"Moonwalk": Europa Ballett (St. Pölten), November 25th, 2023
Peter Breuer's intellectual (and emotional) quests and searches, that result in a series of ballet seem to be endless are never to be ignored. Once more, as in his „Coco", he confronts us with a „real" character. Once more, as I had heard before, we were confronted with pre-conceived judgement; the kind that accentuates a certain prejudice, in this case against the music.
„Moonwalk" is a very personal analysis and study of Michael Jackson's life, career and path. Which music could fit better to the complex story-telling if not Jackson's music? And if I may add something, it is impossible to oversee Mr Breuer's exquisite taste and musical knowledge as he has been showing us in the course of his career. To use this kind of pop is evidence of a certain openness of spirit, and free thinking and is more than appropriate, as the public's reception throughout the piece and, especially, during the final bows. But it is a question of taste.
As I have once written, I am writing a critique, a review of a show, not about my taste.
Taste is not to be discussed.
For instance, many people consider John Cage's music a phenomenon. Every time I have to sit through some dated Merce Cunningham piece listening to that, I could fall asleep.
Some pieces, composers, and choreographers are „labelled " as intellectuals.
Some aren't.
And some don't even care. That is fascinatingly dignified. And so valuable.
Just then the „love affair" between the audience and the players can begin. That exquisite, indescribable feeling.
Think about that.
Dramaturgically speaking, the construction structure of the whole evening, even if sometimes a very classic and narrative one, made me wish for a lesser laborious story-telling line. In other words: less scenes. Again a question of taste?
Peter Breuer's vocabulary is tremendous and, most of all, he knows exactly what to give to whom. And how much. And when. That is also the secret of good casting. Nearly all characters have their own „language", their own dynamic, clearly underlined by what I would personally call a distinct phraseology.
Phrasing is a very precious gift and just the most gifted choreographers can play with different phrasing, depending on the characters, to the very same music.
This is mastery.
„Michael" (Benjamin Skupien), „Blue" (Florient Cador), and „Jacko" (Tsukino Ishii) are exactly the examples that come to my mind when I write about „vocabulary", „dynamic", „phrasing", and „casting".
Benjamin Skupien has the difficult task of portraying a real „living character", especially because Jackson was sort of „larger than life".
It can be quite an ungrateful challenge to play a role like this. Comparisons are surely an ascertainment of human nature. And that is not always an advantage for the performer.
„Coco" (Also Peter Breuer's), „Frida", „Nijinsky" and „Marie Duplessis" („La dame aux camélias”) as many others, have also existed in real life – none but enjoyed during lifetime the sort of abusive media exploitation that Michael Jackson had to go through. For me his „way to fame" sounds more like a „Via Crucis" that he had to endure.
Mr Skupien is constantly on stage and the role is a tiresome one.
It is not „that long ago” since Jackson died – His death, like Marilyn Monroe's, James Dean's and so forth – gave him an „immortality " status. His movements were somehow eternalized. Strangely enough, as paying lots of attention to the Corps de Ballet, I could not find the necessary identification with this special kind of movement. Not at the right body points in which they are supposed to be generated.
Let me put it this way, in short: our gesticulation changes with the passing of time. We don't (and won't) move like somebody from the XIXth Century, as this same person could not move like somebody from the Middle Ages. This process is becoming faster every year.
25 years ago, for example, people did not use mobile phones to surf while in the underground. This has given new „movements" (and illnesses as back, neck problems, the so-called “tennis arms”, posture etc. (Not long ago I watched a Giselle performance that gave me the feeling that the dancer has been spending more time with her mobile phone than at the bar… ) Fact is that there are problems to different parts of the body of a whole generation and its moving mechanism.
Think of „Thriller": It is from 1982.
A whole different form of moving, than what we know today, which requires a more analytical eye from every single dancer on stage. To understand it, to feel it. In the same way „Giselle" must be understood as a romantic ballet in its style and peculiarities. But that requires a lack of prejudice. To understand „Thriller" and understand from where the movements are created (and felt) is nothing else than understanding how while partnering, a romantic arabesque should be helped by the Danseur. Style to achieve that special romantic “inclination”. Style… And, whether we want it or not, nowadays we have a few more “styles” to deal with than before. Our language, our vocabulary should be used on more “broader” way - and not on the contrary!
Tsukini Ishii plays „Jacko" with distinction and a certainty that is more than endearing. Another role based on a person that has existed and „breaks our hearts" because of the thing called „destiny"
Also to mention Sarah de Luca as „Music" with very beautiful lines and precise bodywork.
Special praise to Florient Cador as „Blue" (perhaps the best dancing role of the evening) and the „Director". Two complete „vocabularies" for each role.
Let us start wiriting about the visual side of „Blue".
A certain androgyny plays a very subtle role in this interpretation. Even when dancing with „Michael" a difference is clearly noted in their body language. Using his incredible extension, quite unusual for a boy, „Blue" is the feminine side of Michael. He envisions his (Michael's) fears, doubts, and wishes.
The same Florient Cador had a „ball" as the „Director". A tour-de-force in comedy for a dancer who was playing the angelical part of „Blue" – and who would still surprise us with a punk wig as he surpringly joined the Corps de Ballet. Versatility.
What a joy it is to realize that interpreters are also having fun in what they are doing!
A very recommendable evening – and I am sure that, apart from this review „Mouth propaganda" the most accurate, effective way of spreading news around will do its best.
Yes, as our imagination lets us dream: „Moonwalk "!
Ricardo Leitner
a t t i t u d e
November 26th, 2023
