Set to the lush chords of Prokofiev, Carolina Ballet’s production provides yet another rich visceral experience that serves as a joyful reminder as to how fortunate and blessed we are to have a world-class ballet company in Raleigh. The costumes, on loan from Pennsylvania Ballet, are exquisite, and the sets by Thomas Mauney are rich and substantial.  Lighting by Ross Kolman and fight choreography by Jeff A.R. Jones complete and enhance the overall experience.

Sassy Pablo Javier Perez portrays Mercutio with his usual style and pizzazz. The pas de trois with Wei Ni (Benvolio) and Marcelo Martinez (Romeo) is vibrant and playful. Perez clearly relishes his role, and threatens to steal every scene. Mercutio’s death becomes unexpectedly humorous, and we are disappointed when his irreverent flame is finally extinguished.

Just when it seems there is no possible room for improvement, Margaret Severin –Hansen (Juliet) seems to get better and better. Her Juliet is sweet and lovely, and her transformation to love struck teenage girl is complete. At once achingly fragile and absolutely defiant, Hansen floats through the ballet like a dream. As my daughter’s four-year-old friend declared, “(we) want to give her a hug.” She is utterly lovable.

Martinez continues to impress.  On the heels of La Sylphide, he again easily occupies the role of leading man.  His Romeo is appropriately headstrong, full of swagger and style. The pas de deux with Margaret Severin-Hansen are sleek, taut and powerful, their intricate lover’s dance reminiscent of young love.

Other highlights include Attila Bongar as a stern Tybalt, Jan Burkhard as a pretty gypsy fortune teller in the Mandolin dance, and Erica Sabatini as a flirty gypsy street dancer.

Given the relative size and age of the Research Triangle, there is likely not a comparable ballet company in the United States. If there is I challenge you to show me. If you have not yet seen Carolina Ballet in action, Romeo and Juliet is a great place to start.

Carolina Ballet presents Romeo and Juliet, April 22-May 9, Fletcher Opera Theater at the Progress Energy Center for the Performing Arts. Tickets may be purchased at Ticketmaster, 1-866-448-7849,  www.ticketmaster.com or the Carolina Ballet Box office 919-719-0900, www.carolinaballet.com.

Curtis Brown Photography

During Marcelo Martinez’s final season with the Washington Ballet in 2007, Washington Post Staff writer Sarah Kaufman observed, “(he is) an underused dancer with flamboyant technique and a sweet crooked smile.”  The latter two descriptors are still true, the first is not: Martinez is no longer underused.  He joined Carolina Ballet for its 10^th season in 2007 and since then has had the opportunity to dance multiple solo roles. Under the guidance of Artistic Director Robert Weiss and spurred by the high standards set by his colleagues, Martinez has grown as a dancer and performer.  With hard work and ambition, he plans to continue improving.

Lithe and muscular, with swarthy good looks and graceful athleticism, Martinez commands your attention onstage. While some dancers elevate you to the clouds, Martinez anchors you to the earth with a fiery intensity.  “It is everything or nothing.” He says of performing. “If you get in there and doubt it, it is a waste of time.”

Martinez began his dancing career in Paraguay, one of thirteen countries represented by dancers at the Carolina Ballet.  Rounding out the Latin and South American contingent are regal Alain Molina of Cuba (principle) , and from Uruguay flawless Pablo Javier Perez  (principle)  and Martin Vignolo (corps de ballet).

Like his brothers and sister, Martinez began dancing merely for fun. At the age of twelve, after a year-long-absence, he realized how much he missed ballet. That was when he realized that he wanted to be a serious dancer. Wanting him to rise above the trappings of a South American society with rigid gender roles,  his mother never questioned his decision.

The Right Image Photography

The turning point in his professional career came in 2003, when, at the age of 19, his troupe Companhia Jovem de Ballet do Rio de Janeiro was invited to perform at the Kennedy Center.  Primarily supported by a grant from Partners of the Americas, the group was able to travel to Washington, D.C. to perform for a nearly sold-out audience of 5,000. Despite being among the best of the best young dancers chosen  to represent the Brazilian group (and also the only foreigner), Martinez captured the attention of the Washington Ballet director, who offered him a spot dancing with the company for the 2004-2005 season.

Though grateful for his time with Washington Ballet, Martinez admits it was difficult.  He had to improve his work ethic. He had to learn how to behave as a professional. Then, in his second year, the dancers went on strike. Frustrated to be entangled in the politics of a professional company, Martinez sought inspiration in the form of the 2007 New York International Ballet Competition. He did it for himself, to stay motivated and to have a goal.

