Dianna Cuatto entered her 15th anniversary as artistic director of Ballet Theatre of Maryland with a touching rendition of the classic āRomeo and Juliet.ā
Choreographed beautifully, the show performed last weekend to open the troupeās 39th season was highlighted by Cuattoās expert fusing of vibrant dance with romantic drama, with no better vehicle than the smoldering conflict between rival Capulet and Montague families.
The show whets our appetites for Ballet Theatreās next production: āThe Nutcracker,ā scheduled for performances in November and December.
Before last weekendās showing of āRomeo and Juliet,ā Cuattoās anniversary was celebrated in a gathering of about 100 fans. She shared future plans that include expanding the troupeās performing areas beyond the current shows in Anne Arundel, Baltimore, Baltimore County, Bowie and Garrett County.
Another goal is to make ballet accessible to a wider diversity of populations, with the companyās educational programs being expanded with a new Anne Arundel County program that will provide dance training emphasizing cultural impact. Several other programs are being launched to serve students in other Maryland communities.
Those who missed āRomeo and Julietā last week should mark their calendars ā the troupe will perform it again, though not until 2018 ā a show is scheduled for 2 p.m. March 18 at the Performing Arts Center at the Lyric in Baltimore.
It is worth the wait. Cuattoās admiration of Sergei Prokofievās score, which she calls āa poetically breathtaking composition for dance,ā was expressed by her choreographing the young loversā radiant pas des deux and elsewhere in spine-tingling fierce combat scenes.
Several elements are worthy of note, particularly Cuattoās prologue introducing Mab, the Gypsy of Fate. Mab brings a modern note to Shakespeareās timeless story through using tarot cards. As Mab, principal dancer Lynne Bellinger added exotic drama and mysticism in her performance with tarot cards. Sarah Gilliam shared the role of Lovers and Tarot Card with demi-soloist Madelyn Nelson, while demi-soloist Corinne Elkins danced the Death Card.
Among notable characters introduced are hotheaded, vengeful Tybalt, vigorously portrayed by versatile Mark McCormack, now in his third season with BTM ā and who also displayed strong acting skills as gentle, supportive Friar Lawrence who secretly marries the couple.
Mercutio was defined anew by Hong Kong native Victor Smith, who joined Ballet Theatre this season and impressed with his vigorous, multi-faceted characterization. Also marking his first season with the troupe, Baltimorean Sean Sessions impressed as Julietās nobleman suitor, Paris. Another strong new soloist is Stephaen Hood of Baltimore, who brought formidable presence to his Lord Capulet performance, displaying strong swordsmanship skills in his dual with Lord Montague, deftly portrayed by Al Kessler. Another striking addition was Tony Sewer, who created a strong Benvolio, complete with disarming warmth.
Diego Sosa excelled as a romantic young Romeo, eager to experience life fully and fearlessly. Persuaded by Mercutio and Benvolio to attend the Capulet ball, he backs into Juliet to meet his destiny.
As Juliette, Nicole Kelsch displayed a luminosity and weightlessness that enabled her to seem ethereal floating in air. Now 11th season with Ballet Theatre, Kelsch radiantly conveyed julietās instant love for the equally smitten Romeo, and ended Act 1 with a gorgeous pas de deux.
Performances of āThe Nutcrackerā will be 7 p.m. Saturday, Nov. 25 and 2 p.m. Sunday, Nov. 26 at Bowie Center for the Performing Arts, 15200 Annapolis Road, Bowie; then 7 p.m. Saturdays, Dec. 9 and 16 and 1 p.m. and 4:30 p.m. Sundays Dec. 10 and 17, at Maryland Hall for the Creative Arts, 801 Chase St., Annapolis. There will also be two āNutcrackerā performances at the Modell Lyric in Baltimore on Saturday, Dec. 23 at 1 p.m. and 5 p.m.