Metropolitan Classical Ballet Recent Reviews

Review: Humor carries 'Creation'
Sunday, February 29, 2004

By MARGARET PUTNAM / Special Contributor to The Dallas Morning News

ARLINGTON - Adam throws a temper tantrum, God swats the Devil out of paradise, and the Angels wince in terror. Such is Ballet Arlington's take on Genesis in its two-act Creation of the World, performed Friday at Texas Hall on the University of Texas at Arlington campus.

It has an antic charm, laced with wonder, tricks, pique, guile, love and temptation. Both doting and formidable, God tries in vain to rein in his unruly son, who seems much more interested in the Devil and Devilesse than the Angels that God offers as playmates. Eve's entry into the world does not make matters better.

Choreographers Natalya Kasatkina and Vladimir Vasilyov developed the creation for the Bolshoi Ballet in the 1970s, only to have the communist minister of culture nyet-say it because of its religious content. The Kirov Ballet in St. Petersburg, farther away from the capital, took it on instead. Ballet Arlington is the second U.S. company to perform it (the other is Ballet Internationale in Indiana).

Most of the humor comes in the first act. God (Alexander Vetrov) makes his presence known with huge, soaring leaps while his white gown billows like the wind. After he sculpts Adam into being, the newborn examines every limb in fascination, flapping his feet, sliding his legs open and closed. Anatoly Emelianov makes a very appealing Adam, the picture of youth and eager curiosity.

The Angels are equally giddy, prancing about like chickens. The Devil (Andre Prikhodko) - dressed in red, complete with tail and horns - whips about with so much energy that it's understandable why the innocent Adam can't keep his eyes off him. And then there is the fiery Devilesse (Maria Kudyakova), who uses her legs like lethal weapons.

Time for a mate, God decides, and as Adam peacefully slumbers, out emerges the even sleepier Eve (Marina Goshko). Their awaking is sweet and silly. Lying several feet apart, they stare in wonder - and turn away in shyness - until Adam has the nerve to pull Eve into his lap.

No matter how much God tries to keep the new couple from temptation, they run away from Eden. They get into really hot water in Hell, where Tony Tucci's murky red fog and Andrei Petrov's use of harsh trombones and cymbals cast a sinister spell. Red demons dance frantically and the Devil and Devilesse take turns cracking a whip, until at last, Adam and Eve miraculously get back to Eden. Their visit is short-lived, however, and as the forlorn God and sorrowful Angels watch, the couple walk slowly, hand in hand, out of paradise.

Although parts of the ballet border on tedium - with endless up-and-over lifts - there is an overall sweetness about it. If being a parent is hard for God, how can anyone else do better?