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Ivy Lin's love of ballet began in high school when at the school dance she quickly realized she had two left feet. One always admires things one cannot do, and so Ivy began to attend dance performances to marvel at the grace and beauty of bodies in motion. Ivy's day job is a biology teacher and after a long day in the classroom she loves to unwind by watching dance. She also enjoys theater, opera, pop and classical music. Ivy has her own blog (www.humbledandoverwhelmed,blogspot.com)
Judging by the enthusiastic audience reactions to this program one might have to rethink the modern/ballet divide. Maybe there’s only two types of dance – good dance and bad dance.
It's possible to have nothing but admiration for Mark Morris as a choreographer, yet his actual dances I often find pedestrian with a limited vocabulary. The works are interesting to see once, to see what he can do with classical music that has no obvious dance rhythms, but I rarely want to see them again.
The program notes include a quote by August Bournonville that says, "The Dance ... is essentially an expression of joy." And in this short but sweet program the company proved that it can still give a master class in showing the joy of The Dance.
If the audience response was not very enthusiastic, it's because Ratmansky's Sleeping Beauty four years after its premiere still comes across as more of a museum piece than a living, breathing ballet. This is a Beauty that never really wakes up.
Perhaps ABT's disclaimer in the program notes should have simply said: "When you watch Le Corsaire, prepare to be both offended and entertained. We hope you'll be more entertained than offended."
Yet the audience loved it, just as they love every performance of A Midsummer's Night DreamI've ever attended. This ballet is a tribute to Shakespeare, a tribute to love, a tribute to dance. One walks out feeling as if one's "soul is in the sky."
The Seasons is overstuffed, uneven and way too busy. There are so many steps, but they rarely made me "see the music". It was a frustrating ballet, with so many lovely moments that were less than the sum of its parts.
Harlequinade shows Ratmansky's usual scrupulous care when reconstructing Petipa's ballets. His attention to detail and obvious love for the art form are to be admired. But these ballets are also living, breathing works and they need strong performances to be viable in the repertory.
The ending of Stars and Stripesis a sure-fire applause machine. The lowering of the flag while all the regiments march and salute onstage is so corny that only Balanchine could have choreographed it with a straight face. And yet it worked in 1958 and it works in 2019.
Different music, different moods, different choreographers, but both quintessentially American. We compare and contrast two dance works which bring out the American dream of community, happiness and freedom.
Despite the uneven performances, the evening offered a painful reminder: the future of Cunningham's opus is fragile and delicate. With his own company disbanded, his future is in the hands of dancers who are not trained in his technique and did not have the good fortune of working directly with the great choreographer.
