The Dekalb Symphony Orchestra convened in small ensemble format at Decatur Presbyterian Church over the weekend for a Sunday afternoon performance. Sergei Prokofiev’s Peter and the Wolf, the much beloved and always charming “symphonic tale for children,” is meant to introduce young listeners to the world of classical music. The orchestra played to a large and enthusiastic crowd, even if most of the audience was probably skipping nap time to attend.
The enduring appeal of Peter and the Wolf lies in its simplicity: A small cadre of orchestra players take on the roles of Peter the Young Soviet Pioneer, his grandfather, a band of hunters and the forest creatures they encounter throughout the day as a jovial narrator carries the story forward. Since its premiere in May 1936, the work has become one of the most performed and easily recognized in all of classical music.
The afternoon commenced with selections from Béla Bartók’s “Romantic Dances” and Georges Bizet’s “Carmen.” All were accessible and enjoyable in their own right, but it was clear from the fidgeting of attendees young and old that the audience yearned for the concert’s main event.
In the hands of the DeKalb Symphony Orchestra, the composition shined. The ensemble consisted of Jenny Morden, flute; Andrew Warwick, clarinet; Dan Worely, bassoon; Rebecca Testerman, oboe; Steve Alperin, horn; Adele Wang and Jonathan Urizar, violin; Patrick Shelc, viola; Alana Bennett, cello; Stephen Ward, bass; and Joel Morris and Jordan Barnett, percussion. The musicians seemed to genuinely have a good time with the material, and there was a spark of enthusiasm carrying each of the iconic leitmotifs.
Morden was outstanding among the instrumental storytellers; her deft execution of the bird’s illustrious but range-straining melodies soared about the chapel with whimsical precision. Similarly, the crystal-clear acoustics of the chamber gave the individual string players a sense of presence and detail as they came together to illustrate Peter.
The orchestra could have carried the afternoon on its own, but the story was given a visual dimension thanks to the Decatur School of Ballet. A troupe of dancers ages 12 to 14 sprang up in elaborate and vibrant costumes to plié and pirouette in character as the story of Peter’s showdown with the ominous wolf unfolded.
“Those dancers are part of our pre-company class,” explained choreographer Meg Gourley. “They train three days a week at a minimum.”
The afternoon’s performance had been on top of that already grueling schedule. “This was an extra event that they had an opportunity to be a part of,” Gourley continued. “We met on evenings and during the weekends and did an intensive, rapid-fire process to create this.”
That strenuous schedule was never apparent in the cheerful performance. Arden Aczel’s portrayal of Peter led a jubilant ensemble with notable chemistry between Lily McIntosh as the wolf and Lilah Gardes as the preyed-upon duck.
Dancers were encouraged to improv and adapt on the spot. “We talked a lot about letting the dancers be malleable in the production,” said Gourley of adapting the choreography to such a limited space. It was quite the gamble, considering that the school had not performed the piece since before the pandemic lockdown, but Gourley maintains keen knowledge of the dancers’ personal interests. “You might have noticed the wolf did some handstands and lower-to-the-ground choreography. So we pulled more into contemporary movement, when it felt appropriate, to help bring it into the modern age.”
The performance was tied together by the dulcet tones of narrator Robert Shaw-Smith, who melded well with the orchestra. His reading might not have captured the ethereal gravitas of David Bowie’s iconic performance of the role, but it certainly had all the friendly, fatherly whimsy of a good children’s narrator.
It was an enjoyable afternoon, with even the youngest members of the audience leaning forward for a better look at the captivating dancers. Conductor Paul Bhasin made for a charming master of ceremonies and seemed right at home endearing the world of classical music to an audience whose palate was still in the realm of Raffi and other children’s entertainers. The combined efforts of the DeKalb Symphony Orchestra and the Decatur School of Ballet gave us a sterling example of why Peter and the Wolf is an enduring classic.
After the show, audience members gathered for pictures with performers from both camps. I couldn’t help but think of my own childhood as I watched the kids stare in awe at various instruments and shake hands with dancers only a decade their senior. Those memories of symphonies and stage plays shaped the adult I’ve become, and I know the same will be true for the kids in attendance that afternoon.
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Jordan Owen began writing about music professionally at the age of 16 in Oxford, Mississippi. A 2006 graduate of the Berklee College of Music, he is a professional guitarist, bandleader and composer. He is currently the lead guitarist for the jazz group Other Strangers, the power metal band Axis of Empires and the melodic death/thrash metal band Century Spawn.
