Review: ABT Balances Lightness & Darkness in 2017 Fall Season

As the audience filled the David H. Koch Theater on Oct 24, 2017 to watch American Ballet Theatre's fall season, one thing became very clear: Appreciation for classical ballet is alive and well in New York City. In a time of great global uncertainty and turmoil, having the arts to go back to is an immense comfort, because we can see ourselves in it: the good, the bad, and the yet-to-be-discovered. And in this season's selections, American Ballet Theatre proved that completely, committing to showcasing the beauty of balance between polar opposites.

Jessica Lang's "Her Notes" kicked off the evening, a piece that received its World Premiere just last season. Accompanied by solo pianist Emily Wong, the company of ten dancers began in somber silence. Soloist Thomas Forster started out alone in front of the stage's transparent screen, tentatively bridging the physical and emotional divide between him and his fellow dancers. As the crescendo built, each dancer stepped into the light and danced around and with each other, beginning to form a more solid foundation of what it means to be a collective. Different combinations of dancers interchanged like rapid-fire, filling the space with all dimensions of human emotion: love, pain, laughter, and solemnity. As the dancers leapt and bourréed through the score's flexibility, it became ever clear that the piece is a narrative about how we relate to each other, as both artists and human beings, and the company's close-knit dynamic was brought to new heights.

"Symphonic Variations" followed, a historical ballet which first premiered in 1946. Serving as an ode to Greek mythology and aesthetic, Ashton's choreographic sharpness was on display, serving to complement the ballet's characteristic petite allegro. Misty Copeland was a particular stand out; her petite frame commanded the stage with fire and precision. While not a personal favorite, it was lovely to see some up-and-coming stars in the making, like Skylar Brandt and Arron Scott, come into their own.

"Elegy Pas de Deux" followed, which showcased ABT favorites Hee Seo and Roman Zhurbin in a completely new way. Like a most powerful wind blowing through without consequence, Seo and Zhurbin danced together exquisitely, moving through the music and executing counterbalances and gravity defying lifts with gorgeous ease. What was so captivating was the way in which Zhurbin never let Seo out of his sight, because in that moment, they belonged to each other. This duo provided the perfect palette cleanser before the close of the show.

Unsurprisingly, Wheeldon's "Thirteen Diversions" ended the evening on a high note. With every individual theme marked by a distinct color palette, lights, and backdrop, the company of dancers moved with incredible inertia, the men prancing and leaping like gazelles, the women's port de bras moving through the space like liquid. I was very excited to see Catherine Hurlin in a soloist role. She dances with wonderful syncopation and proved her maturity on a stage filled with Principals and Soloists.

Congratulations to the entire company: Don't miss your chance to see them before the season ends!

Photo Credit: Rosalie O'Connor

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