The Kansas City Ballet explores pure evil in a new ‘Dr. Jekyll and Mr. Hyde’

Ballet isn’t all dancing sugar plums. Dance can also convey horror. Think of the recent ballet version of “Dracula,” or “Giselle,” the epitome of 19th century French ballet, with its spectral Wilis, haunting graveyards and forcing unfaithful men to dance to their deaths.

The Kansas City Ballet will present one of the more recent takes on gothic horror, “Dr. Jekyll and Mr. Hyde,” Oct. 13 to 22 at the Muriel Kauffman Theatre. Based on the novel by Robert Louis Stevenson, it was conceived and choreographed by Val Caniparoli and first performed by the Finnish National Ballet, but its roots, its genesis took place right here in Kansas City.

“Dr. Jekyll and Mr. Hyde” is a landmark work for the Kansas City Ballet, and shows the company’s stature and influence in the dance world.

“This has been quite the experience, I gotta tell you,” the ballet company’s artistic director, Devon Carney, said. “Val (Caniparoli) contacted Ramona Pansegrau, our music director, seven years ago, and said he was interested in doing this ballet.”

Caniparoli wanted to draw on Pansegrau’s “vast knowledge” to help put together an atmospheric score, and it sounds like they’ve done it. He says Pansegrau has chosen all Polish composers, including Penderecki and Gorecki. One can imagine their moody music working beautifully in “Dr. Jekyll and Mr. Hyde.” Penderecki’s music was certainly used effectively in Stanley Kubrick’s “The Shining.”

With the score pretty much figured out, Caniparoli next turned his attention to the choreography.

“He asked me if we could be the company he started the creative process with,” Carney said. “Prior to Finnish National Ballet, he asked us if we would be willing to have eight of our dancers work with him after our season was over. Of course, I instantly said absolutely, I would love to be a part of that actual creative process, especially knowing that we were going to be the first to perform it in the United States.”

Finnish National Ballet sank a ton of money into a world-class production, and it premiered in Helsinki in 2020. Now that very same production has arrived in Kansas City for the work’s first performance outside of Finland.

“Everything that was part of the original production has been shipped to us,” Carney said. “Five shipping containers arrived by 18-wheeler trucks. Big containers. They got here about five weeks ago. You’re going to see the production that was done in Finland in every respect. It’s epic, it’s massive. It has to be at least a $2 million production. The detail work in the costumes is just gorgeous. Everything about this show is high-end.”

The curiosity of the dance world has been piqued by news of this “epic” production. Carney says he expects representatives from ballet companies around the country to attend the Kansas City Ballet’s performance.

“This is getting a lot of national attention,” Carney said. “There are at least 10 companies coming to see this production on opening night. I’m thrilled if one artistic director comes to a production we’re doing. Just one. Ten different organizations’ executive directors, artistic directors, production managers and board members are coming to see this production. I can’t tell you how excited I am about that.”

Caniparoli is not updating the tale, but keeping it in Victorian London. I’ve always thought “Dr. Jekyll and Mr. Hyde” had a Jack the Ripper quality about it. The 1931 film version starring Frederic March especially captures that mood.

“Free, free at last,” March exclaims, grinning from ear to ear after his transformation into the uninhibited Mr. Hyde. Some might see Hyde as a Nietzscean anti-hero who throws off the pious Victorian morality that has been repressing Jekyll, and unleashes his animal vitality and will to power. Hyde is pure id.

“From a certain point of view, I think you could say that’s absolutely true,” Carney said. “From another point of view, this man couldn’t care less about social mores and respect and empathy for others. People die at his hands.”

Although his actions are monstrous, Canirparoli’s Mr. Hyde is not the physically hideous, almost lycanthropic monster we’ve come to expect from the movies.

“What I think is so valuable about Val’s interpretation is that he transforms into a very handsome-looking gentleman,” Carney said. “It’s the corporate types who have the Gucci shoes and the perfectly groomed hair and the chiseled jaw, and you really don’t know what’s going on with them. They may come across as all-together, but are really evil individuals.”

Perhaps Stevenson is saying that all of us, from the most respectable to the most lowly, has a dark side which is just waiting for the right trigger to be unleashed,

“We all struggle with it,” Carney said. “It’s very much a part of this ballet. We all have an unfiltered side to us that we have learned to not let out of the box. And it’s good that we don’t.”

7:30 p.m. Oct. 13, 14, 19, 20 and 21 and 1:30 p.m. Oct. 15, 21 and 22. Muriel Kauffman Theatre, Kauffman Center for the Performing Arts. $34-$149. 816-931-8993 or kcballet.org.

Harriman-Jewell — Hilary Hahn

I’ve heard Hilary Hahn perform in Kansas City twice now, once on the Harriman-Jewell Series and once with the Kansas City Symphony. Both times were riveting.

Hahn is one of the greatest violinists of her generation, and she can magnetize an audience. The Harriman-Jewell Series is bringing Hahn back for a solo recital on Oct. 13 at the Folly. She will perform a demanding all-Bach program of works that are considered the pinnacle of violin virtuosity.

7 p.m. Oct. 13. Folly Theater, 300 W. 12th. $12.50-$90. 816-415-5025 or hjseries.org.

Kansas City Symphony — ‘Bond and Beyond’

As much as a shaken-not-stirred martini or a curvaceous femme fatale, music has been an essential part of every James Bond film. Oct. 13 through 15, the Kansas City Symphony conducted by Gonzalo Farias presents “Bond and Beyond: 55 Years of 007.” It sounds like a smashing good time to me, with movie themes from “Casino Royale,” “Goldfinger,” “Diamonds Are Forever” and other Bond classics.

8 p.m. Oct. 13 and 14 and 2 p.m. Oct. 15. Helzberg Hall, Kauffman Center for the Performing Arts. $40-$99. 816-471-0400 or kcsymphony.org.

Midwest Trust Center — Kansas City Civic Orchestra

The Kansas City Civic Orchestra conducted by Christopher Kelts will present “French Connection” Oct. 15 at the Midwest Trust Center. The program will feature Leonard Bernstein’s “Candide” Overture, the Cello Concerto No. 2 by Saint-Saëns, the lovely “Pavane” by Faure and Gershwin’s “An American in Paris.”

3:30 p.m. Oct. 15. Yardley Hall, Midwest Trust Center, Johnson County Community College, 12345 College Blvd., Overland Park. Free. kccivic.org.

Victoria Botero — ‘Gabo: A love letter’

Victoria Botero will present “Gabo: A love letter” Oct. 12 at the 1900 Building. Botero comes up with the most creative concepts for her Cecilia Series. “Gabo: A love letter” is a valentine to Gabriel Garcia Marquez, the much acclaimed master of magical realism who was known as Gabo.

Botero has lined up an international group of musicians specializing in the sounds of Latin America: Amado Espinoza will play percussion and flutes, Nilko Andreas, guitar, Calvin Arsenia, harp, and also La Mar, a traditional music ensemble based in New York. Botero and the musicians will narrate passages from “Love in the Time of Cholera” and “One Hundred Years of Solitude.” I love that book.

7:30 p.m. Oct. 12. 1900 Building, 1900 Shawnee Mission Parkway, Mission Woods $20-$80. victoriabotero.com.

You can reach Patrick Neas at patrickneas@kcartsbeat.com and follow his Facebook page, KC Arts Beat, at www.facebook.com/kcartsbeat.