Doing ‘Dmitri’ for Kicks : L.A. Chamber Ballet ventures into the realm of Woody Allen’s absurdity

What does Woody Allen have in common with avant-garde artist Jean Cocteau and romantic poet Theophile Gautier? With the premiere at the Japan America Theatre Thursday of “Dmitri,” based on Allen’s story of the same title, the American film auteur and famous funnyman joins the ranks of famous ballet librettists.

Back in 1975, Allen’s imaginary “Guide to Some of the Lesser Ballets”--in his collection of stories “Without Feathers”--served up elements from old standards mixed with wild abandon and liberally seasoned with comic incongruity and wry commentary.

In his send-up of “Le Sacre du Primtemps,” for example, Allen described how “a melodic prelude recounts man’s relation to the Earth and why he always seems to wind up buried in it. The curtain rises on a vast primitive wasteland, not unlike certain parts of New Jersey.”

No dance company has ventured into this territory before. Now Los Angeles Chamber Ballet, an eight-year-old company already known for its varied repertory and ambitious new works, enters Allen’s realm of the absurd with “Dmitri.”

A one-act ballet based very loosely indeed on “Giselle” and “Petrouchka,” this improbable addition to the company repertory was inspired by actress Paula Prentiss, who introduced the story to company co-director Victoria Koenig and initiated contact with Allen.

According to Koenig, permission to use Allen’s material was contingent on the credentials of the participants, including choreographer Stanley Holden: former principal dancer with the Royal Ballet of Great Britain and a celebrated local dance teacher. The busy and publicity-shy Allen declined to participate in the development or promotion of the work, but, Koenig comments, “He’s taking a chance on us, and we’re very appreciative.”

Other than the undeniable marquee value of Allen’s name, why would LACB do “Dmitri”? As Koenig explains, “His name doesn’t hurt, but we really needed a light piece in repertory and a vehicle for Stanley. We’ve been looking for a project for him for several years and we chose ‘Dmitri’ because it has lots of historical references to traditional ballets, and Stanley’s resources and sensibilities can come forth.”

During his 20 years with the Royal Ballet, Holden made his mark in major character roles such as Widow Simone in Sir Frederick Ashton’s classic version of “La Fille Mal Gardee,” Doctor Coppelius in “Coppelia,” and the Chief of Police in Leonide Massine’s “Mam’zelle Angot.”

Holden, a longtime supporter and occasional choreographer for L.A. Chamber Ballet, had his doubts when he first read the “Dmitri” story. “I told Vicky: ‘This is crazy,’ ” he recalls. Eventually he yielded, and he and Koenig worked out an approach that avoids what he sees as the obvious pitfalls in the scenario. “I don’t want to spoof classical ballet,” he says. “I can’t compete with Woody Allen. I can’t be as crazy--or as brilliant. Subtle humor is my forte.”

Koenig, who is collaborating with Holden on “Dmitri,” describes the ballet’s style as “droll, falling somewhere between (Les Ballets) Trockadero and Ashton.” Local audiences enjoyed a taste of Holden’s comic gifts when the Joffrey Ballet lured him out of retirement last season to reprise the role of Widow Simone in the company’s production of “Fille.” The cast of “Dmitri” is getting a wider sampling of his talents as he demonstrates every role in that ballet.

In rehearsal, Holden shifts effortlessly from one character to another. One moment he’s a fun-seeking sailor. With the toss of his head, he becomes a young girl spurning the sailor’s advances, arms clasped tightly and nose in the air.

“He’s wonderful to watch,” says Madelyn Berdes, who makes her LACB debut as Natasha, the composite ingenue lead of “Dmitri.”

Koenig says: “Stanley is so brilliant in each role that I tell him, ‘In the final performance you’re gonna play all the parts.’ ”

Indeed, Holden is slated for a cameo appearance as Queen of the Gypsies, one of many roles he invented to expand the scenario. “The Gypsies are a bit like the harlots in ‘Romeo & Juliet,’ ” says Holden. “I’ve added from about 10 different ballets already.”

Notwithstanding this creative license, the ballet will adhere to Allen’s synopsis with surprising literalness. Even literary asides will find a place on stage.

According to the scenario: “Wandering around the fairgrounds is a beautiful girl named Natasha, who is sad because her father has been sent to fight in Khartoum, and there is no war there. Following her is Leonid, a young student, who . . . places a mixed-green salad on her doorstep every night. Natasha is moved by the gift and wishes she could meet the man who is sending it, particularly since she hates the house dressing and would prefer Roquefort.”

In fact, Natasha’s father will appear briefly behind a scrim, looking for a fight. And Natasha will grimace when she tastes the salad. But when he penned the scenario, Allen little dreamed of Holden’s sprightly, dancing lettuce leaves. Nor of the scenic inventions of Mark Stock, who is designing the decor. “Instead of Giselle’s nice little bungalow with grapes,” Stock says, “it will be a Valley bungalow with a coiled hose on the wall.”

A colorful carnival backdrop was designed and painted by Stock, whose work is in such prestigious collections as the Museum of Modern Art in New York, the National Gallery in Washington and the Library of Congress.

Kenneth Kreel, veteran dancer-teacher-company director-designer, is designing costumes that he says “will embody every corny ballet you’ve ever seen.” Taped music will be a pastiche of Verdi that Koenig describes as “just on the border of too much.”

“This production should cost close to $100,000--even more with live music,” says Koenig. “But we know people who pull rabbits out of hats, so we can do it for much less.”

LACB performances at Japan America Theatre this Thursday through Sunday will also feature two other new works plus the one-act ballet-opera “Orpheus,” which had its premiere last season.

But “Dmitri” is clearly the media magnet and audience-builder.

Holden is apprehensive: “This town will always go see another bad football game, but ballet gets just one chance.” Koenig is more philosophical: “If the piece doesn’t work, nobody died. We’re in it for the duration.”