A New Take on a Classic: BalletX’s Theatrical “Petrushka” in Philadelphia
BalletX, in collaboration with the Philadelphia Chamber Music Society, recently opened the world premiere of Amy Hall Garner’s vibrant and theatrical adaptation of Petrushka at the Kimmel Center’s Perelman Theater. This performance marked the second half of a program that began with ensemble 132 performing works by Bartók, Wiancko, and Mozart. As the audience settled into their seats, the transition from a classical concert to a surreal, theatrical experience was both surprising and captivating.
The evening started with Peter Weil (as Pete, who later becomes Petrushka) wandering onto the stage and settling down for a nap. It was an amusing moment that immediately set the tone for what was to come. The musicians, playing the Stravinsky score reimagined for a piano quintet, were backstage while a chaotic and dreamlike scene unfolded on stage. Pete was suddenly awakened by a chorus of dancers who stole his blanket and pulled him into the traveling show that was about to begin.
It felt as though the audience had walked into the wrong venue—instead of a classical concert, they found themselves in the middle of a circus. The contrast between the two halves of the performance was striking, creating a unique blend of music, dance, and storytelling.
Last summer, BalletX offered a preview of this new Petrushka, which was created through a collaboration between choreographer-in-residence Amy Hall Garner, theater director Nancy Meckler, and set and costume designer Emma Kingsbury. At that time, the production was intriguing but difficult to follow without additional context. Now, with a refined approach, the piece has taken on a more cohesive form.
Petrushka, originally choreographed by Michel Fokine in 1911, is a well-known ballet but has not been frequently performed in recent years. Houston Public Media described it as “the unhappiest puppet story ever.” Garner’s version retains the essence of the original but adds a fresh, wild energy to the narrative.
This marks the first time that BalletX has remade an older story, according to artistic director Christine Cox, who spoke on stage before the performance. In her interpretation, the traveling show features a cast of colorful circus characters who are sometimes puppets and sometimes human. A hilarious strongman (Mathias Joubert) and a magician/impresario (Jonathan Montepara) play the roles of the antagonists. Montepara controls the characters with a wand, and both he and Pete are in love with Belle, the ballerina (Lanie Jackson).
Jackson convinces Pete to change into a costume, transforming him into Petrushka and distracting the audience. The production is filled with acrobats and dancers who perform with ribbons, clubs, and hoops, adding a dynamic visual element to the performance.
BalletX dancers are known for their versatility, as the company specializes in new work and often performs a wide range of styles. However, what stood out most was their ability to act. Weil and Jackson delivered not only strong performances but also emotional depth and compelling storytelling.
Joubert, as the egotistical strongman, was a standout performer, breaking the fourth wall and using it as a mirror to flex his muscles and even kiss himself. His character added a layer of humor and self-awareness to the production.
While the large number of performers on stage created a lively atmosphere, it also occasionally overwhelmed the Perelman Theater. Ensemble 132, which had dominated the first half of the program, seemed to fade into the background during the second half. It would be interesting to see this production in a different venue, such as the Highmark Mann Center for the Performing Arts, which serves as BalletX’s second home.
With its mix of music, dance, and theatrical elements, this new Petrushka showcases BalletX’s commitment to innovation and creativity. At 20 years old, the company continues to bring exciting new ballets and choreography to Philadelphia, proving that the city remains a vibrant hub for the arts.
