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GK Arts Center, Brooklyn, New York – March 18, 2016
Review by Jerry Hochman
When faced with a choice between a narrative ballet that is easily understood but features unremarkable dancing, or one where the storyline is vague yet the choreography and staging are imaginative and the dance quality is surprisingly high, which would you prefer? This question arose while watching the premiere of Michael Chernov’s “Stealing Time,” performed by the Gelsey Kirkland Ballet at their venue in Dumbo, Brooklyn. Even after the performance, the ballet’s story and the significance of its title remained unclear. However, deciding to set aside the narrative puzzle and appreciate the production for its other merits led to a delightful experience of inventiveness, cleverness, and sheer entertainment. It’s hard not to enjoy a ballet populated with characters named Venus, Algae, and Guttman – and one simply named Who.
Some might dismiss “Stealing Time” as a nonsensical pastiche, perhaps a less refined take on “Sylvia.” There’s a degree of truth to this; it resembles a blend of “Prodigal Son” and the musical “Cabaret,” with hints of “Le Corsaire” and Balanchine’s “Stars and Stripes,” seasoned with Charlie Chaplin references, Cirque du Soleil acrobatics, and Soviet-style balletic strength. Yet, the engaging choreography and staging, coupled with the dancers’ evident skill and enthusiasm, overshadowed any narrative shortcomings. Chernov and co-choreographer Akop Akopian’s creative vision was evident throughout. The production demonstrated imaginative use of resources, both spatial and financial, and pushed the dancers, many from the Gelsey Kirkland Academy of Classical Ballet, to excel. Consistent with other Gelsey Kirkland Ballet productions, the dancers, both company members and students, displayed meticulous training, appearing remarkably poised despite the demanding choreography. Their technical execution was consistently impressive.
Without a helpful program synopsis, the story of “Stealing Time” revolves around Venus and her husband Algae. (The name ‘Algae’ might seem unusual; research reveals no direct link in Greco-Roman mythology to Venus, who was married to Vulcan, while Algae is a Greek goddess of suffering.) Then there’s Who, Venus’s servant or Algae’s companion. Algae marries Venus but soon departs on a journey to an ambiguous destination, eventually reaching the Clock Club, a dubious establishment run by Guttman, who introduces him to the Celebrity siren. After enduring hardship, Algae is defeated, and Who seemingly dies. Pirates appear after the ship Utopia departs. Ultimately, Who rescues Algae and returns him to Venus, involving a dramatic rope climb up stage drapery. They then presumably live happily ever after.
The narrative shifts between reality and dream, but these transitions are not clearly defined, contributing to the ballet’s surreal atmosphere. However, shifting focus from the story to the dancers’ performances and the overall production quality, particularly in relation to Weil’s musical journey (as Chernov notes), brings a degree of coherence. Algae can be interpreted as representing Weil, with Venus as his artistic muse. The Clock Club scenes may symbolize life in Berlin, or perhaps Mahagonny. The travel sequences (train, ship) might reflect Weil’s escapes from Nazi Germany to Paris and then to America. Who’s role is less clear, possibly alluding to Berthold Brecht, Weil’s collaborator, or even Weil’s Jewish heritage, suggested by Who’s emergence from a suitcase and Chaplin-esque presence.
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Chernov’s set and costume design in “Stealing Time” are particularly noteworthy. The opening scene, depicting Venus’s birth, is visually striking, with Algae descending from Venus’s elevated platform on a billowing cloud. The visual ingenuity extends to dancers enrobed in white coverings, groups connected by white cocoons, and a circle of dancers reduced to white gloves. Subtler images are equally inspired, such as Algae twice seen atop a bass, once resting with Who and later being dragged back to Venus on it – the bass cleverly symbolizing Algae’s (Weil’s) musicality, akin to Apollo’s lyre.
The choreography is diverse and consistently engaging. It doesn’t aim to create a novel ballet language—unsurprising given Gelsey Kirkland’s role as Artistic Advisor—but existing ballet vocabulary is cleverly arranged, incorporating quirky elements suited to Weil’s music, such as sinuous movements blended with classical steps in the concluding scenes. Beyond the initial scenes, the ballet’s pacing is commendable, transitioning smoothly between large ensemble pieces and more intimate moments. Even the Soviet-era athleticism, with its prevalent lifts and acrobatic ballerina manipulations, is seamlessly integrated.
Crucially, Chernov’s concept effectively conveys Weil’s musical evolution both visually and aurally. Act II, depicting Algae’s journey to and arrival in Utopia (America), presents a stark contrast in tone and style to the Weimar Republic atmosphere of Act I. While identifying the specific Weil pieces used would be insightful, it isn’t essential to appreciate the ballet’s overall effect.
Erez Ben-Zion Milatin’s portrayal of Algae is central to both the piece and the performance. A dynamic dancer who has featured in several Gelsey Kirkland Ballet productions, Milatin excels technically, athletically, and in acting, displaying a degree of character development absent in others. His strength is also notable, effortlessly lifting and manipulating ballerinas.
Among the other key characters, Johnny Almeida’s Guttman, though his character’s purpose remained ambiguous (perhaps a virile Cabaret MC figure), was impressively danced, matching Milatin in attack and power. He partnered well with Sabina Alvarez as the Celebrity siren, who, while her choreography was somewhat repetitive, executed her movements with seductive yet detached sensuality. Nina Yoshida’s Who stood out as the most captivating character: part Charlie Chaplin, part Marcel Marceau, part elastic, her understated presence was consistently intriguing, even in its inscrutability. Dawn Gierling Milatin’s Venus had less to do and was relatively static, seemingly fitting the ballet’s concept. She deserves credit for her unhesitating trust in her male partners during lifts and manipulations.
“Stealing Time,” while innovative, feels somewhat unfinished. The opening scenes, apart from the Venus tableau, are slow, and the ‘clock’ motif remains unclear beyond symbolizing time’s passage. Nevertheless, “Stealing Time” is unique in its originality.
Image Alt Text Descriptions:
- Alt Text: Erez Ben-Zion Milatin and Gelsey Kirkland Ballet Dancer in Michael Chernov’s Stealing Time, showcasing classical ballet technique and partnering.
- Alt Text: Nina Yoshida and Erez Ben-Zion Milatin performing in Michael Chernov’s Stealing Time at Gelsey Kirkland Ballet, highlighting dramatic ballet staging and costume design.
