Sarasota News Leader


Issue link:

Contents of this Issue


Page 96 of 114

Sarasota News Leader April 26, 2013 Page 97 ner and playful in his relationship with Kate Honea (Lise), but their relationship was like puppy love with little ardor. In their first challenging pas de deux, when they played with a long pink ribbon that cleverly brought them together in a "cat's cradle," they handled the tricky choreography with ease; but there was little or no sexual tension. However, it was Ashton's version of a bucolic world and, choreographically, playfulness may be the correct interpretation of the characters. Nonetheless, I do think that this is a ballet in which each of the individual portrayals is an important part of the entire production. Honea handled the difficult choreography with a joyful exuberance that reflected the happiness of her character. She met each challenge of Ashton's intricate, technically demanding vocabulary of quick-spinning pirouettes fol- Logan Learned/Contributed photo lowed by bounding leaps, solo balances and especially the on pointe fleet footwork with a quick deftness. While Honea has always had an affinity for roles depicting saucy, piquant characters, creating the part of Lise gave her an opportunity to fully explore this aspect of her talent. It was an added pleasure to have an orchestra for this performance and the music, by Ferdinand Herold —arranged by John Lanchbery — sparkled under the baton of Ormsby Wilkins, the guest conductor from American Ballet Theater. Both Sarasota Ballet Assistant Director Margaret Barbieri and Director Iain Webb danced in productions of La Fille mal Gardee under the watchful eye of Sir Frederick, and together they staged this production. Ricki Bertoni/Contributed photo The Sarasota Ballet season will end in May with a program choreographed by individual members of the company. %

Articles in this issue

Archives of this issue

view archives of Sarasota News Leader - 04/26/2013