Review: The Washington Ballet's MOVING FORCES at The Kennedy Center Eisenhower Theater

The Washington Ballet kicked off its 49th season with a well-rounded, vibrant showcase of its current talent and built anticipation for its upcoming half-century celebration. 

Moving Forces at the Eisenhower Theater featured four ballets from four choreographers—two duets and two full-company dances—that explored the skill and power of the dancers across classical and contemporary styles. TWB’s Artistic Director, Edwaard Liang, introduced the program as “a love letter to our community” and also took a moment to celebrate Director of Facility Fidel Colin’s 40-year tenure with the ballet. 

Opening the show was Justin Peck’s The Times Are Racing, a lively and energetic number that carried copious spark and spontaneity. The piece was initially choreographed as a finale, but TWB deliberately started the show with it and established an energy and vitality that is to be anticipated for the rest of the season. The dancers moved as a community and embodied “celebration of movement as resistance, resilience, and renewal.” Dancers Gilles Delellio and Olivia DeAngelo brought the piece emotional depth with playfully expressive tap dance, while Ayano Kimura and Oscar Sanchez’s pas de deux conveyed a sobering intimacy. The pairings had strong dynamics, and their solos melded with the full company seamlessly. The wardrobe of streetwear and sneakers was well-fitted in both vibe and style, as shirts with “act, protest, change, defy, etc.” aided in the urgency and valiance without looking tacky.   

Borrowing a piece from Complexions Contemporary Ballet founder and choreographer Dwight Rhoden, TWB’s rendition of Ave Maria was a daring, sensual adaptation. The dancers, Andile Ndlovu and Maki Onuki, flowed together well to do the poignant and serene piece justice. Their movements were opening and enveloping, if a little wobbly, but there was undeniable chemistry as the dancers clung to each other. Onuki mastered the effortful skill of appearing weightless; her tumbling grace was a standout and paired well with Ndlovu’s grounded strength. 

Christopher Wheeldon’s After the Rain provided a moment of sobering clarity amidst the excitement. This classic pas de deux had Chanell Cabrera Sansón and Adrián Sánchez Hernández flexing and lifting each other in intimate embraces that seemed to defy gravity. But the piece was fairly tame compared to the rest of the night’s repertoire. Though the dancers’ shapes and movements were very dynamically interesting, the simplicity of the piece was not as compelling when framed by more modern and dramatic works.

The finale of Moving Forces, Tributary, was created by Liang himself as a love letter to traditional ballet. The piece was essentially a titillating talent show for all of the dancers to show off to the fullest, from solos to whole company movements. The ensemble was filled out by trainee students from The Washington School of Ballet, and they were more than capable of keeping up with the professionals. Frolicking and twirling and whirling were the names of the game, as each dancer’s pride sent them gliding and spinning across the stage. The pure white, feathery tutus and unitards evoked the pristine and classic visage of ballet dancers at their peak, and this image was certainly sustained by the emotion, skill, and dedication of the company. Principal ballerina Ashley Murphy-Wilson especially stole the show with her series of perfect pirouettes. 

The Washington Ballet’s Moving Forces showcase at the Kennedy Center’s Eisenhower Theater was a compelling snippet of their energy and direction for this season. They are set to perform The Nutcracker, Giselle, and Cinderella at theaters around the city this winter and spring, so there’s no excuse to miss them this season. 

Follow the link below for performance dates. 

Photo credit: Sonia Bartolomeo for TWB