His time with Carolina Ballet has been happier. Carmina Burana, his first performance, provided a joyous awakening to the full pleasure of dancing with live music: During one rehearsal, Weiss asked Martinez if he thought the music was fast. Not wanting to complain and unaccustomed to having such input, he timidly replied, “I think a little.” Weiss asked (NC Master Chorale director) Alfred Sturgis to slow down and follow Martinez. “The next day I went to perform… Maestro was paying attention so much to my move. This is the moment that you feel like I am the music. You move in the music with your soul. I was taking my time and dancing. It was amazing experience.”

You will have the opportunity to watch Martinez and other talented members of Carolina Ballet during the second half of their 2009-2010 season, beginning with Cinderella and selected works by Balanchine February 18-March 7. Martinez will be performing in the Raleigh premiere of the Fourth movement from Brahms Schoenberg Quartet.  He describes it a “gypsy style…a character dance….Have to kill body before I can feel character, gain comfort. Want to enjoy it a little bit more.”  If Martinez is enjoying it, you can be sure you will be too.

Carolina Ballet presents Cinderella and select works by George Balanchine, February 18-March 7, 2010. Progress Energy Center for the Performing Arts, Fletcher Opera Theater. For ticket information:  Box Office 919 719-0900 or Ticketmaster 919 982-2787.

In the wake of the devastation that rocked the nation of Haiti three weeks ago, the dancers of Carolina Ballet would like to help the nation rebuild. In an effort to raise funds for the people of Haiti, Carolina Ballet is opening its doors for an open studio rehearsal of Cinderella on Sunday, February 14, 2010, 3:30pm-4:30pm, before the production moves to the theater for the opening on Thursday, February 18.  The company is asking attendees to make a minimum contribution of $25 to the Clinton-Bush Haiti Fund.  “Most of us do not know how to treat wounds, speak Creole, or use forklifts to dig through the rubble,” says dancer Taisha Barton-Rowledge, “we do, however, know how to inspire people through dance, we are given the chance to heal souls, to lift people out of their daily lives and allow them to connect to the further reaches of humanity.” All of the money raised will be given to the Clinton-Bush Haiti Fund.  Seating is limited, contact Emily Hughes in the Carolina Ballet Development Office at 919-719-0800 ext. 229 or ehughes@carolinaballet.com.  The rehearsal will be held at the Carolina Ballet studios, 3401 Atlantic Avenue in Raleigh.

            Due to the demand for tickets to attend the Cinderella / Balanchine program, Carolina Ballet announces that it is adding an extra performance of Cinderella on Saturday, March 6 at 11:00am in the Fletcher Opera Theater.  This performance will be only the Cinderella portion of the program to allow families with younger children to enjoy this classic fairy tale without sitting through a longer production of dance.  Tickets for the 11:00am show may be obtained by calling the Carolina Ballet box office at 919 719-0900 or through Ticketmaster at 800 892-2787.

            Carolina Ballet, Inc. has taken its place among America’s premier arts organizations.  Under the innovative direction of artistic director Robert Weiss, a talented company, fiscally responsible management and community support, Carolina Ballet exposes audiences to traditional ballet by legendary masters and new works of contemporary choreographers.  This twelfth season represents the vibrant entrepreneurial spirit and ever-increasing quality of life experienced here in North Carolina.

Giselle, FantaFairy of Ballet

Giselle, Boyd’s most recent creation, is devoted to ballet and includes images from, of course, Giselle, Cinderella, Romeo and Juliet, and Coppelia, among others. Giselle “also celebrates the effort and art that supports performances, from music to lighting, to costume and scene design-all of the behind-the-scenes work that makes performances possible and sublime.” Boyd plans to donate a collage version of Giselle to the Carolina Ballet‘s Cinderella Ball silent auction.

Ariadne, the fairy of Venice, contains the Rialto bridge, Saint Mark’s Lion, The Phoenix Theater, and other images associated with the city including the carnival mask and the gondoliere. Atop her head sits the famous Saint Mark’s Square lamps. Continuing the theme of her greeting cards, which list the various figures included in each fairy and encourage viewers to find them, Boyd plans to create illustration books. The illustration books will be dediated to a particular fairy and contain clues about how to find the various images worked in to the fairy, as well as history and mythology relating to the theme of each fairy.

Sold as greeting cards, collages, and prints, the Fantafairies can be found online at www.fantafairies.com. They are also sold at the Raleigh City Museum.