Tuesday January 16, 2007 - The idea of an all-Balanchine/Stravinsky programme is possibly more appealing than the actual event. The ballets presented are all masterpieces in their own right but strung together, they make for an oddly unexciting evening. People sitting around us complained of the lack of musical or scenic variety, and it seemed like many folks departed during the second intermission. Each of these pieces works best when it is the highlight of an evening; viewed one after another they are somewhat devalued.
I'm not sure about Faycal Karoui's conducting; the evening had a same-y quality and I have heard all these scores played with more dynamic variety and more illuminating detail. But again, it may just have been a case of too much Stravinsky.
AGON was very well-danced, notably Sean Suozzi's expansive movement and dramatic thrust. He has great presence and charisma. Teresa Reichlen was very impressive, as was Adrian Danchig-Waring who has a striking physique and moves with clarity and force. The end of the trio, where Adrian tosses Tess into the arms of Tyler Angle, was slightly mistimed but all three dancers looked super. Ellen Bar and Rebecca Krohn danced with distinction and were intriguing to watch. Wendy Whelan and Albert Evans were thrilling in their signature pas de deux. The quartet of corps girls filled out the stage picture to fine effect.
The highlight of the evening was the very accomplished and indeed fascinating dancing of Rebecca Krohn in MONUMENTUM/MOVEMENTS. Ideally partnered by Charles Askegard, Rebecca showed a security of technique and an impressive shaping of the steps. She has a ideal ballerina body, in my view, and a vividly attractive face with large eyes and luscious lips; moreover, she has that intangible 'it' that makes a dancer a star. She put me in mind, frequently, of Suzanne Farrell. In MONUMENTUM, the partnership of Faye Arthurs & Craig Hall frequently tempted my opera glasses away the leading couple; and in MOVEMENTS Kaitlyn Gilliland stood out in a very fine sextet of corps girls.
Performing DUO CONCERTANT after M & M seems like an after-thought and doesn't allow the longer/bigger ballet the proper time for reverie. When the curtain rose, there was a slight feeling of: "Yes, Virginia, another Borree/Hubbe DUO CONCERTANT" but they danced beautifully and seemed to be enjoying the piece. The audience gave them a warm reception. The ballet is just a bit corny now, with the long opening section - nice music - wasted choreographically as the dancers just stand there listening. The novelty of the idea has long since wore off - for me, anyway - and while the lighting of the final 'hands' segment is improved it is still not perfect. For all that, I did enjoy the two dancers very much.
SYMPHONY IN THREE MOVEMENTS kicked off with the dynamic duo of Ashley Bouder & Tom Gold trading high-bouncing steps with gusto. Ellen Bar and Arch Higgins came on like gang-busters and looked great but they ran into troubles: Arch collided with a side panel as he made an exit and Ellen's series of turns down the center line skewed off to the side. They pulled it all back together and finished strongly. Miranda Weese looked rather chubby in her pink leotard but her dancing was a pure delight; it was good to see Jared Angle back onstage after his on-again-off-again comeback attempts. He danced very well and is in fine shape, reminding us of what we've missed in his absence. The demi-solistes and corps gave it everything they had, bringing the evening to a bright conclusion.
From the Playbill, Wendy Whelan talks about dancing the Stravinsky/Balanchine ballets. Click on the panel to enlarge.