PITTSBURGH BALLET THEATRE

Since 1987, Pittsburgh Ballet Theatre has offered three versions of The Great Gatsby, most recently, a two act production choreographed by Atlanta Ballet's John McFall and Lauri Stallings, which was performed October 31 - November 2, 2008 at the Benedum Center. More successful than its predecessors, the multimedia production avoided slavish adherence to narration, while maintaining the nucleus of F. Scott Fitzgerald's Jazz Age novel. Oddly, the title character, Jay Gatsby (Christopher Rendall-Jackson) did not emerge as the dominant character and paled to the better developed Tom Buchanan (Nurlan Abougaliev). The choreography's mix of contemporary movements, social dance steps and ballet flattered the male bodies, but looked choppy, awkward and graceless on the women. For example, an ensemble dance for a contingent of maids looked clumsy and messy while the initial solos for Gatsby, Tom and Nick Carraway (Christopher Budzyski) highlighted Act I.

The work incorporated several interesting theatrical devices, among them, an opening and closing film of Daisy; Nick's red umbrella; and a dinner for four, staged atop a music box. Also effective, was a speakeasy scene depicted with a half-lowered curtain and a bottle brigade of men. The score, which utilized period music from the 1920s and 1930s, was uneven, as some of the original recordings crackled appropriately while other selections were crystal clear.

Maribel Modrono, unrecognizable in a blonde wig captured the essence of Daisy. Erin Halloran's dispassionate portrayal of the ill-fated Myrtle, defined the relationship with Tom as an affair of opportunity, not of love. Kudos to Daisuke Takeuchi as Rapper and Nicholas Coppula and Luca Sbrizzi for a well synchronized party duet. Outstanding was an ensemble Charleston and the Act II romantic adagio for Gatsby and Daisy.

PITTSBURGH BALLET THEATRE

Carmina Burana (1993) with its pseudo modern dance choreography. The bad news: Dwight Rhoden's hectic mishmash, which had its Pittsburgh premiere at the Benedum Center, March 14, 2008, also misses the mark. Rhoden's 64-minute, abstraction fails on several levels. The relentless thrashings do not equal the grandeur of Carl Orff's score, but attempt to ride to glory on its delicious rendering by the Mendelssohn Choir of Pittsburgh. Consequently, audiences may be swept away by the magnificence of the choral performance, which deserved the standing ovation that it received. Vocalists Jennifer Saunders, Dillion McCartney and especially Brian Keith Johnson (all veterans of the Stowell production), who appeared onstage with the dancers in various segments of Rhoden's ballet were welcome presences amid the chaos. Rhoden's abstract interpretation does not sustain interest for the duration. Eventually, the frenetic pace whirls the movements into a monotonous blur that quickly fades from memory. Familiarity with the score and other ballet versions of this opus, served as a road map. Despite subtle costume accessorizing -- capes, hoodies, and skirts for the men -- it was difficult to visually discern the transitions among the five sections in Rhoden's production, until Julia Erickson appeared in a bouffant dress, signaling the Court of Love segment. The uninspired theatrical effects lacked impact -- or like the red fabric dress/tent -- were convoluted and awkward to manipulate. The amateurish rose tossing finale, with Erickson perched on a swing disappointed. However, throughout the performance, the dancers expended their energies admirably.

The program opened with Twyla Tharp's 14-minute Octet (1992), a classical ballet for four couples. The dancers respected Tharp's choreography, but had not reached the comfort level necessary to "own" it.