The Houston Ballet has breathed new life into John Cranko’s celebrated ballet, Onegin, after a 15-year absence from its stage. This enchanting production, rooted in Alexander Pushkin’s 19th-century poem-novel, Eugene Onegin, captivates audiences with its compelling emotional depth and accessible storytelling.
The narrative initially introduces Tatiana, a young country girl engrossed in books, disinterested in her own birthday celebrations. As her peers gather and play a game to glimpse their future loves in a mirror, Tatiana sees Onegin, a visiting friend of Olga’s fiancé, Lensky. Instantaneously enamored, she pours her heart into a love letter, only for Onegin to dismiss her feelings with cruel indifference, ultimately ripping up her letter during the birthday festivities.
The plot thickens as Onegin flirts with Olga, sparking Lensky’s growing jealousy, which culminates in a tragic duel that leaves Lensky dead and Onegin haunted by remorse. After years apart, the two meet again in St. Petersburg, where stunningly, Tatiana has married a prince, and Onegin has matured into a determined man still yearning for her love.
Cranko’s ballet, though a poignant adaptation of pushkin’s work, stands out for its robust combination of storytelling and dance. The Houston Ballet, known for its extraordinary talent, continues to showcase the importance of character development in performances like Onegin, successfully delivering a multifaceted storytelling experience. Particularly notable were the ensemble’s charming moments, including Kellen Hornbuckle’s entertainingly staged anger and Riley McMurray’s comedic indecision.
The first act showcased an array of delightful choreography, from lively interactions among the women to the high-energy antics of the men, with hints of Russian folk dance integrated into their movements. One memorable scene, a joyous group dance at the end of Act I, concluded with a captivating display as couples moved rhythmically across the stage, eliciting enthusiastic applause from the audience.
In the titular role, Connor Walsh embodied the imposing figure of Onegin, dressed in all black, projecting an air of brooding introspection. Nonetheless, the heart of the ballet belongs to Tatiana, a role compellingly portrayed by Karina González. González captures both the innocent yearning of youth and the steely maturity that comes from heartbreak in her depiction of Tatiana.
One of González’s standout moments occurs during her solo in Act II, where her longing for Onegin is palpable, expertly conveying the disappointment she feels when he shows no interest in her. As Tatiana matures in Act III, she confronts Onegin with clear-eyed resolve, contrasting sharply with her earlier, naïve self.
In their emotional reunion, Walsh conveys desperation as Onegin attempts to reconnect with Tatiana, who struggles to maintain her distance despite her lingering love. Their dynamic evolves throughout the ballet, transitioning from a distant and distracted relationship to an intense connection during the mirror pas de deux. This moment, rich in physicality, symbolizes the culmination of Tatiana’s journey from longing to rejection, marked by González’s powerful and expressive performance.
Sayako Toku shone in the role of Olga, portraying her with a buoyant energy that reflects her character’s lightheartedness, yet ultimately leading to misunderstanding and conflict. Her pas de deux with Angelo Greco’s Lensky, who also showcased a poignant solo before the duel, added depth to the narrative while illustrating the contrasting attitudes of the characters.
Finally, Syvert Lorenz Garcia portrayed Prince Gremin, Tatiana’s husband, whose quiet affection for her becomes more apparent in Act III, despite the absence of passion in their dance. This subtle connection, flawlessly executed by Gonzalez and Garcia, highlights a significant evolution in Tatiana’s life.
In addition to the powerful performances, the visual aesthetics of this production are nothing short of breathtaking. Santo Loquasto’s scenic designs and costumes beautifully encapsulate the period, featuring stunning details from the country setting in the first two acts to the opulent ballroom in Act III. The vibrant colors and intricate designs create a captivating backdrop that complements the emotional journey of the characters.
Meticulous lighting by James F. Ingalls enhances the mood throughout the ballet, shifting from the pastel beauty of the garden to the darker tones that symbolize the underlying tension of the second act. Seen together, the visual and musical elements of Onegin provide an immersive experience that resonates with audiences well beyond the final curtain call.
As Houston Ballet’s revival of Onegin comes to a close, the production not only reinforces the timeless nature of Cranko’s choreography and Pushkin’s narrative but also reminds us of the emotional power ballet can wield. The combination of extraordinary talent, beautiful staging, and masterful direction answers the lingering question of why it took so long for this incredible work to return to the stage, proving that great storytelling, when performed by exceptional artists, transcends time.
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