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Wild West saga lives
through danceBy John Berger
Special to the Star-BulletinAMERICA'S fascination with violent criminals comes from deeper in the national psyche than "gangsta rap," movies like "Natural Born Killers," or the exploits of Al Capone, Bugsy Siegel and Bonnie & Clyde.
More than 100 years ago the "dime novels" of 19th century America were celebrating the violent lives of the gunfighters and outlaws of the "Wild West." One of the most celebrated of all was young William H. Bonney, alias Billy the Kid.
Billy allegedly killed 20 men "not counting Mexicans and indians" before he was hunted down and killed by sheriff Pat Garrett in 1881. Matthew Wright created his version of Billy's story as a vehicle for Honolulu Dance Theatre in 1996 and staged a striking and imaginative revised version at the Hawaii Theatre this past weekend.
Jamaican-born Kris Jobson delivered an excellent performance as both dancer and actor in the title role.
Jobson's interpretation was more hayseed clown than cold-blooded killer but his final scene opposite Celia Chun (Paulita Maxwell) added a romantic facet to the character. The erotic pas de deux has been trimmed and reoriented but still suggests playful and loving intimacy between Billy and Paulita.
Chun also distinguished herself as a singer with a rendition of "Paulita's Song" that was perfect in its context.
Quinn Allen (Frank), Beaches Banuilos (Morton), Ian Campbell (Foreman Pete) and Squire Coldwell (Jim) gave Jobson solid support as the core members of Billy's gang. Ralph Dobson (Sheriff Brady/Sloe), David Hill (Murphy) and Stan Jacobs (Ollinger) stood out as the nastiest of Billy's enemies.
Michael Deycaza (Tunstall/Pat Garrett) was good as the noble but doomed Tunstall and excellent as Garrett. His work opposite Kurt Calumny (Governor Lew Wallace) earned him laughter in all the right spots and brightened the increasingly dark story. He was also convincing in portraying a man forced to choose between friendship and principle.
Wright's "Billy the Kid" overall isn't as bizarre in its imagery as his "Frankenstein" of 1998 but is memorable for the integration of ballet with other types of dance and the use of spoken dialogue and singing as well as traditional ballet pantomime. The results were striking and effective.
Jobson danced among the flailing legs of 14 energetic upside down women during the elaborate segment depicting Billy's "guilt, agony and despair" when Tunstall is murdered.
"Billy's Capture" was a bright contrast and an excellent piece of synchronized comedy. Jobson, Allen, Banuilos, Campbell and Coldwell camped it up in a choreographed gunfight on and around the chairs that represented their hideout. Much of the choreography suggested women working on stage in a "high-class" strip club, and the surreal nature of the number was heightened by Wright's use of of "Ta-ra-re Boom-de-ay" as the melodic theme. It was one of the best moments in the show.
Wright utilized more conventional feminine forms of risque ambience in a saloon scene. Chun's first solo number established the mood. Wright expanded it by featuring more of his women in two more big numbers. The climax came with a long and enthusiastic "Can Can Girls" number by Rebecca Estomago, Tanya Harris, Elana Kimbrell, Alyson Morita, Georgia Tucker, Lauren Uyeshiro, Anna Weaver and Kara Yoneshige.
Ryan Alexander (Young Billy) showed polish and promise in "Time Passes" as he and Jobson worked in unison to represent Billy's passage from 12-year-old killer into manhood.
Minimalist sets, props and lighting effects sufficed to establish locations. The theater sound was excellent but people seated down front weren't able to see the dancers' feet or very much of the ensemble work in "Billy's Death." Whether the stage is too high or the seats are too low there's a problem with those sightlines that the Hawaii Theatre Center needs to correct.
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