The success of the first Ringling International Arts Festival, in 2009, meant to be a bi-annual event, led to an "on demand" follow-up October 13-17, just a year later. The John and Mable Ringling Museum of Art and Baryshnikov Arts Center partnered to present 11 theater, music, and dance pieces under Mikhail Baryshnikov and BAC's artistic direction. Venues included the Ringling's Historic Asolo Theatre and Circus Museum as well as Mertz and Cook Theatres in the adjoining Florida State University Center for the Performing Arts.
Of four RIAF-commissioned works, each presented in the Festival opening Night of Premieres, in addition to three subsequent performances each, three came under the rubric Theater: Hurricane, a play by Nilo Cruz; Solos, four dances by Baryshnikov with David Neumann; and Opera Baroque, a fusion of puppet and comedy theater and opera.
The fourth commission, a co-sponsorship, went to Philip Glass' world premiere of "Glass for Solo Violin." To great acclaim, Tim Fain performed this along with J. S. Bach's "Partita in D Minor."
Solos, the most in-demand RIAF attraction, offered a beginning bonus: "Commute," a duet. Newly choreographed by David Neumann, it chronicled him and Mikhail Baryshnikov on a station platform waiting as businessmen for a commuter train. In overcoats, after miming against the wind, they downed coffee, secured briefcases, moved minimally to a rough beat and grimaced.
Neumann's two solos, both self-choreographed, began with a "Dose" of slick, street-wise guy, showing off to Tom Waits' jazz. The dancer ended looking and acting like Frank Sinatra, jacket over his shoulder. In the penultimate solo, "Tough the Tough (redux)", Neumann became an Everyman, sometimes buffeted, as suggested by a Will Eno text. Yet Neumann's manipulation of a series of metal chairs was remarkable.
In white shirt and trousers, Baryshnikov danced "Valse Fantasie" to Alexei Ratmansky's recent but mostly traditional choreography and music by Mikhail Glinka. Its story (told on recording at first) of a love lost and its attempted but unsuccessful revival proved the dancer's classical ballet as well as dramatic techniques undiminished. His highlight, however, was "Years Later." After charmingly dancing with a filmed image of himself, Baryshnikov seemingly competitively took on his amazingly athletic youth in a film of him taken at 16 as a student in Leningrad. His talent, displayed differently, proved every bit as powerful.
Hurricane substituted for Nilo Cruz's earlier intended one-hander. The lateness of the change shows. Despite some powerful poetic language and imagery, beautifully conveyed by the cast, the play seems very much a work in progress. Its beginning Caribbean storm cripples both the body and soul of Christian missionary Forrest (Paul Whitworth), also afflicting him with amnesia. His wife Ria (Kim Brockington), a pre-storm victim, and Aparicio (Carlo Alban), who'd simply appeared and was adopted by them, try to help him. By recapturing and, if applicable, atoning for the past, will all find and share a better future? Directed by Michael Donald Edwards -- with marvelous after-storm scenic effects by Dane Laffrey, lighting by Aaron Muhl, and sound by Kevin Kennedy, the presentation reflected Asolo Rep's reputation for excellent production values.
Opera Baroque by the Forman Brothers Theatre is a puppet show based on an 18th century comic opera. Its title, A Czech Opera About a Comically Small Crooked-Looking Chimney Built by Masons or The Quarrel Between the Landlord and the Masons tells the plot.
Manipulated by brothers Petr and Matej Forman and unrelated Milan Forman, sometimes showing their hands or faces, both hand and flat puppets included three imps to impede the work of the already disorderly masons. Viezslav Janda provided the music in the manner of the original organist for the Jesuits. Petr Horky was the lighting technician, so important considering the tiny figures and props in the darkened atmosphere of the Circus Museum. A most impressive and amusing show.
Space Panorama re-created the Apollo 11 voyage, including moon landing, at a black-draped Cook Theatre's downstage center on a black-draped table. Using facial expressions, hands and, a few times, arms, Andrew Dawson effected all the historic action. A taped narrative by Gavin Robertson and the 10th Symphony of Shostakovich provided the sound. Jos Houben directed the unusual, interesting half-hour performance.
The Boys by The Theatre Art Studio of Moscow presented a dramatized thread from Dostoevsky's "The Brothers Karamazov," concerning Ilyusha Snegiryov, 9, his father and family, and his friend Nikolay Krasotkin, just shy of 14. A group of boys from Ilyusha's school at first bully him and then come to sympathize with his and his family's pitiable fate. A hopeful note is injected by the involvement of Alexey Karamazov, along with young Krasotkin. Directed by Sergey Zhenovach, who also adapted the novel's nine chapters, the actors gave compelling performances. For all their youth, the boys made their points with strength, undiminished even in rather long philosophical discussions. The audience remained at rapt attention during the RIAF's longest offering -- two uninterrupted hours. In Russian (surtitled in English), on an essentially bare stage, the production gained realism from dramatic lighting and authentic costumes.
Presented as dance, Magic, Mystery and other mundane events by John Jasperse Company also contained situational performance and illusion along with a few mundane tricks with ping pong and slightly larger balls. Although Jasperse performed the "magic" tricks and in some of the dance segments, two couples (Erin Cornell and Eleanor Hullihan usually in black sequined, sleeveless short jumpsuits; Neal Beasley and Tony Orrico in flimsy light briefs and almost-bras) twirled, swirled, and arched. A clever segment had the women in outfits of rosy colored flowers, with matching umbrellas, "disappear" into a hanging of the same pattern and colors and then emerge from under the umbrellas. Much of the movement of the second half of the program reminded of the Plastiques of Grotowski's Theater Lab. Overall, dances resembled usual things done at the Joyce Theatre as New Work.
Other performers were Kate Davis, jazz; Rubberbandance; Sanda & the Takeishis; and Les Slovaks Dance Collective. Daily programs included tours of the Museum of Art collections and special shows, the Ca d'Zan mansion, the Circus Museum and Tibbals Learning Center with miniature circus, and Rose Garden. Art exhibits, discussions, and performances by artists from Sarasota and Manatee Counties -- both before, during, and immediately after the RIAF -- sparked the beginnings of what may become a Fringe Festival.
Jasperse Company
