Review: City Ballet’s ‘An American in Paris’ a visually striking performance

From the intense colors of Spanish flamenco combined with classical music to the versatile imagery of Paris infused with a jazzy orchestra, and the visually striking stage of contemporary music and choreography, the City Ballet of San Diego’s performance featuring three different programs enchanted the eyes and ears of San Diegans.

Boléro – The Awakening

A flamenco-inspired choreography by Elizabeth Wistrich, set to Maurice Ravel’s composition “Boléro,” conveyed a feeling of wandering amid an unknown island.

Her trip to Barcelona completely transformed Wistrich’s conception of ballet, with the performance primarily inspired by a flamenco club where she had dinner. Wistrich incorporated ideas from Spanish culture for costumes and props, which she successfully applied to her creation.

The music, repeating one central theme for 15 minutes while steadily building tension, created a dreamlike mood on the stage. In contrast, the vigorous color combination of white, black, and red dresses, along with the captivating movement of the dancers, evoked the image of flowers dancing in a ballroom.

As the atmosphere became majestic with the music’s progression, the stage also became splendid by the end of the performance. Two dancers started the performance with a few instruments in Ravel’s music. Then, the ensemble grew to include four, six, and eventually more than 10. Throughout, the dancers executed a graceful yet restrained dance, complemented by the full blast of the orchestra as the curtain fell.

Morphoses

The second program, “Morphoses,” presented a completely different mood with contemporary art. Christopher Wheeldon, regarded as one of the top contemporary ballet choreographers, collaborated with György Ligeti’s music composed solely of string instruments.

The entire performance resembled videos displayed on a Braun tube at the Museum of Modern Arts. The dancers moved in sync with the music, sometimes bouncing off each other and intertwining, seamlessly continuing their movements. They appeared to transform into bows and strings of an instrument, harmonizing their bodies with the music.

As the music slowed down, the stage filled with the sounds of dancers’ breathing, the clicking of toe shoes against the floor, and ambient noise from the auditorium, creating a tense atmosphere.

Four dancers showcased their core strength and stamina by leading the stage for 30 minutes almost without pause, eliciting a standing ovation.

An American in Paris

The final program reached the pinnacle of visual richness. Geoffrey Gonzalez’s choreography, paired with George Gershwin’s orchestra, made the performance buoyant and breezy. “I think this program is one of the most dynamic that we’ve presented in many years, and it is a privilege to be a part of it and to choreograph,” said Gonzalez.

Gonzalez was inspired by Claire McCardell, a fashion designer who pioneered an American look that combines practicality and beauty. The program depicted a series of steps McCardell took in Haute couture in Paris, overcoming challenges and gaining popularity with her style and design.

The performance showcased aspects of Paris that Gonzalez, Gershwin, and McCardell experienced. Gonzalez went on a trip to Paris to follow in Gerswhin’s footsteps during his time in the city in the 1920s and reimagined the scenes with his creativity and original choreography. The dancers guided the audience into the fashionable city, responding to Gonzalez’s direction.

The dancing style of each dancer, their costumes, and the backdrop featuring the Eiffel Tower and Seine River revealed each character’s personality exceptionally well. In particular, Megan Jacobs, who played a couture Madame, displayed a gentle charisma reminiscent of Meryl Streep in “The Devil Wears Prada,” with compelling and distinguished movements.

The great harmony among the dancers made them resemble an orchestra itself, maximizing the beauty of Paris with their music.

All three programs diverged from classical ballet, but these new trials made the performance more interesting and enjoyable. “Boléro – The Awakening” mesmerized the audience, drawing them onto the stage, while “Morphoses” prompted them to contemplate and search for meaning. “An American in Paris” eased the night with its colorful direction and cheerful plot as the last program.