Kansas City Ballet Dancer Kelsey Ivana Hellebuyck with company dancers in George Balanchine’s Stars and Stripes © The George Balanchine Trust. Photography by Brett Pruitt & East Market Studios.
On the sesquicentennial anniversary of the United States of America, the Kansas City Ballet is mounting a dazzling sparkler of a celebration. We’re talking oom-pah-pah marching music, square dancing, and a red, white and blue trio of entertaining dance works.
The evening starts with the stunning red-saturated opening scene of Agnes Demille’s celebrated “Rodeo,” which evokes the romance of the American West. Set to the famous score by Aaron Copland, this hootenanny of Americana carries its tropes lightly, playing them for carefree enjoyment. Marisa DeEtte Whiteman is phenomenal as The Cowgirl, her committed physicality recalling iconic American tomboys like Mattie of “True Grit” and Frankie Addams of Carson McCullers’ “The Member of the Wedding.”
Andrew Vecseri makes a strutting, convincingly unattainable Head Wrangler, while Gavin Abercrombie is utterly endearing as The Champion Roper-next-door. His cowprint vest aptly evokes Woody from “Toy Story” — Abercrombie portrays his unlikely hero with the same floppy charm and goofy heart of gold.
The aw-shucks demeanor of “Rodeo” belies the international sophistication of its creators: commissioned by refugee Russian dancers (the Ballet Russe de Monte-Carlo), choreographed by Demille (niece of Hollywood director Cecile B. Demille of “The Ten Commandments” fame), and scored by Copland, the Brooklyn-raised son of Lithuanian Jewish immigrants (the family surname was originally “Kaplan”). Copland made a reputation with stirring patriotic works — including “Billy the Kid,” “Appalachian Spring,” and “Fanfare for the Common Man,” before being investigated by Edgar B. Hoover’s FBI, called before Joseph McCarthy, and blacklisted.
The color white comes in the gorgeous costumes (Christine Darch) and simple linen background of choreographer Caili Quan’s “A Home Away,” set to Czech composer Antonín Dvořák’s “American Quartet.” This newly commissioned work was the highlight of the evening for many, with its pure movement, kinetic flow and joyful, clean loveliness.
The opening sets a tone of calm and confidence, with delightful surges of energy — like Gavin Abercrombie’s all-fours pop off the floor, hip-hop executed with ballet elegance. Andrew Vecseri and Amira Hogan are wonderful in a second movement pas de deux that sometimes approaches a feeling of levitation, with languorous spins, tumbling carries and wafting back extensions. The group scenes, with an expressive vocabulary of side leans and diagonal arabesques, convey ineffable vitality and optimism. Elliott Rogers is a standout here, spectacularly powerful and jubilant.
“Stars and Stripes” culminates in George Balanchine’s work of the same name, set against the bright blue sky of American promise. Taryn Pachciarz and Kaleena Burks lead their respective regiments with high-stepping precision, marching on pointe in Balanchine’s trademark sparkling formations.
The company’s men have a blast as the sprightly Third Regiment, their high-flying kicks showing off every colorful tassel, brass button and waist sash. Naomi Tanioka and Paul Zusi are a winning pair as Liberty Bell and El Capitan. Zusi is an attentive and devoted partner, while Tanioka was stunning in a climactic développé.
The refined and worldly-wise Balanchine bewildered the ballet world when he set this five-part work to John Philip Sousa, that staple of school gyms and small town parades. Certainly it was a marked departure from his frequent collaborations with the thornier music of fellow Russian emigré Igor Stravinsky, such as “The Firebird” and “Orpheus.” When asked why Sousa (and the question was indeed posed), Balanchine is reported to have replied, “Because I like the music.” He also described the “story” of this ballet as: “the United States.”
Despite its populist score, “Stars and Stripes” is a demanding work, requiring a large number of dancers — I counted forty at one time — who can perform its classical ballet at a dauntingly high technical level. Lucky for us, we have the stellar Kansas City Ballet, powered by the Kansas City Symphony, under the able baton of Ramona Pansegrau.
What a relief to cast aside political turmoil and musical snobbery, to catch the strains of “Beef, it’s what’s for dinner” and “Be kind to your web-footed friends” in their original settings, which are not diminished but rather enriched by the TV-commercial and summer camp associations. They represent, after all, the totality of the American experience.
And what a thrill to simply enjoy this program’s irresistible fun, gleaming esprit de corps and good old-fashioned flag-waving patriotism. Carney has a gift for thoughtful programming, and this trio of works, devised by richly diverse creators and brilliantly performed by the KC Ballet’s multicultural company, tells the story of “the United States” with eloquence and insight.
“Stars and Stripes” is as expansive and exhilarating as our country, a toe-tapping, heart-pounding celebration of the enduring American mythos and ideals. Best of all, Quan’s beautiful new work inspires hope for our shared future. Three cheers for KC Ballet and their red, white and blue.
Kansas City Ballet
Stars and Stripes
Reviewed March 20, 2026
Remaining Performances:
Saturday, March 21, 2026 – 7:30PM
Sunday, March 22, 2026 – 1:30PM
Friday, March 27, 2026 – 7:30PM
Saturday, March 28, 2026 – 7:30PM
Sunday, March 29, 2026 – 1:30PM
