Rochester City Ballet’s “Summer of Love,” which had its world
premiere on Thursday and continues through this weekend, is high entertainment
for anyone who loves the music of the 1960’s or wants to experience that time
period captured on stage. Choreographed by RCB Artistic Director David Palmer and Yanis Pikeris,
the show succeeds in evoking the emotions and styles of the turbulent summer of
1967 while showcasing some high energy dancing.
The performance features almost 20 songs from that summer and
moves along at a fast clip connected by a loose narrative, making it appealing
to audience members who may not be drawn to more traditional ballet. It also
affords us the opportunity to see the range of Palmer’s choreography and RCB’s
dancing.
The show opens with “Who Will Buy” and is performed by eight
RCB couples. They appear to be representing the cool cats of the 60’s, city
slickers dressed in spangled mini dresses and suits, their dancing formal and
contained. This piece has a Broadway feel to it, with lots of lifts and flare;
slinky and slick.
Contrast that piece with “Aquarius” in which RCB introduces its interpretation of the Flower Children. They appear on stage with handheld
lights, creating a feeling of spiritual birth with movements that are
loose-limbed, free, and sensual. Costume designer Jorge Gallardo Miranda and
costume constructor Kathleen Kittelberger deserve a
nod for the women’s floral mini dresses.
“We’ve Gotta Get Out of This Place”
introduces the young couple — Benjamin Rabe as James and Jessica Tretter as
Linda, leaving the safety of Nebraska for a new life in San Francisco — at the
center of the narrative. Rabe and Tretter are accomplished dancers, and they do
an excellent job of portraying the transformation of the couple as they become
enmeshed in the California hippie culture.
“California Dreamin'” was an
audience favorite Thursday evening. It features Rabe and Tretter trying to hitchhike
their way to California as company members, using a couple of benches for
props, mime driving cars and vans to help transfer the ebullient young couple
closer to the City of Love. The choreographers do a great job at invoking humor through
mime here, keeping the entertainment level high. Even the
lighting — designed by Eric Fliss — made the audience
laugh as headlight after headlight sweep across the stage, without the cars
stopping to give the young couple a lift.
Megan Kamler solos in “Bang Bang.” She is a gorgeous dancer and this work lets her show
her range. She goes from sharp movements — hands and feet flexed — to more
sinuous, sweeping motions. Perhaps, however, with Kamler
miming being shot repeatedly, the choreography is a bit too literal here.
“Turn! Turn! Turn!” is one of the most grabbing pieces of “Summer of Love.” Featuring the whole company, this piece throws together the
Flower Children with more traditional society, and we get to see them start to
merge and adopt bits of each other’s styles. Take note of Michael Jurica and Caitlin Schwartz, representing the young,
worldly, and wealthy of San Francisco. Jurica exudes
arrogance and bravado and Schwartz bristles with privilege. Only reluctantly do
they start to accept the Flower Children and begin to loosen their own movements
and attitudes.
EDITOR’S NOTE: This article has been updated to include co-choreographer Yanis Pikeris
This article appears in Apr 19-25, 2017.
