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American Ballet Theater At City Center
by Maria Paredes

Sensational principal dancer Julie Kent illuminated the stage, starring as Anne Boleyn in VIII. Young choreographer Christopher Wheeldon premiered his newest most fresh production for the first time in the US this past week. The ballet, based on the life of King Henry VIII of England, exposes his romances in such a mystifying manner. There is much contrast between his two wives, interpreted by Alessandra Ferri and Julie Kent. The production breaks away from the conventional structure of ballet and focuses particularly on conglomerating the various dancers onto the stage. VIII is set to music by Benjamin Britten named Variations on a Theme of Frank Bridge, Op.10. Wheeldon's creation was w breath of fresh air to audiences all around.

The opening of the ballet is captivating and intriguing because of the presence of six veiled ballerinas, who were the spirits of the King's future wives. This eccentric detail, at first puzzling, reoccurs as the spirits make a second appearance later on. The stage is ornamented with a royal background, displaying a delightful prestige. The corps de ballet must not be disregarded for they play a rather important role in this drama. Paired into couples, they flutter throughout the stage, making intricate patterns, forming squares and diagonals; it is a marvel to the eye. The garments worn varied in hues and enlivened the set, which had a much more dismal glow. Each couple wore shades of fuchsia and forest green. The corps de ballet was an integral feature of the piece because they served as the royal courtiers, wearing masks at various intervals of the ballet.

The young ballerina portraying Anne Boleyn, Julie Kent, was such a strong and defiant character. With her electrifying entrance and royal purple garment, she was among the most alluring characters in the piece. The dancer had such sharp and sensual movements, yet never lost her gracefulness and delicacy. Kent's incredibly high leg extensions were breathtaking and the simple way of striding across the stage expressed intensity. The innumerable pirouettes performed left the audience simply enchanted. Her movements contrasted those of Catherine of Aragon, played by Ferri, which were much more tender and tranquil. Variation was essential in VIII and the vividness of the set and imagery was crucial to the ballet's inner intention.

Set in the impressive halls of a castle, the piece was thoroughly realistic, and the interaction between the performers and the setting was genuine. At various moments, the stage was illuminated in definite ways as to contrast with the more morose events in VIII. Wheeldon's creative mind was certainly displayed in the minute details enhancing the entire work of art. Among the performers was principal dancer Angel Corella, starring as Henry VIII, and soloist Sascha Radetsky as one of the comical jesters. With various pas de deux and solos, VIII was an enthralling, one-of-a-kind experience. Although much was not revealed about the life of Henry, the ballet's finale gave a revealing notion of his end. VIII undoubtedly abandoned the conventional ties to ballet, a daring thing to do, but as it turned out, the choreographer received laudable remarks. His inventive, original approach is what ballet lacks today and it is simply remarkable; the hackneyed pas de deux and solos should be put to rest for a while.