Review: Rock, Roll & Tutus
Stanton Welch’s new ballet “Tapestry” made for one gorgeous vehicle to show off his current crop of ballet athletes. Launching with an expansive solo by Houston Ballet’s newest principal, Joseph Walsh, “Tapestry” revealed ample showmanship, musicality and Welch’s signature breathtaking and daredevil partnering.
As always, the fearless Karina Gonzalez moved like a luminous current of energy, all zest and sparkle. Audiences gasped while she sky skipped from Connor Walsh to Ian Casady. The bold Melissa Hough conjured an ice dancer in her whip-fast turns.
Welch’s penchant for air dancing characterized the ensemble work. Joseph Walsh’s crystal clear, yet sumptuously generous, dancing ended the ballet. It’s quite amazing to watch him command every inch of the stage; it’s as if the air gets out of the way when he storms through it.
Holly Hynes’ costumes combined intricate patterns and bold structure, mirfine roring the ballet, while Lisa J. Pinkham’s lighting cast a velvety glow. The hanging robes backdrop, on the other hand, did little to enhance the ballet. I kept expecting these glorious dancers to weave the robes into some grand tangle. Alas, I had to be satisfied with the stellar dancing.
Christopher Bruce’s “Rooster” focuses on The Rolling Stones more memorable and haunting songs. Katelyn May’s pitch perfect portrayal as the girl who always gets left out was simply adorable, while Christopher Croomer’s body perfectly held the slumped, but proud, posture of the era.
The evening wrapped up with an equally rousing and razor sharp performance of Welch’s “Divergence,” Welch’s in-your-face rubber tutu ballet.
— NANCY WOZNY