Principal dancers Brett Young and Andre Silva are pictured in a scene from Texas Ballet Theater’s production of choreographer Kenneth Tindall’s “Casanova.”
Amitava Sarkar
Principal dancers Andre Silva (left) and Rieko Hatato in a scene from Texas Ballet Theater’s production of choreographer Kenneth Tindall’s “Casanova.”
Amitava Sarkar
A scene depicting the Inquisition in Texas Ballet Theater’s production of choreographer Kenneth Tindall’s “Casanova.”
Amitava Sarkar
A scene depicting a masquerade ball in Texas Ballet Theater’s production of choreographer Kenneth Tindall’s “Casanova.”
Amitava Sarkar
The notorious Giacomo Casanova is best known for his carnal pursuits. His name has become shorthand for an archetype: seducer of women.
British choreographer Kenneth Tindall’s contemporary narrative ballet Casanova creates a broader view of the infamous figure who lived for nearly three quarters of the 18th century, from his early days as an aspiring priest to his many conquests to the writing of his autobiography.
Last weekend, Texas Ballet Theater staged the visually compelling 2017 work at Winspear Opera House, animated by a cinematic score composed by Kerry Muzzey. The production moves to Bass Performance Hall in Fort Worth next weekend.
Article continues below this ad
Based on Ian Kelly’s biography from a scenario by Kelly and Tindall, the ballet is dominated by its designs. Dark, gold-tinged lighting by Alastair West, re-created by Joseph Walls, merges seamlessly with tall pillars by set and costume designer Christopher Oram, establishing the production’s eerie, noir-ish atmosphere.
In 11 scenes, the story moves from Venice, where the pillars evoke cathedrals and hidden alleyways —supplicants kneeling to pray on wooden benches — to Paris, where the structures shift to represent the reflective glass of the Palace of Versailles and the self-indulgent upper-crust social circles of the late Baroque period. It is here that Casanova’s hedonistic side fully blooms.
He’s depicted as a man who could get himself in and out of jams, with stretches of religious practice alternating with more sensual endeavors. The balance is reflected in Oram’s costumes, ranging from formal black, white and gray attire nearly covering the entire body, including mystery-making capes and masks, to flesh-baring undergarments.
Red-clad figures stand in for danger, the devil even, while a passed around, forbidden red book acts as a kind of thread running through Casanova’s life, driving his fate.
Tindall’s contemporary narrative style features gestural storytelling alongside classical ballet steps. Performers lean their heads back and reach up with their arms as if acknowledging the presence of otherworldly forces, reflecting the Catholic Church’s influence on Casanova. The dancers also create angular geometric shapes with their limbs and perform tight spins that sometimes morph into leaps.
Article continues below this ad
The main drawback of Casanova is its episodic nature, which tends to give equal weight to each chapter of his life, whether mundane or crucial. By trying to cover so much ground, a bland sameness creeps in until the final few, highly focused scenes.
At last Sunday’s matinee, the company of dancers moved smoothly throughout, though they were interrupted when an usher left a door open during a late first-act scene drenched in stage fog. Smoke escaped the theater, setting off an alarm, and the room had to be temporarily cleared. The show resumed 20 minutes later.
The worthy performers included Brett Young as Casanova; Andre Silva as Father Balbi, who first slips Casanova the forbidden book and later turns him into the authorities; Henry Winn as Senator Bragadin, who rescues him after a mugging, then tries to seduce him before making him his heir; and Tim O’Keefe as Cardinal DeBernis, who traps Casanova for the Inquisition.
Along the way, Casanova is seduced by two pupils, leading to his dismissal from the church, going on to work as a violinist, gambling advisor and eventually winding up at Versailles with a benefactor, living a carefree if reckless life of sexual exploits.
Following a party, Casanova turns to writing, has his portrait painted and meets Voltaire. When his lover Henrietta (Adeline Melcher) leaves him, he goes to throw himself into the abyss. A piece of paper fluttering in the wind brings him back from the brink, leading him to reflect on the past he’ll memorialize in his History of My Life.
Article continues below this ad
Oct. 2-4 at Bass Performance Hall, 525 Commerce St., Fort Worth. $35-$105. texasballettheater.org.