Review of Miami City Ballet's Firebird

Miami City Ballet is no stranger to envelope-pushing productions-- there is always something new and contemporary introduced to the eager audience. Yet, for the years of high caliber work and spicy workmanship that the company has displayed with honor, there has never been a production with such poise but such fire as the third installation.

First, the Rodeo of four dance episodes was a solid contemporary ballet, very fluid in classical and modern technique and mannerisms. It is a fully male dance, save for one woman, and creates a very different atmosphere compared to other compositions performed. The story is of a determined, young woman, an accomplished cowpoke, who hopes to gain approval of the head wrangler on a ranch. Her feisty journey, coupled with the charm, musicality, and polish of the synchronization, pulls together a beautiful performance with a lasso of professionalism-- still leaving space for some fun.

The act that followed set a different tone for the night-- Nine Sinatra Songs was a nostalgic and entrancing performance that made all yearn for love, or for those who already had it, to spice it up a bit more and remember the beginning, with all its butterflies. Classics such as Softly, As I Leave You, Strangers In The Night, Somethin’ Stupid, and My Way (twice!) were mixed into a beautiful swirl of couples dancing the night away interrupting each other with different aspects of love in their own way. Couples interrupted each other’s dances fluently with different attitudes of love, such as glamorous, mordant, or relaxed, leaving the audience feeling more versatile in their own love language. As someone who has grown up listening to the classics such as Sinatra, the confirmation and nostalgia exhibited through the movements and passion of the dancers was irreplaceable and left some neighbors shedding tears.

Most notably, Firebird left a scorch mark on the hearts of the dancers and the audience. The passion envisioned and displayed by the dancers, from the young children whispering backstage excited to have their moment in such an elaborate display, to the Firebird herself, who was so elated to just dance. Her energy was unmatchable, and from the backstage perspective, every time she pranced off, through the exhaustion she carried the brightest smile out of all the dancers I have seen. Nathalia Arja played a remarkable role with remarkable energy, bringing honor to the dance of the Firebird. This was additionally important, because Firebird was one of the first and most influential roles where the female lead was not simply a love interest for the male lead, but had character development and identity of their own, even though the Firebird specifically did help the Prince on his journey.

Additionally, all of the costumery was beautiful and perfectly fit for every act-- nothing was too much or too little and everything was perfectly fitted like a second skin to each dancer and complimented the theme of the dances as well. Although more simplistic, the little red dress displayed on dancer Katia Carranza, coupled with her sultry yet classy attitude, was the absolute perfect choice to display her talent and tone the best. Even now, when reflecting on all nine of the Sinatra songs, I remember the fleeting tail of the red dress, the pink frills, the shimmery blues, and the dazzling pinks and silvers. In Firebird, each costume was truly unique, and the detailing was so precise that even from backstage I would have liked to have sat with each individual costume and examined it. The most unique parts of the costumes were the masks and headpieces-- angry forest creatures and trees would not have been complete with the intricate and animated expressions conveyed by the masks. Every speck and curve was carved in with clear skill and determination and were absolutely entrancing as well as frightening. The forest truly came to life through its adornments.

Lastly, but definitely not least, the orchestra provided a breath-taking accompaniment for the dancers. Usually, the performances are more audibly piano-based, yet, due to the changes in style shown through the different themes and styles portrayed in the acts, there was an audible change in musical style as well. It was refreshing to hear different instruments take more frontal roles more often, such as the tender woodwinds or fresh strings. The brass were also given more opportunities to play sweeter and mellower notes rather than only their peak energy more frequently; it was truly enlightening to hear different perspectives chime in and speak to each other through instruments.

Overall, this collection of acts is a conversation starter, and keeps all lovers of dance regardless of experience thrilled and begging for more. Miami City Ballet performances are fun for all ages and all groups and should be cherished as a symbol of ballet and its purpose in society-- to express emotion and inspire others through dance.