As part of American Ballet Theatre’s ongoing mission to bring in a younger crowd, this Fall Season featured two family friendly matinees. Despite the name, it is not constructed how one might imagine a ballet program designed for children to be. There are no excerpts of fairytale ballets, or dancing animals, instead ABT has chosen to present a collection of works which serve as a beautiful introduction for those new to ballet, or those hoping to deepen their appreciation of the art.
There is something very special about seeing so many children in the audience. Excitement dances in their eyes, and during intermission, happy little dancers tested out their own variations on what they had just witnessed. Unlike a story ballet, this program is pure dancing, freed of plot or characters, yet audiences members both young and old appeared thrilled just to see such exquisite dancers in action. I was thrilled too of course.
In the 1950 Sylvia Pas de Deux, we see a very different side of Balanchine. He has softened the edges that so often distinguish his work, and it is much more reminiscent of a classical work while retaining signature Balanchine brilliance through and through. Gillian Murphy and Daniel Camargo floated through as if lifted by heavenly wings. From one lift to another, they were weightless, and divine in their execution of each breathless moment. Those who have seen Balanchine’s Coppélia will recognize Camargo’s solo from the ever delightful Act Three pas de deux, which abounds with musical ingenuity and soaring energy. The coda also uses the music used for Coppélia’s pas de deux coda, and shows us the sure-footed, boundless nature of these exquisite dancers in their full glory.
The shortest work of this program, Jessica Lang’s Children’s Songs Dance is quite the opposite of what one expects of ballet. Here we see two ballet dancers finally give in to the force of gravity, let the comfort of the ground overtake their desire for loftiness for a moment. Coming directly after Sylvia Pas de Deux, it is a shocking sight to see the airy-quality of ballet replaced by a deep rooted connection to the earth beneath their feet. Isabella Boylston and James Whiteside were a joy to see even in such a short work, and hit their stride in the moments where they were allowed to lift from the beginning place of heaviness.
Great Galloping Gottshalk is a very serious name for this sweet, playful pas de deux. Like two water nymphs, Sunmi Park and Calvin Royal III effortlessly floated through this dreamy duet with such expansive, fluid grace. Exhibiting a vintage, almost Disney-like charm, which one can hear in the music alone, this quality becomes all the more clear when these two effervescent dancers fill the stage with charm. Floating amid sea-colored chiffon, and darling choreography, Sunmi Park and Calvin Royal III showed such genuine connection and delight in being able to share this beautiful pas de deux. I couldn’t wipe the smile from my face, so beautiful was the short-lived dream before me.
Études is quite possibly the very definition of technical ballet excellence. It is a remarkable work which manages to highlight the strength and vibrancy of ballet in fourty six precious minutes. It begins with a picture of the work which lies behind each dancer, the daily routine of class that has filled their bones since they were children. Tendus, frappés, and grand plies at the barre quickly flourish into a glorious capturing of the exponential heights of ballet.
Building upon itself, in speed and difficulty (just as a ballet class does), Études just keeps getting better and more demanding as the piece progresses. There is an intoxicating delight in watching these dancers step into their full capacity, especially in moments such as the line of dancers performing painfully slow chaine turns which grow quicker and quicker until the principal dancer becomes a blur. One cannot help but shake your head at the astonishing talent of these dancers which make Harald Lander’s stamina-testing choreography look far too easy. It is a piece which is so technically demanding that it seems there could be no room for artistry, but there is. Amid the sections of high flying grande allegro and fouétte turns, comes a beautiful adagio. Soft and tender, here Devon Teuscher reminded me so much of Giselle, romantic tutu and all. It seems as though in Études, Harald Lander has attempted to collect the treasures of ballet and place them all within one piece, for in this adagio, so much of ballet’s history is evident, and you can almost feel a story ballet brewing.
For a ballet lover, Études is a feast of endorphins, a work which truly shows every level of the company at its best, and by definition, ballet at its best. The beauty of Études is that while the beginning of the piece may seem repetitive and monotonous, it is those very steps, ingrained into a body day after day, year after year, which make the rest of the work possible. I’ve heard critics say that Études is only interesting during its finale, but I would argue that getting to see the foundations of ballet, and then arrive at last at the peak of athletic and artistic excellence is a unique and thrilling sight.
The many faces of ballet are shown in these captivating forty six minutes. From beginning to end, we see a blossoming of ballet, a journey which begins at the barre and ends with a pounding heart and an indelible smile. But where does ballet go when the curtain comes down? Into little feet of course. As the theater emptied, Lincoln Plaza became scattered in little dancers carrying on the work they had just seen, trying to feel that same strength and grace within their own limbs.
Every time I am lucky enough to see ABT, I am astounded anew by the quality of what they bring to their very lucky audiences. Thank you so much, American Ballet Theatre, for the gift of this beautiful performance.
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