TALENT OF JOFFREY TROUPE SOARS IN NEW `JAMBOREE`
By Richard Christiansen Entertainment Editor
Chicago Tribune
May 13, 1985
The event of the moment in the Civic Opera House this weekend was the local premiere of Gerald Arpino`s exuberant ”Jamboree,” but the big news as the Joffrey Ballet marks the half-way point in its two-week run here continues to be the superb Joffrey dancers.
It is customary to note the smiling beauty and youthful vigor of the Joffrey troupe, and they are displaying those qualities as usual and in abundance. In addition, as they work their way into the Chicago engagement, they appear to be at their peak in technique and personality
Dancing through a joyous all-Arpino program of four dances Friday night, they moved impressively as a handsomely meshed ensemble, and they came up with one exciting feat after another in their individual segments.
”Jamboree,” commissioned from Arpino by the City of San Antonio and premiered there last year, gives them plenty of chances to show their stuff. Billed by Arpino as ”an entertainment,” it is precisely that–not a great ballet, but a flashy piece of showmanship that gave the San Antonians exactly what they wanted for their money and provides the rest of the world with a happy few minutes to boot.
With Edward Morgan leading the festivities as a high-kicking, fast-twirling master of ceremonies, Arpino brings on his young virtuosos and lets them loose to a brassy commissioned score for orchestra, harmonica, banjo and taped recordings by Teo Marcus.
Charlene Gehm and Philip Jerry rapturously swirl and embrace in a ”Prairie Psalm.” Jodie Gates and Glenn Edgerton glide through a quicksilver tango. Eric Dirk and Mark Goldweber, the company`s two small super-spinners, bound and kick across the stage, barely touching ground. David Palmer and Tom Mossbrucker set the fringe flying on their cowboy costumes with a fancy heel-clicking ”Split Rail” duet. Palmer, the company`s lightning-fast Australian, soars and splits and takes his life in his hands in a dazzlingly airborne solo. And the whole company links arms to kick-step through the ”Cotton-Eyed Joe.”
Chameleon that he is, Arpino has absorbed the various folk and popular dance influences of the Southwest, fused them with ballet technique and turned the result into a grand, beaming show.
His only slip comes in the overly dramatic passion play, with peasant women fluttering about while the athletic Luis Perez shivers and shakes in front of a live Madonna.
”Jamboree,” scheduled to be repeated Tuesday and Thursday nights, is another Arpino rouser, not a classic but a hit.
Also scheduled for repeat performances those nights is ”Secret Places,” Arpino`s romantic pas de deux set to the second movement (the ”Elvira Madigan” theme) of Mozart`s piano concerto No. 21.
On Friday night, the well-matched lovers were Dawn Caccamo and Edgerton (whose work has been consistently strong and graceful in his many appearances).
Not to be repeated, alas, is ”Kettentanz,” the Viennese charmer and quintessential Arpino-romantic ballet, which was danced to a fare-thee-well on Friday by its dozen dancers.
