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Oh, You Beautiful Doll

"Coppélia"
American Ballet Theater
Metropolitan Opera House
New York, New York
June 16, 2011

by Mary Cargill
copyright © 2011 by Mary Cargill

ABT's current version of the 1870 French comedy is based on the version Frederic Franklin danced in the 1930's, which was set by Nicholas Sergeyev from his notation of the Russian version of Marius Petipa; a distinguished lineage, indeed.  There are similarities between this and the New York City Ballet's version (set by Alexandra Danilova, Franklin's frequent partner, who also danced the Sergeyev version), especially in the second act, though the ABT version has more mime for the mysterious Dr. Coppélius.  ABT's version is pure delight, with beautiful, colorful sets (by Tony Straiges) and costumes (by Patrica Zipprodt) which gently evoke the 1880's, especially in the charming, old fashioned headdresses of the first act Coppélia and her friends.

Comrade, Perdona

"The Bright Stream"
American Ballet Theater
Metropolitan Opera House
New York, New York
June 9, 2011

by Mary Cargill
copyright © 2011 by Mary Cargill

It is clear that the Cold War is well and truly over--the hammer and sickle is decorating the Metropolitan Opera House's front curtain,  introducing a comedy about life on one of Stalin's collective farms.  Of course, life was not a comedy during that period, and, except for remote areas of academia and old issues of the New York Times, everyone agrees that Stalin's collectivization caused millions of deaths.  One of the victims was Adrian Piotrovsky, the librettist of the ballet--Stalin didn't approve of the idea that someone might be making fun of his ideas, and sent him to a prison camp.  So a ballet using the same libretto (set to a gloriously varied and danceable Shostakovitch score) showing jolly villagers frolicking in a collective farm might make some viewers queasy.  But no time in history has been free of horrors and essentially all comedies are performed on someone's grave, though few graves are as full as those of the Soviet Union in the 1930's.  "The Bright Stream", though, isn't really a comedy about a collective farm, it is a universal story of human vanity, of men who stray and of women who forgive them, that happens to be set in a collective farm.  It is "The Marriage of Figaro" on point, as the heroine Zina (Paloma Herrera) tricks her wandering husband Pyotr (Marcelo Gomes) into making love to her as she is disguised as the Ballerina (Gillian Murphy).  There are various subplots, all along the pricking of illusions theme, and all involve disguises--a very traditional idea, and a wonderful metaphor for willful blindness and Ratmansky's ballet is vibrant, funny, and triumphant. 

There is a Purpose

"There is a Time", "Chrysalis", "The Emperor Jones"
Limón Dance Company
Gerald Lynch Theatre
John Jay College
New York, NY
June 7, 2011

by Mary Cargill
copyright © 2011 by Mary Cargill

The Limón Dance Company faces the same issues of all companies trying to continue without their founding choreographer.  Some, like Cunningham, have decided that memory is the best preservative, but the Limón Company has heroically tried to maintain the founder's works while judiciously adding modern ones.  This program is a good example--one familiar piece, one new choreographer working in the Limón tradition, and one major revival.  This made for a varied and interesting program, cohesive enough to not be jarring, but full of interest. 

Crown Jewels

"Jewels"
New York City Ballet
David H. Koch Theater
New York, N.Y.
June3, 2011

by Mary Cargill
copyright © 2011 by Mary Cargill

"Jewels", Balanchine's three-act salute to dance style, and perennial audience favorite, has returned to the spring.  It does still sport the 2004 rethinking by the original designer Paul Harvey, which are oppressive and gaudy.  The mysterious "Emeralds" evokes a messy green swamp rather then French elegance, but the Raymondaesque costumes by Karinska still work their magic.  There was other magic, as Tiler Peck debuted in the Verdy role.  She is a young dancer, but, like Noel Coward's Amanda Prynne, she seems to have been born with a heart that was always jagged with sophistication, and her musicality, her intelligence, and her subtle sense of drama combined with her lyrical dancing created a woman of ever-changing shades and moods.  The famous solo, with the mysterious arm movements, from the magical place where traditional mime and dancing merge, were luxurious and at times playful.  She has a way of playing with her timing, holding a phrase, and then leaning into the music that seems to suspend time, but this was more than a trick, this timing seemed to meld into meaning; at one point in the pas de deux, she fell back into her partner (the reticent and noble Jared Angle), relaxing into complete stillness, then seemed to leave her body there and depart this world as the horns summoned her.  But this timing never became over-acting or melodramatic, because it melded so perfectly with the music.

A Trip Around the World

Spring Performance
Gelsey Kirkland Academy of Classical Ballet
Miller Theatre at Columbia University
New York, NY
June 2, 2011

by Mary Cargill
copyright © 2011 by Mary Cargill

Gelsey Kirkland, so famous for her magical performances, has set up a ballet academy in New York, stressing, as she wrote in the program of the first season's spring performance, both Vaganova and Bournonville styles (including mime and character dancing) and especially the theatrical aspect of dance.  She presented a wide-ranging program which included visits to Spain and Denmark, with side trips to France . 

