Oregon Ballet Theatre inaugurated its twenty-fifth anniversary season on Saturday night with OBT25, a program that was part gala performance and part family reunion – and, if you will, a serious celebration of a performing art that historically has had a hard time getting established in Portland.
Wearing his opening-night purple tie for his pre-curtain speech delivered from the floor of the orchestra, artistic director Kevin Irving dedicated the performance to three OBT artists who are no longer on the planet: Dennis Spaight, the company’s first resident choreographer and associate artistic direct; Mark Goldweber, who as ballet master was instrumental in instilling the company’s strong work ethic; and Michael Rios, an impeccable and mischievous classical dancer. And Irving set the audience thinking by quoting French film theorist André Bazin, who said: “Art emerged from the human desire to counter the passage of time and the inevitable decay it brings.”
I didn’t see much decay, inevitable or otherwise, in dancers, musicians or choreography, although the Keller’s ever-decaying sound system nearly wrecked the pas de deux from Trey McIntyre’s Robust American Love. The Fleet Foxes music was ear-splittingly loud. Come to think of it, most of the music, whether live or recorded – with the exceptions of the piano and violin accompaniment to Christopher Stowell’s Seguidilla Pas de Deux, played by Carol Rich and Nelly Kovalev, respectively; and Thomas Lauderdale’s heartfelt playing of the Chopin Berceuse and China Forbes’ singing for Nicolo Fonte’s Never Stop Falling (In Love) – was almost unbearably over-amplified.
There’s been considerable passage of time since George Balanchine and Igor Stravinsky made Agon, which opened the show, and yet there’s definitely no sign of wear in this work that expresses the jittery, cocky, competitive atmosphere of post -World War II New York – and when danced well, which it was here, is equally reflective of our own increasingly terrifying times.