Interludes

THE HANGOVER REPORT – For its fall season at Lincoln Center, AMERICAN BALLET THEATRE puts its best foot forward

• By drediman
• October 23, 2023
• No Comments

Last week, American Ballet Theatre took up residence at the David H. Koch Theater at Lincoln Center for its fall season. Judging from the season’s first two programs — descriptively entitled “Classics Old and New and “20th Century Works” — this autumn finds the renowned company putting its best foot forward. Ideally curated, these two programs have been tailored to Ballet Theatre’s considerable and distinctive strengths, which the company delivered upon in a sparkling manner.

The two-week season kicked off with “Classics Old and New”, which handsomely showcased the company’s diverse repertory. The bill commenced with the welcome return of Alexei Ratmansky’s Shostakovich Piano Concerto No. 1, and it was ravishing — I think of it as a sort of Ballet Theatre’s equivalent of Rubies. Displaying speed and musicality, the performance burst with excitement and ingenuity (speaking of which, when can we have the complete Shostakovich Trilogy back?). In particular, principals Skylar Brandt and hugely promising up-and-comier Jake Roxander were dynamic and stylish. The program continued with the chic Petite Mort, one of choreographer Jiri Kylián’s signature pieces for the company. The performance here showcased the depth of the company’s bench, featuring firmly established dancers like Herman Cornejo dancing seamlessly alongside less experienced members of the ensemble. The program concluded on a high note with Herald Lander’s Études. Originally set on the Royal Danish Ballet, the work is an exuberant and elaborate celebration of classical ballet exercises – in themselves the work’s spectacular end. In short, the one-act ballet was magnificently dances, with sensational principal Catherine Hurlin and young Jake Roxander (once again) especially dazzling in both their technique and inspired phrasing.

“20th Century Works”, the company’s subsequent program, was an enticing, more contained double bill comprised of George Balanchine’s Ballet Imperial and Sir Frederick Ashton’s The Dream. Together, these two works are giving audiences a compelling overview of Ballet Theatre’s careful tutelage in the classical technique, with particular emphasis on well-placed lines. Set to Tchaikovsky Piano Concerto No. 2 and specifically choreographed by Balanchine for the company in 1941, the work undoubtedly plays to Ballet Theatre’s strengths. Happily, last Sunday’s performance did not disappoint. Although led solidly by principals Calvin Royal Ill and Christine Shevchenko, the breakout star was Chloe Misseldine, whose ebullient performance embodied the elevated spirit of the piece. Effortlessly floating from position to position, the 21-year-old soloist — just like her male counterpart, the aforementioned Jake Roxander — confidently rose to the occasion technically, all the while exhibiting undeniable star power. She’s definitely one to keep an eye on. After the intermission, Ashton’s The Dream cast its indelible spell (I actually prefer Ashton’s carefully considered ballet version of Shakespeare’s evergreen A Midsummer Night’s Dream to Balanchine’s celebrated ballet). As Tatiana and Oberon, principals Gillian Murphy and Daniel Carmago were exceptional, dancing with captivating poetry and requisite regality. In the showboat role of Puck, the petite Elwince Magbitang performed with tireless energy and spunky charisma and charm.

The fall season concludes next week with “21st Century Works”, a bill that delves into more contemporary works, notably Alonzo King’s Single Eye and Ratmansky’s On the Dnipro.

HIGHLY RECOMMENDED

AMERICAN BALLET THEATRE
Dance
David H. Koch Theater
Approximately 2 hours (including one or two intermissions)
Fall season concludes October 29