Ballet Theatre of Maryland brought two engrossing performances of "An American Southwest Carmen" to the stage of St. John's College's Francis Scott Key Auditorium on March 2 and 3. A large, appreciative audience was on hand for the March 3 show, which was postponed from February because of the snowstorms.
BTM artistic director Dianna Cuatto originally choreographed her "Carmen" ballet in 1997, when she danced the title role and became fascinated with Hispanic women such as Candelaria (Carmen) Senna and Senna's friends -- Nicolassa, Maria Lopez, Antonia Luna and Magdalena Martinez of 1840s Colorado Territory.
For this latest version, Cuatto expanded the "American Southwest Carmen" choreography beyond the additions in BTM's April 2005 production, adding depth to the characters and showcasing the strengths of BTM's current dancers.
Her ballet celebrates historical characters she researched in Colorado, who are brought to vivid life in dance to Bizet's "Carmen" score, which perfectly fits the story and works with Cuatto's added Native American and flamenco rhythms.
The dancers displayed athleticism and strength along with a seemingly innate ability to express distinctive Native American and flamenco rhythms, which they seamlessly merged in their dance.
Cuatto's distinctive two- and three-part lifts were fearlessly executed by three couples in an exhilarating dance near the end of the first act and again during the second act in a flamenco dance.
During the performance I saw, Carmen Candelaria was danced by Kelly Braga in her debut full-length leading ballet role.
Combining sensuality, smoldering passion and tenderness, Braga met every demand of the role, at times seeming to help her partner to execute a more perfect lift, and creating memorable pas de deux with partners Justin Allen as Viejo Wells and Calder Taylor as La Fontaine.
Braga exquisitely portrayed the dying Carmen, retaining her independence while tenderly expressing her love for Viejo.
Choreographically inspired throughout, this earthy story set in Fort Pueblo worked amazingly well with Bizet's "Carmen" score. Cuatto easily converted the opera's famous anticipatory bullfight scene here to a climactic fandango in celebration of the victors in a shooting contest. Her ingenious use of strong rhythms associated with the predominant historical cultures of the region -- Hispanic and Native American -- added excitement and authenticity.
As Viejo, Allen met most demands of his role, although his acting and movements were at times choppy and his fight scene with Taylor's La Fontaine lacked fire. His lifts were not always executed smoothly.
Taylor's La Fontaine was spectacular in his bravura dance to Bizet's "Toreador Song" and in his smooth partnering of Braga's Carmen in a sensuous habanera. Having previously observed Taylor rehearsing dueling scenes, I was struck with his vigorous execution of the combat scenes here.
Spellbinding and in serene contrast to Carmen's fiery presence was Margaret Hannah as Magdalena, luminous in white, ethereally light and tenderly conveying her character's refined elegance. Hannah's every move was executed with a smooth, easy grace that seemed innate to her portrayal of Magdalena.
Meagan Helman was a striking presence, commanding attention as Carmen's friend Nicolassa, a free-spirited and sensuous woman much like Carmen but one who, according to Cuatto's research, became an infamous "Madame" of smuggling at Fort Pueblo. Helman's Nicolassa dominated her every scene, projecting an assured freedom and sensuality of her own that was intriguingly distinct from Braga's Carmen.
The entire cast deserves high praise, with special kudos due to the youngest members, who portrayed the "Town Kids" and "Pickpockets," handling difficult choreography with aplomb.
Also deserving of praise was the authentic set designed and created by a highly skilled team of dance artists.
Also on the program was a bright ensemble piece, "Saltamontes," danced to Beethoven's Violin and Piano Concerto and choreographed by Helman, now in her sixth season of dancing with BTM. "Saltamontes" proved a delightful neoclassical piece that worked well with the main event. The ensemble work was professional and synchronized throughout the piece.