“Signature Works” From American Ballet Theater Presents an Eclectic Mix

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Parent Category: Film and the Arts

Category: Reviews

Published on Wednesday, 30 October 2024 13:39

Written by Jack Angstreich

Cassandra Trenary and Herman Cornejo in Sinatra Suite. Photo: Emma Zordan.

At Lincoln Center’s David H. Koch Theater, on the evening of Saturday, October 26th, I had the considerable privilege to attend a superb mixed program—entitled “Signature Works,” presented by the marvelous American Ballet Theater.

The program began exhilaratingly with its most splendid selection, The Kingdom of the Shades, a glorious excerpt from Marius Petipa’s popular La Bayadère from 1877, seen here in a staging by Natalia Makarova from 1974. About the work, which scarcely could be be surpassed as an example of the pleasures afforded by classical ballet, she said:

The Kingdom of the Shades is one of the most important creations in the history of classical ballet. It is Marius Petipa’s choreographic masterpiece, and remains timeless—exemplifying Petipa’s vision of classicism in its eloquence, harmony, precision, and its crystalline execution. I tried to put more inner spiritual meaning into this act, which is my contribution to the Shades. The corps de ballet, descending one by one from the Himalayan Mountains are hallucinatory visions in the mind of the warrior Solor. Tormented by repentance and his love for the murdered temple dancer Nikiya, in his mind he sees the poetical image of Nikiya, her spirit multiplied into infinity.

The beautiful Romantic score is by Ludwig Minkus, here excellently arranged by John Lanchbery and confidently conducted by David LaMarche. The scenery was designed by Pier Luigi Samaritani and the attractive costumes by Theoni V. Aldredge, with effective lighting by Toshiro Ogawa. The cast was extraordinary, magnificently led by Hee Seo—who is one of the finest ballerinas in the company—brilliantly partnered by Isaac Hernández. Also wonderful were Yoon Jung Seo, Sierra Armstrong and Sunmi Park, while the marvelous corpsde ballet were simply stellar, with very few imperfections.

Also remarkable was George Balanchine’s exquisite, famous Sylvia Pas de Deux from 1964–staged by Marina Eglevsky—set to another memorable Romantic score, here by Léo Delibes, expressively conducted by Charles Barker. (The costumes are by the celebrated Santo Loquasto and the lighting is by Nananne Porcher.) This also had an amazing cast most notably starring Gillian Murphy—arguably the greatest ballerina in the company—also admirably partnered by Daniel Camargo.

Enjoyable too was the sexy Sinatra Suite from 1983, by the renowned Twyla Tharp. The score—five songs performed by Frank Sinatra—is, of course, indelible: “Strangers in the Night,” “All the Way” (with music by Jimmy Van Heusen and lyrics by Sammy Cahn), “That’s Life,” “My Way,” and “One for My Baby (and One More for the Road)” (with music by Harold Arlen and lyrics by Johnny Mercer). The original costume designs are by Oscar de la Renta, with lighting by Jennifer Tipton.) Again, the cast was outstanding, including Herman Cornejo—still probably the best male dancer in the company—partnering Cassandra Trenary who continues to beguile.

More substantial was the mesmerizing final piece, Tharp’s In the Upper Room from 1986, staged by Shelley Washington with Blane Hoven. The sensational score is by Philip Glass—and the ballet is a worthy counterpart to the even more stunning Glass Pieces by Jerome Robbins. (The costumes are by Norma Kamali, with lighting again by Tipton.) This too had a superior cast including amongst several others: Devon Teuscher, Murphy and Armstrong again, Joseph Markey, Cory Stearns, Catherine Hurlin, Isabella Boylston, and Thomas Forster, but one dancer unexpectedly surpassed all the others in magnetism, the fabulous Aran Bell.

The artists deservedly received a very enthusiastic ovation.

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