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 simply two months after taking us to Paris for Jorden Morris’s “Moulin Rouge,” Orlando Ballet is off to Neverland with “Peter Pan,” a creation by using the same choreographer.

This telling of J.M. Barrie’s loved tale of the boy who wouldn’t develop up brings loads of the equal razzle-dazzle of “Moulin Rouge”: attractive scenic design, with the aid of Andrew Beck and Don Rutley, and eye-popping costumes, designed by means of Anne Armit — mainly the sweet-colored pastels of Tinker Bell’s fairy pals.

but what’s specially enjoyable in this excessive-spirited and excessive-flying construction is how it deftly mixes veteran dancers and more recent faces seamlessly. In a 12 months with pandemic restrictions and missing dancers on account of COVID-19 travel prohibitions, the company feels tighter than ever.

The corps of fairies offers attractive precision and harmony in Orlando Ballet's creation of "Peter Pan," choreographed through Jorden Morris. (Michael Cairns / Courtesy image)

Morris’s choreography entertainingly captures the tone of the prevalent characters: Peter’s boyishness, Tinker Bell’s peevishness, Wendy’s on-the-cusp-of-womanhood romanticism.

these three fundamental roles on opening evening had been danced by means of newer faces. Visitor artist Patrick Frenette, of yankee Ballet Theatre in long island, brings the right combination of athleticism and allure to Peter and demonstrates a lyricism of flow that magically doesn’t appear at odds with the character’s boisterousness.

Junna Ige, who joined the company in 2020, makes an enchantingly impish Tinker Bell and looks as if she may take off any moment. Apprentice Rachele Eusebione makes an exquisite Wendy, well-partnered with Frenette.

Junna Ige is delightfully impish as Tinker Bell in Orlando Ballet's creation of "Peter Pan." (Michael Cairns / Courtesy image)

Veteran company member Adam Boreland places his expressive face and leaping means to work as sneering Captain Hook, whereas Israel Zavaleta Escobedo receives to blow their own horns a few fancy strikes as that “blithering idiot” henchman, Smee. And Anita Boer offers an easy grace to Mrs. Darling, as well as a good looking power to Tiger Lily, introduced right here without Native American allusions. She and 2020 enterprise addition David O’Matz, sporting a Crocodile headpiece, make a wonderful pair.

Orlando Ballet will again name on choreographer-in-dwelling Jorden Morris to take audiences to a special world during its 2021-22 season as it items “The wonderful Gatsby.”

Do I actually have quibbles? Oh, bound.

occasionally, the pantomiming goes on somewhat lengthy. Recorded track is … recorded tune (a lot of Elgar and Britten, although — applicable for the story’s British roots).

and maybe it’s a byproduct of living in a theme-park town, however’s jarring when Smee first takes the stage wearing the feathered hat and scarlet jacket associated with Disney’s depiction of Captain Hook (who in the ballet starts in fundamental villainous black). Later, Hook dons a scarlet jacket, while Smee sheds his — making me ask yourself if it become “put on Your good friend’s outfits to Work Day” on the Jolly Roger.

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Captain Hook (Adam Boreland, middle) leads a rascally crew aboard the Jolly Roger in the Orlando Ballet production of "Peter Pan." (Michael Cairns / Courtesy photo)

They light in evaluation to the many joys of the evening — yes, the flying results have a childlike fun to them. But the actual highlight: staring at the eight fairies function a sprightly quantity that not only described the phrase “mild on their feet” but become done with pleasing precision and unity.

 

 

 

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