Dance Like an Egyptian

In 1984, the Bangles taught millions, myself included, how to walk like an Egyptian. The scars have lasted, well, too long.

Enter the Boston Ballet.

The Boston Ballet's production of Cleopatra-with lush costumes, breathtaking scenery and evocative, lyrical dancing-rightfully puts the Bangels to shame, and offers a refreshingly beautiful take on a classic tale.

The story of Cleopatra seems tailor-made for the ballet, with its epic themes of lust, love, empire, political conspiracy and tragedy. Created in conjunction with the Houston Ballet and the Pittsburgh Ballet Theatre, Cleopatra does not shy away from any of these large themes. Choreographer Ben Stevenson, of the Houston Ballet, brings to the production much of the dramatic flair that characterized his staging of Dracula in Boston last spring, but Cleopatra ultimately rests on the skill of its dancers, and as such emerges as the superior production.

The ballet opens with Cleopatra, danced by Adriana Suarez, preparing for the new day in her lush bed chamber. Suarez seems to grow in her role as she acquires the successive accoutrements of royalty-golden bustier, jeweled headpiece and a robe that literally descends from the rafters. Suarez's majesty is partially due to her elevated status, as she spends a large part of the ballet literally above the other dancers on a variety of elaborately constructed thrones. But despite the outward trappings of royalty and Suarez's apparent effort, her performance lacks the conviction necessary to make one believe that she really is the Queen of the Nile.

Kyra Strasberg provides a well-executed counterpoint to Suarez's studied coolness in her emotive portrayal of Caesar's spurned wife, Calpurnia. Laszlo Berdo's Caesar remians stoic throughout the first act, which makes Cleopatra's seduction of him all the more impressive.

The real strength of the performance, however, lies in the male dancers. Laszlo Berdo's Caesar is powerful and stoic, and Yury Yanowsky's Marc Antony produced audible gasps from the audience. Stevenson's choreography provides ample room for these two dancers, as well as the male members of the corps de ballet, to exhibit their considerable talent. The highlight of the ballet comes when the dancers celebrate the arrival of Cleopatra in Rome, and the male dancers achieve a balance of athleticism and lyricism that is truly remarkable.

The scenery, created by Thomas Boyd, who also designed the set for Dracula, is grand in scale and presentation. Boyd's showstopper in this production is a golden barge. The barge, complete with oarsmen, morphs into a magnificent, multi-colored throne invoking Ra, the Egyptian God of the Sun. Boyd chose to enhance the dichotomy between the Egypt of Cleopatra-light, airy and feminine-and the Rome of Caesar, which is cold, stoic and masculine. The music, composed by Nicolai Rimsky-Korsakov and arranged by John Lanchberry, echoes these themes as well.

The production is epic in everything but length. Just grazing two hours, including a 15-minute intermission, the show left most in the audience wanting more. The first act was especially short, with five scenes compared to the second act's seven. The structure of the second act was repetitive as well, as both acts included a showy opening act, an unfolding conspiracy and a pas deus between Cleopatra and her Roman gentleman. The only change in the second half of the production is that Cleopatra makes Marc Antony chase her to Egypt, and a final scene is added to close the ballet.

Tickets $23 to 73. Student rush tickets $12.50, one hour before curtain at the box office.

CLEOPATRA

by

The Boston Ballet

Through May 21

Wang Center

by

The Boston Ballet

Through May 21

Wang Center