previous performance in the run and thought it was very cute and charming. But tonight's performance is one of those joyous experiences that reaffirms your whole love for the art form. From the very first steps the performance was just on. There was an energy onstage that transmitted across the footlights. By the end of the evening I was limp from happiness. This hasn't happened for me for a long time at ABT performances. I've often felt that they had great dancers, but the level of artistry and care in their performances was not high. At this performance of Fille, everything was on an elevated plane.
Tuesday, May 31, 2016
Saturday, May 28, 2016
|Mearns and Veyette in MSND, photo @ Andrea Mohin|
NYCB ended its spring season with its traditional run of A Midsummer's Night Dream. This is a timeless comedy that almost always sells out no matter who's cast. It's the spring Nutcracker. In recent years Peter Martins has mixed seasoned principals with debuting corps members, and so it was here.
The May 26th performance had only three principal dancers in the cast: Anthony Huxley (Oberon), and the divertissement dancers (Abi Stafford and Adrian Danchig-Waring). There's no need to talk about Huxley -- he's the finest technical male dancer of the company, period. His scherzo was a master class of soft landings, deep plies, beautiful soaring jumps, clean lines, pointed toes. He could be more extroverted in his presentation but the beauty of his dancing speaks for itself. Nor is there much need to talk about Abi Stafford in the divertissement pas de deux. She gave the same efficient, uninteresting performance she always gives.
But let's talk about the rest of the cast, since everyone else was a soloist or corps member. How did they do? We'll start with the great. Harrison Ball made a smashing debut as Puck. He might be the best Puck I've ever seen -- funny, engaging, beautiful jump, but with an elegant body line that suggests a little fairy. His mime was clear and well-articulated. The other Harrison in the company, Harrison Coll, was also absolutely adorable as Bottom. His duet with Titania was funny, but also a little sad, as we in the audience know that their love isn't here to stay. These two wonderful dancers deserve more opportunities, and I'm glad Peter Martins is giving it to them.
Sunday, May 22, 2016
|Now iconic final pose of Concerto DSCH|
Sunday, May 15, 2016
|Murphy and Gomes in Sylvia, photo @ Andrea Mohin|
Sylvia at its best is a perfect little concoction -- the combination of the beautiful Delibes score, Ashton's sensitive choreography, and a great bravura part for the title character (originally choreographed on Margot Fonteyn) give this ballet is continued appeal. Unfortunately, the performance I saw on Monday was sluggish, poorly attended (entire swaths of the orchestra, grand tier and dress circle were empty), and simply reinforces the feeling that right now ABT is going through an ebbing of talent and morale.
Saturday, May 7, 2016
|Wheeldon's American Rhapsody, photo @ Paul Kolnk|
But the big "event" of the spring season was the world premiere of two ballets: Nicholas Blanc's Mothership and Christopher Wheeldon's American Rhapsody. I missed the splashy spring gala but did catch the 5/7 performance which featured both new works, Justin Peck's Belles Lettres, and Ratmansky's Concerto DSCH.