under the co-artistic direction of Juliana Athayde and Erik Behr, the musicians—two violinists, two violists and two cellists—not only accompany the dancers, but are incorporated as part of the narrative. Costumed to blend with the dancers and integrated into the scenes, their presence adds sincerity to the choreography and helps transform the performance into a multi-sensory experience. The score, featuring works by Tchaikovsky, Glière, Dvořák, Lysenko and American composer Stephen Flaherty, breathes stunning life into the story.
That story follows Anastasia, the long-lost Russian Grand Duchess—portrayed by Katherine Duffy (Friday and Saturday) and Megan Kamler (Sunday)—as she slowly uncovers her past and reunites with her grandmother, played by Lydia Marbach. The narrative unfolds primarily through pantomime and expressive choreography rather than traditional dialogue or narration. While some moments of storytelling are beautifully executed, the plot can at times feel elusive. A few interspersed visual elements were beautifully done, and the performance may have benefited from more moments to give clarity to the plot. (A quick read of the program is helpful for those unfamiliar with the tale.)
In a clever move that does help the storyline shine, the company chose to feature small groups of young children in select scenes. Their appearances were thoughtfully placed, adding a playful, lighthearted break in the arc of the performance. As the company launches its new School of the Rochester City Ballet, there may be opportunities for further integration of student dancers, potentially expanding both the scale and community presence of upcoming ballets.
One of the production’s most compelling dynamics is between real-life couple Katherine Duffy and John Deming, cast as the handsome conman Dimitry. The couple has a natural onstage chemistry that brings authenticity to their duets. Their seamless partnering, accompanied by the onstage musicians, evokes a romantic “dancing in the moonlight” atmosphere that is both captivating and heartfelt. Deming captures both the rascal and lovestruck sides to his character with movement and acting. When scheming with fellow conman Vlad, played by Adam Kittelberger, Deming is playful and humorous with quick feet and endless turns. While conflicted over Anastasia, his yearning is palpable in the beautiful use of his upper body.
Though the company currently only features two male dancers, co-artistic directors Megan Kamler and Shannon Purpura showcase choreographic ingenuity in their use of a strong female corps. Standouts include apprentice Lily Janneck, whose long lines, striking flexibility and immense control highlight her technical skill; and Samantha Howe, who brings a grounded strength and graceful artistry to the stage. With full-body expressiveness, principal dancer Lydia Marbach commands the attention of the audience. The poignant final image of the ballet is one of maturity and assuredness: Marbach standing centerstage, with the ensemble confidently behind her.
Performances continue through May 11 at Nazareth University’s Callahan Theater. For tickets and more information, visit here.
Sydney Burrows is a contributing writer to CITY.
This article appears in Dec 1-31, 2024.
