Above: Rie Ogura in New York Theatre Ballet's production of JARDIN AUX LILAS; photo by Richard Termine
Friday May 9th, 2014 - Any opportunity to see Anthony Tudor's JARDIN AUX LILAS will draw me to the theater, no matter what else is on the bill. Although this ballet is at the very top of my list of personal favorites (along with SERENADE and the Kingdom of the Shades from BAYADERE), I've had little exposure to other Tudor works; I saw DARK ELEGIES very early in my dance-going days, and I did enjoy THE LEAVES ARE FADING several years ago at ABT.
Anyone who has lived a big romantic life will have experienced at some point what Caroline and her Lover are experiencing in JARDIN AUX LILAS: the last time you will be with this particular person with whom you have shared an intimate relationship. Blessedly, we are usually unaware that a particular encounter is to be the last time we'll be with that person, though it has - a few times - happened that I've been aware of an impending separation even though nothing's been said. Thus the final moments of JARDIN AUX LILAS, when the lovers part - knowing full well that it's to be forever - always gives me a frisson.
Conspiring with the narrative and the choreography, the Ernest Chausson score (Poème for Violin and Orchestra, Opus 25) completes this assault on our romantic sensibilities. JARDIN AUX LILAS is a ballet that is painful to watch, however beautiful all the elements may be. That last vision of the Lover, standing alone with his back to the audience and inclining his head in silent grief, is like a dagger in the heart.
New York Theatre Ballet have created a lovely production, utilizing a backdrop of lilac trees on a Spring evening with the moon on high. The costumes, on loan from ABT, were authentic, and aside from a slight lack of spaciousness owing to the size of the stage, the ballet looked fine. Elena Zahlmann was a wistfully radiant Caroline, ever casting her gaze about for a passing glance at her beloved but always drawn back to the social obligations of the soirée by her well-meaning friends. What a pleasant surprise to find Charles Askegard dancing the role of The Man She Must Marry. As a former mainstay of both of New York City's great ballet companies, Charles's stage presence is effortlessly in-character at all times. His portrayal was filled with small details that bespeak his natural sense of drama. Rie Ogura brought subtle calculation and shining beauty of movement to her role as The Man's former lover; I always feel that this woman and The Man will continue to have a connection even as Caroline and her lover would be unable to do so. One of Gotham's outstanding young dancers, Steven Melendez, ideally caught the swirling emotions that propel the Lover to his eventual despairing destiny. Elegant, furtive, hopeful and - in the end - lost, Steven made his every moment onstage count.
Despite audience distractions, I stayed on for two shorter works: TRIO CON BRIO, a pas de trois to music of Glinka which was very well-danced by Amanda Treiber with Mr. Melendez and Choong Hoon Lee. Though slightly hampered by lack of space - and by two unfortunate lighting glitches - the three danced vividly thru their virtuoso combinations. Far less pleasing to me was JUDGMENT OF PARIS which seemed so corny and dated...and endless, though the audience liked it well enough, with bursts of laughter and applause.
The idea of staying on for DARK ELEGIES was precluded by bad audience behavior: whispering, texting, rustling thru shopping bags. Why do these people bother coming to performances? But, anyway, I'd seen what I wanted to see: JARDIN AUX LILAS. When will I have another opportunity?