Having seen Princeton University Ballet’s productions of “Nutz,” I expected something similar from their spring show “Spring Fling,” — you know, minus excerpts from “The Nutcracker.” But “Spring Fling” is not limited by the same constraints placed on PUB’s classic fall show. Rather than dividing the performance into classical and contemporary halves, more modern, student-choreographed pieces are placed in between classical variations from a variety of ballets. The result is a refreshing, engaging production that evokes the sense of fun and light-heartedness so inextricably linked with springtime.
The structure of “Spring Fling” is a hugely influential artistic choice. Part of the skill in this production lies not just in the choreography and performance, but in the transitions between pieces and the building of emotions that takes place over the course of the ballet. A selection from “Romeo and Juliet” transitions seamlessly into “Cascade,” a piece choreographed by Maria Katarina Rafael ’15. The classical partnering present between Romeo and Juliet (Daniel Cohen ’13 and Caroline Hearst ’14) in their romantic rendezvous blends into the atypical same-sex partnering present in Rafael’s choreography. The flouncy purple dresses from “Romeo and Juliet” are replaced by simple gray shirts and shorts. While the two pieces might sound diametrically opposed, the contrast is breathtaking, and themes of grace and togetherness carry over.
The flow of the production is maintained through seamless transitions. Almost before the previous piece’s dancers have made it all the way offstage, the next piece begins, keeping up the show’s quick pace. Clocking in at almost exactly an hour, “Spring Fling” is a short, but sweet production. The lengths of the pieces vary, with longer pieces telling a story and shorter pieces just hinting at the theme. Unfortunately, in PUB’s pursuit of brevity, the company has selected certain classical variations so short that they cannot absorb the audience effectively. While these variations evoke the “Spring Fling” theme, the all-too-soon endings can seem slightly jarring to the viewer. Longer selections, including excerpts from “Swan Lake” and “Carmen” are satisfying in their commitment to storytelling. Kamber Hart ’16 shines as the evil sorcerer von Rothbart in PUB’s selection from “Swan Lake” — her expression and performance quality adds a unique element to the beautiful variation. Similarly, Morgan Nelson ’15 mesmerizes as Carmen in an excerpt from “Carmen Suite.” The fiery chemistry between Nelson and partner Colby Hyland ’16 is entirely believable, making the variation seductive rather than awkward.
PUB’s student choreographers are featured prominently in “Spring Fling.” When seven of the 13 pieces in “Spring Fling” are products of student choreography, it’s difficult to choose a favorite, but “Liberated by Love” by Celina Culver ’15 is a standout. Five dancers take the stage, with two couples dancing in tandem and one girl attempting to break their mold. Sophie Andreassi ’16 stuns as the featured performer, dancing with her hands invisibly bound as the other dancers attempt to weigh her down. Culver uses lighting to her advantage, illuminating her dancers in shadowy white and golden light. The unison of movement and expression, coupled with the rousing musical selection makes for a memorable piece. Pieces like “Speak No Feeling,” choreographed by Andreassi and Hart, and “Ripples Through Honey,” choreographed by Sarah Howells ’16, feature innovative choreography and eye-catching costumes, but a lack of unison in movement and uneven facial expressions keep these pieces from reaching their full potential.
“Spring Fling” features a piece by guest choreographer Tom Mattingly, who adapted his original choreography for PUB’s dancers. Titled “Fall into Loving Arms,” this piece is a show-stopping number. “Fall into Loving Arms” follows five dancers, each of whom brings real, individual expression while still maintaining incredible unison. When the male and female dancers come together in pairs, the dance remains tight and in sync. Artistic Director Paige Hupy ’14 rounds out this piece with her striking solo. The audience will not be able to tear their eyes away.
“Spring Fling” is an exploration of new possibilities for Princeton University Ballet, as the company experiments with structure and contemporary pointe-work. The performance is a strong showing for PUB — evidence of how the company has challenged itself to bring new material to the table. PUB heralds in spring with refreshing and visually stunning performances that leave the audience ready to grand jete all the way to Lawnparties.
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