THE HANGOVER REPORT – Christopher Wheeldon’s sweeping LIKE WATER FOR CHOCOLATE is an inspired blend of theatrical storytelling and satisfying dance

American Ballet Theatre’s Cassandra Trenary and Herman Cornejo in Christopher Wheeldon’s “Like Water for Chocolate” at the Metropolitan Opera House. (photo by Marty Sohl).

Last night at the Metropolitan Opera House, I attended American Ballet Theatre’s ambitious and highly anticipated new ballet adaptation of Like Water for Chocolate (the staging is a co-production with the Royal Ballet). Based on the Mexican novel of the same name by Laura Esquivel (some of you may be familiar with its subsequent 1992 film adaptation), the evening-length ballet has been choreographed by Christopher Wheeldon, one of the few dance-makers who have managed to successfully straddle a career in both classical ballet and commercial theater (he’s currently also represented on Broadway by the hit jukebox musical MJ, which he directed and choreographed).

In adapting Like Water for Chocolate for dance, Wheeldon has given the sprawling tale about unrequited love and inter-generational cycles of abuse a fluid, poetic presentation. Mostly eschewing mime to tell the story, the British choreographer has instead chosen the more challenging option of using sweeping dance and poignant, organically formed movement to usher the eventful narrative along. That the work both comes across as cohesive drama, as well as an inspired, aesthetically satisfying choreographic expression (particularly his exuisite MacMillan-esque pas de deux work) — especially when considering the amount of plot covered by Esquivel’s novel — is a testament to Wheeldon’s ability to wear both hats with equal panache and vividly capture and translate the work’s magic realism for the stage. His Like Water for Chocolate continues the evolution of the choreographer’s vision of dance theater.

Half the battle is surrounding himself with the right creative team, and Wheeldon has done just that with brilliant collaborator scenic designer Bob Crowley (a longtime contributor) — whose nimble yet elegantly evocative sets (vibrantly lit by veteran lighting designer Natasha Katz) work in perfect tandem with the choreography — and composer Joby Talbot, whose score drives the ballet with passion and exciting forward momentum. At the performance I attended, the lead roles of Tita and Pedro were played sensationally by Skylar Brandt and Carlos Gonzalez — Monday night was their only appearance as these characters — who acted and danced with refreshing freedom and whose chemistry throughout was palpable (even if their smoldering culminating third act pas de deux was understandably a tad under-rehearsed).

HIGHLY RECOMMENDED

LIKE WATER FOR CHOCOLATE
Dance
American Ballet Theatre at the Metropolitan Opera
2 hours, 45 minutes (with two intermissions)
Through July 1

Categories: Dance

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