Opinion: A Faux-Pas De Deux

JESS GREGG

What better way to escape Monica-mania? An evening of dance performed by members of the prestigious Joffrey Ballet and the American Ballet Theatre! A worthy cause was bringing it to the East Hampton High School auditorium, and there was already a touch of controversy about it - posters had been yanked down, and, if rumor was true, threats bandied about.

Except, as it turned out, the build-up for the show, last Saturday night, was more exciting than the event. Color, surprise, illusion - qualities that the very word "ballet" evokes - seem not to have made the change at Jamaica on the way out to the Hamptons.

By any standard, the group's repertory was modest, but the cavernous auditorium made anything less than full graduation ritual seem microscopic. The huge stage, separated from the audience by a space the size of a cornfield, dwarfed the dancers.

Little Variety

Moreover, there were never more than two people on the stage at any given time. Since six dancers were listed on the program, ensemble was possible, yet it was never even tried.

Again and again, some young woman danced with some young man. Once, two men danced together, and once, two women. However, an entire evening of pas de deux, one right after the other, can only be likened to a six-course dinner of which every serving is bluefish.

The only conclusion that can be drawn is that someone in charge suffers from a remarkable lack of theatrical savvy. One example of this will suffice. The backdrop was an overpowering black. Frequently, the costumes were black as well, and the lighting artistically insufficient. The result was the appearance of torsos dancing leglessly, or legs flashing about without bodies, an inadvertent effect better suited to "The Rocky Horror Show."

Outstanding Dancers

Ordinary planning could have avoided this. Very simple to do: One picks up a telephone and dials the high school. (516) 329-4130. "Hello, Mr. Janitor," you say, "what color are the drapes on your stage? Black? Good lord! (aside) Quick, Ann Marie, call the costumer and make some changes - "

The dancers, whenever visible, were talented, the girls lovely, and the boys, handsome. Needless to say, all were magnificently trained. Outstanding was Robert Hill, a graceful Mr. Universe type with shoulders from here to here, equally adept as choreographer, cavalier, and gymnast.

I also took special note of Jody Gates, a principal dancer for the Pennsylvania Ballet. Her appearance in "The Man Who Got Away," choreographed by Sherry Zunker-Dow, was the most theatrical turn of the evening, and the single hint of originality. Danced to the dynamic Judy Garland recording, it caused an almost constant buzz in the theater.

Audience Ate It Up

The audience seemed to relish everything, and individual curtain calls were prolonged. The favorite with everyone but me was a violent modern apache, danced by Lorena Feijoo and Steve Beirens, to the singing of Bette Midler. For this critic, the number was predictable, often redundant, always murky, and the clenched leaps of Mr. Beirens, better adapted to an ice skating rink.

"Stay With Me," this configuration was called, and, along with four other dances, was choreographed by Ann Marie De Angelo, a woman with an astonishing list of credits. How can it be, then, that her work so failed to impress me? Her line seems to be mainly horizontal, close to the ground, and much given to rolling around on the floor.

There were moments of marvelous fluidity in "Duet," but this too seemed to build to nothing. Undoubtedly, the shortcoming is in me, not her, and I wish I could be more constructive. Or maybe I can: Her dance to the words of the 23rd Psalm is entitled "The Lord's Prayer," and I think she will find that these two are not synonymous.

The evening was sponsored by Bill T. Jones, and Long Island Gay and Lesbian Youth, a nonprofit organization that has done lots of good in Nassau and Suffolk Counties.