BWW Reviews: Gelsey Kirkland Ballet Stuns at Symphony Space
Gelsey Kirkland Ballet ambitiously presented, per the program notes, an "eclectic program...beginning and ending with ballets by Marius Petipa." Kirkland's dancers gamely accepted the challenging spectrum of movement vocabulary and dynamic effort with a joy that energized the audience. Rather than letting her legacy loom over her dancers, Kirkland sought to include them in it (although a certain confidence is necessary to take on roles synonymous with one's own director). Returning to New York required Kirkland to create a unique, sustainable home for herself. She has done just that by adamantly situating her company as committed to restoring theatrical classical ballet. Classes and training at her institute are described as arduous. Not just because of the physical technique necessary, but the emotive aspect. Kirkland does not delineate physical facility from expressive capacity. Both are needed at high levels but not independently of each other. Seeing her dancers in action helped prove Kirkland's point(e).
Petipa's Raymonda Suite showed the essence of Kirkland's vision for her dancers. She has described pushing them to embrace weight and groundedness that is different from most ballet training. That weightiness allowed her dancers to tackle the furious allegro of Petipa with their feet while exuding airiness in their port de bras and épaulement. The juxtaposition was
presented beautifully so that her dancers were free to engage with the spirit of a Hungarian wedding celebration. India Rose as Raymonda executed stunning bourrées, shifting so cleanly from first to fifth position as she cheekily flitted by. Johnny Almeida gave his best performance of the evening with pirouettes suspended in slow motion that set the tone for the evening.
With Tudor's Leaves are Fading Pas de Deux, Kirkland introduced her most stunning dancer, Dawn Gierling. Similar in frame to Kirkland, Gierling breathed the moments of stillness into life. The sweeping falls of Tudor's masterpiece require tremendous partnership which Gierling and Cristian Laverde Koenig accomplished. With a quiet technique, they moved together, their breath rising and falling in tandem. Gierling's turns a la seconde showed her command of classical ballet but it was her free falling with delightful ease into Koenig's arms that captivated. A teacher once told me that, "when partnering is good, you don't see it, you just see the dancing," and Koenig underscored that.