CONCERT BALLET OF VIRGINIA: A Family-Friendly Affair

THE CONCERT BALLET OF VIRGINIA: Fall Repertory Gala

Observations on the Fall Repertory Gala by Julinda D. Lewis

At: The Woman’s Club Auditorium, 211 East Franklin Street, RVA 23219

Performance: October 13, 2019

Ticket Prices: $4-$18

Info: (804) 798-0945 or http://concertballet.com/ or info@concertballet.org

The Concert Ballet of Virginia marked the start of its 43rd year of dance performances with its annual Fall Repertory Gala at The Woman’s Club on Sunday, October 13. The company operates “within the framework of a full-scale professional dance company” but is run by a “marvelous collection of unsalaried Virginians – dancers, choreographers, technicians, craft and stage people and volunteers.” The mission of CBV is to accept and promote those who are interested in performing, providing a professional company experience regardless of skill level.

The 2019 Fall Repertory Gala differed from previous galas in that the program, consisting of a half dozen works ranging from classical to contemporary, incorporated the Diane Hale dancers, including a work choreographed by their instructor, Lindsay Rhyne Hudson, a CBV alumni.

One thing CBV does very well is scenery and set design. The French Scenic Reproduction of a glamorous manor house and lawn for “Biedermeier Waltzes” was donated by Wilton House, but the décor for “The Hunt,” and the trio of purple arches and blue panels for “Litany” were designed by deVeaux Riddick, a creative team member and long-time Technical Director for Ballet Impromptu, the Richmond Ballet, and then Concert Ballet of Virginia until his passing September 7, 2019.

The quintet of dancers in Biedermeier Waltzes” appeared to be the least experienced, as demonstrated by the simplicity of their choreography, soft shoes (no pointe work), and several stumbles. The lighting – or the dancers’ placement – often left their faces unlit, which was a bit of a distraction. But things picked up with “The Hunt,” a lively number featuring dancers dressed in clever red hunting jackets and black riding boots. The dancers prancing in a circle and forming a Rockettes-style kick line drew applause from the audience.

Ilie Davis, the soloist for the slightly dark, introspective and contemporary styled “Dysmorphic,” demonstrated clean lines and an enticing ease on stage. The four women in “Litany wore long-sleeved aubergine-colored dresses reminiscent of Martha Graham. Their movements were also reminiscent of classic modern dance: sustained; low dynamic; and repetitive, ending in a reverent tableau vivant. “Full Moon and Empty Arms” similarly ended in a tableau, although the latter was a classical ballet, with four ballerinas wearing black classic tutus, and a lead dancer in an ivory tutu to match Scott Boyer who partnered all of them. These were apparently the more experienced or advanced dancers, as this piece included pointe work.

The Concert Ballet of Virginia is as much – or more – about the experience than the dance technique. It is a family-friendly affair, with hand-crafted items for sale in the lobby boutique and cabaret style tables where desserts, coffee, tea, wine, and lemonade are served.

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

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Photo Credits: Concert Ballet of Virginia webpage

Concert Ballet of VA

 

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Author: jdldances

Julinda D. Lewis is a dancer, teacher, and writer, born and raised in Brooklyn, NY and transplanted to Richmond, VA. A retiree from both the New York City and Richmond City Public School systems, she is currently an Adjunct Instructor for the Department of Dance and Choreography at Virginia Commonwealth University, and holds the degrees of BS and MA in Dance and Dance Education (New York University), MSEd in Early Childhood Education (Brooklyn College, CUNY), and is currently working on her dissertation in Educational Leadership (Regent University). Julinda is the Richmond Site Leader for TEN/The Eagles Network and the East Region Coordinator for the International Dance Commission and has worked in dance ministry all over the US and abroad (Bahamas, Barbados, Haiti, Jamaica, Kenya, Puerto Rico). She is licensed in dance ministry by the Eagles International Training Institute (2012), and was ordained in dance ministry through Calvary Bible Institute and Seminary, Martinez, GA (2009).

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