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Review - Miami City Ballet - Part 2

© Indrani Rauth

After a short pause, we were treated to Mambo 2am, which is Act IV of The Neighborhood Ballroom, a new ballet and work in progress. If this set of dances is an indication of the caliber of the rest of the ballet, then I think when this ballet is finished, it will be a big success.

The story centers around an American poet who is trying to learn the intricacies of the "dance of life". His successes and failures are set against the background of the ever-changing 20th century. The action takes place in a ballroom located in an urban American neighborhood and in the poet's apartment. The ballet separates the 20th century into four historical periods including the signature social dances of each: the belle epoque, with the waltz; the jazz age, with the quick-step; World War II, with the fox-trot; and the Cold war, with the mambo.

The artistic director, Edward Villella, let his ideas for this ballet sink in for four years before actually moving them to the dance studio and choreographing it. Mambo 2am is the first complete act of the ballet. The full presentation is slated to premiere in the 2002-2003 season.

Villella consulted with world-renowned mambo star, Pedro "Cuban Pete" Aguilar for the choreography. He also consulted with Barbara Craddock, Cuban Pete's instructor and dance partner, who taught the company about the female's role in the mambo.

The set was a Latin dance club, complete with bar and tables and chairs. The lighting was set low, accentuating the Latin club ambience, designed by John Hall. The club's atmosphere was complete with a bartender, Evan Unks, and a live percussionist, Johnny Conga. The beautifully designed costumes were done by Haydee Morales.

The first dance was La Comparsa danced by the whole group. This was a lively opening number setting up the audience with the mambo feel that would grace the rest of the pieces. Next came a duet called Almendra, danced by Luis Serrano and Paige Fulleton. This pair danced with energy and a light spirit, accentuating the flirtations inherent in their dance. Politecnico followed, danced by Sally Ann Isaacks, Andrea Spiridonakos, and Kenneth Easter. Easter really shined in this piece as the guy who manages to attract and keep up with not just one, but two girls. Next came two group pieces, Habana and La Faraona. A pas de deux followed, which for me was the best piece. Danced by Iliana Lopez and Franklin Gamero, the piece was an interesting blend of Latin dance and classical ballet. Lopez and Gamero masterfully portrayed the sensuality of the piece, which was a bit dark and very passionate. The act ended with the company dancing to Que Rico el Mambo.