Women in White

"Giselle"
American Ballet Theatre
Metropolitan Opera House
New York, NY
May 28, 2011

by Mary Cargill
copyright © 2011 by Mary Cargill

ABT's version of the most famous Romantic ballet is, fortunately, straightforward, clear, and by and large, dramatically strong.  The basic structure has not been rethought, so the story of the poor peasant girl and her faithless swain remains as moving and powerful as ever.  This season, ABT has imported a number of guests, and the Royal Ballet dancer Alina Cojocaru danced Giselle.  She is a natural romantic heroine, small, frail, and completely committed.  The logical mind did notice some quibbles; her costume in the second act didn't match her sister wilis' dresses, she avoided some of the jumps, her extensions sometimes got in the way of her dancing, and her first act solo differed from the one usually done, and seemed much less musical.  But the overall impression was so much greater than these reservations, as Cojocaru's intense yet delicate performance triumphed over mere technical questions.  Not that her technique was completely at issue--her delicate, floating jumps were beautiful.

Olé, and All That

"Don Quixote"
American Ballet Theatre
Metropolitan Opera House
New York, NY
May 19, 2011

by Mary Cargill
copyright © 2011 by Mary Cargill

The perennial charmer of a ballet was danced with great verve by two Cuban-trained dancers, Xiomara Reyes and Rolando Sarabia, a guest from the Miami City Ballet.  ABT's production does have its faults--the gypsy scene looks like Hungarian goulash served by MacDonald's, but when danced well, it has a sunny and infectious charm.  Reyes is a very fine Kitri, with a natural sweetness to temper her spunk.  Her final, gentle farewell to the hapless Don, as she told him that no, she wasn't really the one he was seeking but that he should keep looking, was truly moving.  Her dancing was finely calibrated, not trying to hold her balances to the point of wobbling.  Like many Cuban dancers, she has an impeccable inner gyroscope, and her fouettés in the famous pas de deux (she is a fan holder) were fast, furious, centered, and frequently doubled, as she brought her fan arm up and down.  Yes, it was circusy, but if you don't want to see a circus, you shouldn't go to Don Q.  The audience certainly was primed for action--there were many people speaking Spanish in the lobby, and there was a sense of cheering for the home team, but it was generous and appreciative cheering, which made for a warm-hearted, sunny evening. 

Black and White and Rainbows

Balanchine Black & White
"Monumentum Pro Gesualdo/Movements for Piano and Orchestra", "Apollo", "The Four Temperaments"
New York City Ballet
David H. Koch Theater, Lincoln Center, New York
May 5, 2011

by Mary Cargill
copyright © 2011 by Mary Cargill

Yes, a program of all black and white is not balanced, and the individual ballets would probably look more distinctive if they were set in a different context, but a stunning debut (Chase Finlay in "Apollo") and a vibrant and shimmering performance of an unqualified masterpiece "The Four Temperaments") made the evening one that few will forget.  It opened with "Monumentum/Movements", a shorthand title for two different but frequently paired works.  Maria Kowroski was the lead in both, partnered respectively by Charles Askegard and Sébastien Marcovici.  "Monumentum" is a more courtly exercise than the spiky "Movements", with the corps (made up of six couples) echoing and reflecting the lead couples movements.  Korowski was self-contained and private, letting the audience in on secrets without seeming to share them.  She didn't flaunt her easy extensions, or exaggerate the poses, and gave a hypnotic, understated performance.  Askegard, as always a noble partner, supported her with an elegant unobtrusiveness.  "Movements" has only one man, and two groups of three women supporting the main couple--amazing to see how Balanchine can fill a stage with so few people.  Kowroski put aside her elegant demeanor and was both enticing and deadpan as she pawed the ground.  Marcovici danced the off-center steps with a luxurious combination of softness and weight.

Dreams and Memories

"Mirrors", "Utopia", "Classroom Fantasy", "Dreamscapes"
Avi Scher & Dancers
Alvin Ailey Citigroup Theater
New York, NY
April 23, 2011

by Mary Cargill
copyright © 2011 by Mary Cargill

The young choreographer returned to the Alvin Ailey Theatre with a crop of new dances and an exciting group of dancers.  The performance last year was notable for its cast which included outstanding dancers such as Marcelo Gomes, Veronika Part, and Ashley Bouder.  This year Scher also had fine dancers from ABT and NYCB, including Tyler Angle, Ana Sophia Scheller, and Craig Salstein, but he also offered Carla Körbes and Seth Orza from Pacific Northwest Ballet, Sofiane Sylve from the San Francisco Ballet, and Misa Kuranaga and Jospeh Gatti from the Boston Ballet.  So often, New York only sees visitors in a gala format, whacking off one pas de deux or solo after another, so it was a welcome treat to see these fine dancers in complete choreography, especially since these works showed off the dancers performing as well as technical skills; Scher can use stillness and gesture to convey mood.

Youth's Promise

Valentina Kozlova's Dance Conservatory Performance Project
Annual Spring Gala 2011
Symphony Space
New York, NY
April 16, 2011

by Mary Cargill
copyright © 2011 by Mary Cargill

Valentina Koslova, the Bolshoi-trained former New York City Ballet principal, has a ballet school and showed off her dancers in the recent gala.  The most promising of these have done well on the competition circuit, but these dancers did not have the slick, brittle demeanor of so many competitors; the sheer joy of dancing shone through.  I could see into the wings from my seat, and saw the younger ones watching raptly and generously applauding their cohorts. It is of course, not fair to hold these students to professional standards, but the evening offered some very fine performances.