The Sevastopol Academy of Choreography recently captivated audiences with the premiere of their one-act ballet, “Snow White”, based on the classic fairy tale by the Brothers Grimm. Following their successful debut performance of “The Nutcracker” in 2021, this new production marks a significant milestone for the academy, showcasing both the talent of its students and the institution’s commitment to artistic excellence.
Vice-Rector Elena Belkova highlighted the dual purpose of the academy as an educational institution and a platform for artistic expression. The premiere of “Snow White” not only serves as a showcase of student progress but also as a testament to the academy’s dedication to the arts.
The ballet, lasting just over 60 minutes, features a talented cast, including renowned dancers Sergei Polunin and Darina Rodionova. While these seasoned performers graced the stage during the premiere, the following night saw academy students take on leading roles, demonstrating their skill and dedication to the craft.
Music
Central to any ballet production is the music, which forms the foundation of the performance. Composer Bodo Reinke’s music for “Snow White” adds a unique dimension to the production. Reinke’s collaboration with choreographer Tomasz Kajdanski resulted in a score that blends classical symphonic elements with hints of jazz and Broadway influences. While some may find this fusion unconventional, it undoubtedly brings a fresh perspective to the traditional tale.
Director Emil Faski’s innovative approach to choreographing “Snow White” to Reinke’s music sets this production apart from previous interpretations of the beloved fairy tale. Over the years, “Snow White” has been reimagined by various choreographers, each adding their own artistic flair to the timeless story. Faski’s vision, combined with Reinke’s eclectic score, breathes new life into this classic narrative.
While Bodo Reinke may be lesser-known in Russia, his music for “Snow White” offers audiences a glimpse into his creative genius. Those curious about his work can explore his compositions on his personal YouTube channel, where his talent shines through in captivating piano pieces.
Choreography
Choreographer Emil Faski’s dedication to the art of dance shines through in his latest creation, a mesmerizing ballet production of “Snow White” staged in Sevastopol. Faski’s meticulous work on this performance spanned nearly five months, resulting in an author’s ballet that reflects his inner world and artistic vision.
In crafting the choreography for “Snow White,” Faski aimed to strike a delicate balance, especially when choreographing dances for children. He sought to avoid simplicity without veering into overly complex movements. An intriguing aspect of Faski’s approach was his incorporation of both classical and modern elements into Snow White’s character, showcasing her versatility and grace on stage.
One notable feature of Faski’s production is the treatment of the dwarves in the ballet. Recognizing their inherent humor and physical limitations, Faski introduced jazz elements into their dances, adding a playful and lively dimension to their performances. This decision not only showcases Faski’s creativity but also injects a sense of whimsy and charm into the production.
However, keen-eyed observers may notice similarities between Faski’s “Snow White” and a previous ballet of the same name staged by Kaidansky for the Anhalt Theater in 2016. Certain set pieces, such as the throne of the stepmother (witch) and the mirror, bear a striking resemblance to Kaidansky’s interpretation. While these similarities may be seen as nods to past productions, they also raise questions about originality and creative inspiration in the world of ballet.
One intriguing aspect of Faski’s “Snow White” is the use of multimedia effects, particularly with the character of the mirror, which speaks with a human voice. While this choice adds a modern twist to the performance, some may argue that unnecessary words detract from the expressive power of ballet, which relies on gestures and movements to convey emotion and narrative.
Among the standout moments in Faski’s ballet are the “Devil’s Dances” and the witchcraft episode featuring glass flasks with potions. These scenes exude a sense of mystery and magic, drawing audiences into the enchanting world of “Snow White” with their haunting beauty and intricate choreography.
Students of the Academy
Emil Faski’s enchanting ballet production of “Snow White” in Sevastopol not only captivated audiences but also showcased the immense talent and dedication of the students from the choreography academy. The decision to involve almost all the students studying at the secondary vocational education institution was a significant achievement for the performance, highlighting the depth of talent within the academy.
One notable aspect of the performance was the choice to have the students dance in soft shoes throughout the production, eschewing the traditional pointe shoes. Emil Faski’s decision not to put the girls on pointe shoes, despite it being part of their training program, allowed for a more comfortable and expressive performance, showcasing their skills and artistry without unnecessary constraints.
Two standout students from the academy, Anastasia Goncharova as Snow White and Valeria Voldarskaya as the Stepmother and Witch, delivered exceptional performances on June 23. Anastasia led the performance with confidence and conviction, excelling in both dance and dramatic expression. Valeria impressed the audience with her portrayal of anger and cruelty through dance, skillfully transforming into a feeble old woman with a poisoned apple. Their “duel” as Snow White and the Witch was authentic and engaging, leaving no doubt about the intensity of their performances.
Platon Alekhine’s solo work as the hunter also garnered praise for his excellent plasticity and jumps, despite needing to catch up with his taller partners on stage for more convincing group scenes. The gnomes in Faski’s production, danced by artists from the Sevastopol State Dance Ensemble “Black Sea,” added a touch of familiarity for the audience, showcasing their versatility in different roles.
The mass dances in “Snow White,” including “Butterflies,” “Swallows,” “Bumblebees,” “Forest,” and the captivating “Devil’s Dance,” highlighted the collective talent of all students involved. The choreography, design, and costumes by artist Tatyana Noginova added depth and beauty to these group performances, enhancing the overall visual appeal of the production.
As “Snow White” continues its stage life in Sevastopol, it stands as a testament to the creativity, talent, and hard work of everyone involved, from Emil Faski to the dedicated students of the academy. This production exemplifies how local ballet schools can nurture young talent and create magical ballet experiences for audiences of all ages. Cheers to the success of Sevastopol’s “Snow White” and the bright future ahead for these aspiring dancers.