JIMMY GAMONET DE LOS HEROS (2-8-08)
A PASSION FOR DANCE
PROGRAM HIGHLIGHTS VARIED WORKS OF TROUPE FOUNDER GAMONET
By Lawrence Budmen
An overview of Jimmy Gamonet de Los Herosí choreographic palette was on display at Ballet Gamonetís second program of the season on Friday at Miamiís Gusman Cultural Center. The three works demonstrated the influence of major 20th century balletic crosscurrents on Gamonetís work.
Les Echanges stylistically recalls Vicente Nebradaís Percussion for Six Men. A taped percussion collage provides the backdrop for an exercise in speed and precision. The concluding ensemble panorama is an exciting display of athleticism. A surefire crowd pleaser, the ballet is ultimately more flash than substance.
Danizza Sabino, a new leading dancer with the company, proved magnetic, displaying sinewy curves and fleet energy. Paul Thrussellís bold attack and break neck speed were dazzling.
With a nod to the dance dramas of Anthony Tudor, Play on Hearts (originally created for Miami City Ballet) is a tale of a jester who brings a maiden together with two male statues that are brought to life. She eventually rejects both lovers.
Gamonetís passionate choreography captures much of the tragic character of the Adagietto from Mahlerís Symphony No.5. An intense work filled with images that remain in the mindí s eye long after the curtain has fallen, Play on Hearts finds Gamonet at his most romantic.
The choreographer created the leading female role for Iliana Lopez over a decade ago. Still sensual, graceful and charismatic, Lopez exhibited flowing line and poignant dramatic power. Joshua Bodden was an agile and acrobatic jester with a sinister cast.
Partita reflects the irreverent neo-classicism of Paul Taylorís Aureole, combined with Gamonetís Latin aesthetic and showbiz flair. With Baroque concertos by Handel and Vivaldi providing the musical energy, the choreographer has concocted a wonderful ensemble piece, replete with wit, tenderness and pageantry. Partita is one of Gamonetís finest creations.
Dressed in flaming orange tights, Jessica Colina was lithe and graceful in the Barocco movement; a model of long limbed eloquence in a pas de deux with Thrussell. Susan Belloís swift footwork and lightning paced spins lit up the stage. Hiroko Sakakibara and Simon Silva achieved soaring beauty amid an angular and difficult duo. Edgar Anido was an energetic presence, partnering Bello and in a comedic trio with Silva and Thrussell.
With Bello, Colina and Sakakibara offering fast paced pyrotechnics, the superbly versatile corps ignited the stage in a snappy finale, capping a celebration of Gamonetís creative diversity.