Dance Reviews : New Principals in Harlem Troupe’s ‘John Henry’

Two attractive young Dance Theatre of Harlem soloists took over the charismatic principal roles in Arthur Mitchell’s dance drama “John Henry” on Sunday afternoon at Pasadena Civic Auditorium. Each gave a likable performance that ultimately proved too soft to galvanize the masses in this saga of a steel-drivin’ man and his indomitable wife.

More credible as lovers than leaders, both Hugues Magen (John Henry) and Lisa Attles (Polly Ann) looked their best in the slinky, hip-rolling mating duet. Elsewhere, Magen projected great dignity as the ultimate working-class hero, but he only approximated the heroic bravura of the solos defining the character’s prowess and legendary domination over the steam drill.

A delightful tease in her entrance solo, Attles always danced vivaciously but didn’t achieve much depth or authority. Admittedly, Mitchell sweetens the character compared to some of the classic folk ballads (for instance, we never see her driving steel “like a man”). But the moment when she changes mourning into celebration should have more spiritual power than it did Sunday afternoon.

New casting for “Serenade” found Karen Brown intense but far from ideal in classical line as the fallen, abandoned ballerina, and Augustus van Heerden undistinguished as her first partner. However, Stephanie Dabney and Ronald Perry brought impressive technical suavity and emotional weight to the episode involving the “winged” woman and her “blind” consort. Cassandra Phifer danced capably as the leader in the apotheosis.

In “Billy the Kid,” Christina Johnson’s limpid, serenely executed solos as the Sweetheart created implications more poignant than the ballet’s scenario. Contrary to the synopsis, Billy can’t be dreaming of a former sweetheart, for he never would have known this kind of woman. She’s pure fantasy--a mirage of the purity totally beyond his reach.