Joffrey School Dancers - Official Company of the Joffrey Ballet School

(See May 2, 2004 Joffrey Ensemble Review).

Presented at the John Jay Theater- New York City
June 4 & 5, 2005

General Director, Edith D'Addario
Artistic Director, Elie Lazar
Coach, Eleanor D'Antuono
Artistic Advisors, Eleanor D'Antuono, Francesca Corkle, Trinette Singleton, John Magnus
Company Teacher, Elie Lazar
Stage Manager/Lighting Designer, Kristina Kloss
Photographer, Educardo Patino
New York Publicity, Audrey Ross
Publicity/Publications, Robin Sklar-Oettle
American Representation, World Arts Inc.

So Far…
Choreography- Elie Lazar
Music- Britten
Costumes- Paul H. McRae
Dancers- Juliana Scarpelli, Raul Peinado, Jung Min Lee, Atsuko Minoura, Leah Rothschild, Britanny Larrimer, Angelo Giglio, Assaf Ben Chetrit, Kyle Coffman

Esmeralda pas de deux
Choreography- Igal Perry
Assistant to Mr. Perry- Junichi Fukuda
Music- Chopin
Costumes- Paul H. McRae
Dancers- Juliana Scarpelli, Kyle Coffman, Atsuko Minoura, Raul Peinado, Leah Rothschild, Angelo Giglio

Soirée en Passant
Choreography- Daniel Baudendistle
Music- Brahms
Costumes- Paul H. McRae
Dancers- Leah Rothschild, Raul Peinado, Juliana Scarpelli, Kyle Coffman, Atsuko Monoura, Angelo Giglio

Satanella pas de deux
from Carvival in Venice
Choreography- Petipa
Music- Drigo
Dancers- Jung Min Lee, Albert Davidov

"Masa"
Choreography- Elie Lazar
Music- Armenian
Costumes- Paul H. McRae
Dancers- Juliana Scarpelli, Atsuko Minoura, Jung Min Lee, Leah Rothschild, Kyle Coffman, Raul Peinado, Angelo Giglio, Assaf Ben Chetrit

By Jennifer E. Wesnousky
June 5, 2005

The performance by the Joffrey School Dancers at the John Jay Theater on June 5, 2005 was a refreshing breath of inspiration. Comprised of thirteen young dancers from homelands as diverse as Israel, the United States, Brazil, Italy, Korea, Japan and Spain, both diversity and unity played prevalent roles in the afternoon's entertainment. Described by Artistic Director, Elie Lazar, as "the Joffrey Ballet School's most talented students," these official members of the Company of the Joffrey Ballet School exuded presence and professionalism which seemed to exceed their age and experience.

It seems obvious, then, that the versatile experiences of Lazar himself (as a professional dancer in ballet companies in his native Israel, Japan and the United States, as well as his aptitude as a teacher and renowned choreographer) have contributed to the creation of a company which is physically, stylistically and choreographically well-rounded. Corps pieces such as "So Far" and "Soiree en Passant" displayed not only the company's exquisite classical training, but their ability to both stand out as individuals and function as a unit, appearing completely in their element onstage. Choreographed by Lazar, "So Far" showcased his excellent eye for both individualized and unison movement while emerging choreographer Daniel Baudendistle's "Soiree en Passant" made the most of the partnering skills of three well-matched couples.

Two pas de deuxs gave individuals the opportunity to shine even further. While all of the dancers in the previous piece were of similar height and stature, the audience was in for a treat in "Esmeralda pas de deux" with the much taller, leggy and glamorous Alison Dubsky, clad in an elegant black, bejeweled ballerina's corset and Rafael Ferreras, whose musculature astounded. As their energies meshed, the audience was won over by their skill and smiles in a lively choreographic banter. One could not help but be impressed by Ferreras' energy- both mental and physical- as he performed several series of jeté tours. "Satanella pas de deux" (from Carnival in Venice) featured fine classicism though the vehicle of the talented Albert Davidov and Jung Min Lee, whose joyous grace stood out in every scene in which she danced.

However, the highlight of the afternoon was the closing corps piece, "Masa." Choreographed by Lazar, this eclectic compilation featured segments with the entire company as well as quartets comprised of different dancers. Set to Armenian music, its melodies, movement and sleek, ebony costumes contrasted sharply with the performance's more classical fare. Hebrew for "Journey," "Masa" took the audience on a captivating one, showcasing the versatility afforded by the finest classical training in a medley of both modern and classical movement which appeared to glean inspiration from nations and dances styles as diverse as the dancers themselves.