Company Character

“Allegro Brillante”, “Seven Sonatas”, “Nine Sinatra Songs”
The Washington Ballet
Warner Theater
Washington, DC
April 27, 2017

by George Jackson
copyright © 2017 by George Jackson

Questions kept nagging while watching the three ballets. Under new leadership since the start of the 2016/17 season, has The Washington Ballet’s character changed? Isn’t it playing it too safe to have a whole program of pieces already known? How does the current performance of these works stack up against those from the past? Answers to these questions provided intermission chatter on the “official” opening night of this set of 7 performances (April 26 -30). The opening’s highlight was “Seven Sonatas” by Alexei Ratmansky to the music of Domenico Scarlatti.

Photo: Gian Carlo Perez, Sona Kharatian, Corey Landolt, Maki Onuki, Jonathan Jordan and Venus Villa in Ratmansky's "Seven Sonatas." Photo by Theo Kossenas.

Having seen “Seven Sonatas” performed by American Ballet Theatre, I was familiar with its clever arrangements for six dancers, three women and three men often used as pairs. They are dressed in white (by Holly Hynes) with hints of both archeology and dance history in their attire. Apparent not far into the work is how deftly Ratmansky plays numbers games with the few bodies he picked, with group symmetry and with mirroring the pianistic music’s currents. Unexpected were the changes of mood. There are quick shifts, from frolicsome to stately to tragic, yet letting the viewer in on the secret that the dancers put these feelings on as easily as if they were mere masks. It was a strong cast and, especially, two of its women performed remarkably: Sona Kharatian and Venus Villa. The latter, in the second female solo following the start of the piece, seemed to etch her motion ever so distinctly into surrounding space. Kharatian, as both ballet dancer and tragedienne, was utterly moving. By comparison, ABT dances this ballet smoothly but with far less nuance. The staging was by ABT’s Nancy Raffa.

“Allegro Brillante” is short, as is its music (Tchaikovsky’s unfinished, third piano concerto). It is crammed full with steps and combinations, Balanchine intentionally making it a lexicon of classical technique. Darla Hoover, who staged it for TWB, did an excellent job getting Balanchine style out of the dancers. They have to be sharp and quick. Even the men’s group managed the Balanchine look, although usually the women with their point work have the advantage. There were five courtly couples, led by Eunwon Lee and Brooklyn Mack. Slim of body, she moves clearly and with strength. Lee’s face, though, stays impassive. She expresses individuality through her long arms and florid port de bras. This contrasts with the very functional deployment of the arms and hands by most Balanchine dancers. Her partner, Mack, who has a reputation for pyrotechnics, this time also behaved like a true classical danseur. Even when he stood still, one could see that this man is princely.

Why, though, is “Allegro Brillante” not my favorite Balanchine ballet? Its compactness is admirable. I don’t mind it being bloated with technique. It is the atmosphere of the piece that puts me off. The ten people on stage behave in a nobly festive manner that does not change sufficiently from start to stop.  

Another couples piece was the much seen “Nine Sinatra Songs” of Twyla Tharp. Seven male/female pairs, pretty much in succession, caricature America’s social dance scene of the 20^th Century. Tharp is clever in her mix of behavior, ballroom dancing and acrobatics. She balances comedy and dynamic action astutely. Different casts can upset that balance. The couples are, mostly, well characterized and go naturally with the lyrics Sinatra’s archived voice sings. The current production, staged by TWB’s Elaine Kudo, is all right. Tamas Krizsa’s gentle drunkard had wicked charm, but the work’s transient group finale didn’t quite click.

All in all, I’d rather have seen another ballet than a repeat of this Tharp which TWB has danced before and other companies have toured here. Choosing repertory for a smaller company like TWB isn’t easy. The audience here sees much dance from all over the world. Why duplicate things others do better? One reason would be that the dancers may need the experience. It gives insight into issues of dancing, acting and styling that are not taught in classes.

Finally, back to the beginning question: has TWB’s character changed this past season? The transition from Septime Webre’s directorship to that of Julie Kent went smoothly, without the painful mass firings and public recriminations that accompany such regime shifts elsewhere. A few new people were added, but basically Kent deals with much the same dancers and ballet masters who were present all along. Webre’s strength was a sense of drama, even melodrama. He didn’t want a ballet performance to be just an exercise. Kent’s directorship puts more emphasis on clear technique and style. Would “Seven Sonatas” have seemed so fresh and bright if Kent hadn’t come along? Would “Nine Sinatra Songs” have had more impact if Webre were still in charge?

Photo:  Andile Ndlovu and Tamako Myazaki in "Nine Sinatra Songs." Photo by Theo Kossenas.