Ballet Hispanico and Apollo Theatre
present the World Premiere

IF WALLS COULD SPEAK

Choreography by Fernando Melo
Music by Adriano Santos, Marcus Santos, Fernando Saci, Keita Ogawa
Costume and Set Design by Elle Kunnos De Voss
Lighting Design by Joshua Preston
Artistic Collaborator: Shumpel Nemoto

Featuring: Lauren Alzamora, Christopher Bloom, Martina Calcagno, Shelby Colona, Kassandra Cruz, Mario Ismael Espinoza, Melissa Fernandez, Mark Gieringer, Christopher Hernandez, Johan Rivera, Ella Valls, Kimberly Van Woesik, Lyvan Verdecia, Cole Vernon, Joshua Winzeler

Press Representative: Michelle Tabnick Communications

Apollo Theatre
253 West 125th Street,
November 20th and 21st at 8pm
November 20th at 2pm En Familia at 2pm
www.ballethispanico.org; www.ticketmaster.com; 800.745.3000

For two evenings Ballet Hispanico, in celebration of their 45th anniversary, partnered with the historic Apollo Theatre for their annual holiday performance of IF WALLS COULD SPEAK. This bold attempt at showcasing Latino culture’s diversity, per the program notes, is to be a reflection of Mr. Melo’s homeland of Brazil. However, his story is a universal one felt by many who live in overly crowded, major cities - life can be lonelier in cities, surrounded by people, than in rural settings.

This 90-minute experimental piece has more of a silent movie feel to it than ballet. For most of the performance, the dancers perform around a table, two chairs and lampshades. As each person’s story is told, a different realm unfolds behind the mirrored walls. The reflections often were of souls leaving their bodies; or dispersing then coming back together. Inside their homes, their emptiness and longing were palpable. Love was elusive: under a tablecloth, under the table, behind the mirror. Out in the world, people were manipulative, fearful and aggressive as they rushed aimlessly to and fro colliding into one another.

The simple set is very appealing with actors in front of and behind the two-way mirrored walls. This talented group of dancers must have worked hard to synchronize reality with reflection. The movements were painstakingly slow. The live music was provided by four percussionists, who complemented the drone-like, orchestral soundscapes; it was anything but Brazilian. This seems more like a work in progress, and could benefit from some diversity for a more cultural flavor.

- Gloria Talamas -