by Steven Pisano
Part theater, part dance, part chamber opera, Hagoromo, which played last week to sold-out houses at BAM’s Harvey Theater, is based on a centuries-old Japanese legend that is a staple of Noh theater. It is a slim story about grand themes, partly about the ephemerality of beauty and art, and partly about the spirituality of the mortal versus the eternal.
Developed by America Opera Projects and directed by David Michalek, the production gathers together dancers, musicians, singers, and puppeteers to form a multi-art whole. At the center of it all is retired New York City Ballet (NYCB) principal dancer Wendy Whelan as the tennin. The work was created by Michalek specifically for her (they are married). The fisherman was performed by another NYCB principal dancer alum, Jock Soto.
But, dance aficionados expecting City Ballet fireworks from two such eminent ballet luminaries as Whelan and Soto, could not help but be a little disappointed by a production adhering closer to Noh traditions than to the flights of Balanchine. There was much graceful movement to be sure, but little of what could be described as dancing, even at the climax of the story when the tennin performs her celebrated celestial dance for the simple fisherman.