tah Ballet’s annual fall production this year was titled, “Souvenirs,” and it provided plenty of good keepsakes and memories. The young, talented members of the University of Utah company demonstrated wonderful artistry and technical ability as they joined together to celebrate the joy of dance. The four-piece program featured works by choreographers from all over the world.

The first piece was “Spring,” choreographed by Jiang Qi. Originally from Beijing, China, Jiang received both his B.F.A. and M.F.A. from the University of Utah and was a principal dancer with Ballet West. Currently a faculty member of Cincinnati Dance Division, of the Cincinnati College of Music, he came back to Utah to stage his piece “Spring” with the company.

Lighthearted, cheerful and in the neo-classical style, this piece’s challenging choreography was met by the lead couple, Erica Bryce and Tyler Nelson. Bryce moves in a light, expressive way and dances with sparkle. The yellow costumes outlined with pink flowers complemented the music by Vivaldi, and matched the dancer’s continuous, willowy movements. The choreography was filled with innovative lifts and quick, playful steps that made the piece a delight to watch.

“España,” featuring choreography by Marius Petipa, William Christensen and Maureen Laird, was a compilation of Spanish-flavored dances. The dancers performed with flair and gusto, using tambourines and Spanish fans as props. Jennifer Cardenas was an appropriate choice for the Kitri solo variation from the ballet “Don Quixote.” Her gorgeous, ruffled costume and dynamic stage presence added to the overall performance.
Especially impressive were newcomers Michelle Spencer and Kalise Vandersteen in a duet, also from “Don Quixote.” They looked tall and elegant in their tutus and danced with liveliness and expression. Their steps were together the whole time and they looked happy to be dancing up until the end. Other sections of this piece included the Spanish dance from “The Nutcracker” and selections from “Carmen.”

Megan Searfoss and Mark Harootian were breathtaking in the balcony pas de deux from “Romeo and Juliet.” Tom Mossbrucker and Jean-Phillipe Malaty choreographed this particular version. Mossbrucker is from Tacoma, Wash., and Malaty is from the Basque region of France. Together, they are the co-artistic directors of the Aspen Santa Fe Ballet. With a set design courtesy of Ballet West and wonderful, flowing costumes, Searfoss and Harootian excelled in this pas de deux. Harootian has marvelous acting ability and a lyrical, expressive way of moving. Searfoss has no fear, attacking every step with technical proficiency. Their keen sense of musicality enhanced the romantic score by Prokofiev, and their soaring connection with each other left the audience in a dream-like state.

Eloy Barragan choreographed the last piece, "Between Signs." Born in Mexico City, he is now an assistant professor and choreographer at the University of California, Irvine. A contemporary ballet, “Between Signs” had a mysterious feel to it.

It featured 10 dancers wearing unusual costumes—different colored unitards with a type of hoop skirt attached to them. This piece was interesting because there was always constant movement. The choreography was free and open-minded, showing off the dancers’ ability to really move. The abstract movements were rhythm-driven, leading up to a spectacular finish.

Utah Ballet co-artistic directors Sharee Lane and Maureen Laird succeeded in putting together a program that would appeal to everybody with an interest in dance. This latest performance surely allowed the audience to pick up a souvenir or two.
marissa@red-mag.com