In its first week, the company performs works from its first decade. See my review of two programs here.
I asked a few dancers and choreographers—Cory Stearns, Kate Weare, Glenn Allen Sims, Wendy Whelan—about the art of partnering, and here’s what they said:
Alexei Ratmansky’s Nutcracker for American Ballet Theatre is having its last run at the Brooklyn Academy of Music before moving to the west coast next year. For the first time since its premiere in 2010, the theatre is full… Can’t help feeling a pang of loss. It’s a wonderfully imaginative rendition, a great antidote to Balanchine’s pitch-perfect version. Here’s my review of last night’s performance for DanceTabs, with Cory Stearns and Hee Seo in the lead roles.
Over the weekend, I saw a second cast in Liam Scarlett’s new “With a Chance of Rain,” plus Alexei Ratmansky’s beautiful “Seven Sonatas,” JIri Kylian’s “Sinfonietta,” and more. You can read my review here.
You can find my review for DanceTabs here.
As American Ballet Theatre’s fall season at the State Theatre comes to an end, I put together some thoughts for DanceTabs about some of the seasons’ high points, especially a dramatic performance of José Limon’s Moor’s Pavane (with Roman Zhurbin in the role of the Moor), a very touching Month in the Country, and the return of Piano Concerto #1 from last season.
Here’s a short excerpt: “The Nov. 7 cast of Month in the Country was particularly felicitous. Julie Kent’s portrayal of Natalia Petrovna is touching, unstinting in both her vulnerability – her heart seems to literally skip a beat as Guillaume Côté, the handsome tutor, takes her hands in his – and her histrionic, conniving nature….Gemma Bond, as young Vera, is equally multi-hued, if not quite so profound: sweet and eager in the opening scene, desperate and determined to get her way in her pas de deux with Beliaev, and furiously righteous – as only an adolescent wronged can be – when she discovers Petrovna’s dalliance with Beliaev. Côté, on loan from the National Ballet of Canada, was débuting in the role of the tutor, and yet he seemed to instinctually capture the character’s mix of innocence, heedless sensuality, and ardor.”
This season, ABT brought back Bach Partita, which it hasn’t performed since 1985, two years after it was created for the company. It’s a big, brilliant piece, with thirty-six dancers, who animate the stage with in constantly changing patterns for thirty minutes. The music is Bach’s second partita for solo violin, a monster of a work, played in the pit by the young violinist Charles Yang. Here’s my review for DanceTabs. (It also includes thoughts on Mark Morris’s Gong and Alexei Ratmansky’s new Tempest, which I saw again this week.)
And a short excerpt: “Throughout the ballet, Tharp’s movement is technical, precise and highly articulated. As with Balanchine, the bodies are always distinct, framed in space….It’s not unusual to have three pas de deux going on at once, independent of each other. In these cases the eye is forced to jump from one to the other, and it’s virtually impossible to catch everything.”