DANCE
BY RACHAEL CARNES
MAGIC CARPET RIDE
Ballet Fantastique delivers a constrained Aladdin to a rock-and-roll score
B
allet Fantastique’s Aladdin takes the company’s storytelling style on a new adven-
ture, combining an ancient tale from the Arabian Nights with indelible music by
Queen, played live by Satin Love Orchestra.
Choreographers Donna Marisa Bontrager and Hannah Bontrager find a gem
in Natanael Leal as Aladdin. Leal’s impish characterization, strong footwork
and solid partnering provide youthful zip throughout the production. Princess
Jasmine, danced with élan by Amanda Coleman, continually tempers Aladdin’s
untamed persona.
Gustavo Ramirez delights as Jafar, punching his menacing physicality through
the space. Flanked by busy parrots Ashley Bontrager and Leanne Mizzoni,
Ramirez has fun as the resident baddie. Choreographically, this character could
dial up the mean factor — showing us more weight, more strength and more
sharpness — to balance Aladdin’s charms.
Hannah Bontrager and Carolin Koepplin are both engaging
movers as “Jeannie Babes.” Bontrager, especially, has an
integrated investment in each moment.
Costume designs by Donna Marisa Bontrager
— jewel-toned and vibrant — cleverly reinforce
a fantastical imagining of the past. But the
turbans the “Street Babes” wear in Act I confused
us. Are these turbans? (In 2017, we ought to at least
have the conversation about what we’re projecting when we
choose to incorporate what seems like religious headwear into our
non-religious effort. We accept men wearing turbans in all kinds
of roles — Aladdin, Jafar, the Sultan — but should
we?)
Lighting design by Caroline Barnes and Donna Marisa Bontrager takes us to a sun-
drenched ancient city and deep inside the Cave of Wonders.
The libretto by the Bontragers, as well as Genevieve Speer and Deborah Speer, asks
quite a lot of Jim Ballard, who does double-duty as the Narrator and Genie. BFan
often employs a narrator to scaffold the story for the audience, and while Ballard is
affable in this role, there’s some theatrical artistry missing in the development of
the words and their delivery.
A dramaturg might help to elevate the language of the narrative, which is
serviceable but seems somewhat pedestrian in contrast to lyrics by Queen.
And the narrator’s pacing and dynamics could benefit from a theater director’s
input.
Choreographically, the ballet is most compelling in those moments when the
movement explores the deep diagonals in the space, changing focal points
and breaking from unison. Especially in counterpoint to its rock-’n’-
roll score, BFan’s continually symmetrical groupings (one main
character in the center, one or two on either side, repeat) and
forward-facing, presentational style, seem constrained.
Under musical direction by Jason Palmer, Satin Love
Orchestra shines. Vocalists Matthew Larson, Shelley
James and Rica Wright hit us in the sweet spot,
taking iconic Queen riffs and making them their
own. Guitarist Joe Weber, keyboardist Owen
Wright, bassist Callan Coleman and electrical
percussionist Daren Kromarek round out this
stellar musical effort.
Older students from BFan’s dance program joined
in the performance, adding to its overall liveliness.
NATANAEL LEAL AS ALADDIN
15th Annual
Eugene Scottish Festival 2017
Saturday May 27 — 10am - 5pm
Irving Grange, 1011 Irvington Drive
Bagpipes, fi ddles, Harps, Sheep Dog
demo, highland game demo,
Dog Parade, horse-drawn wagon rides,
dancing and Scottish imports.
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OPEN HOUSE:
Friday, May 19, 2017 &
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10 a.m. - 3 p.m.
Contact US Forest Service at:
541-383-5758
30
May 18, 2017 • eugeneweekly.com
www.eugenescottishfestival.com
Admission $5; families $10; 12 & Under Free.
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