American Ballet Theatre in Alexei Ratmansky’s “Serenade After Plato’s Symposium.” Rosalie O’Connor photograph copyright Rosalie O’Connor and courtesy American Ballet Theatre.
Copyright 2017 Harris Green
Photography copyright Rosalie O’Connor
NEW YORK — American Ballet Theatre’s fall season at what many of us will always refer to as the “New York State Theater” was a frequently rewarding two weeks. Along with a world and a local premiere, the repertory included one work each by Balanchine, Alexei Ratmansky and Twyla Tharp.
Only Frederick Ashton supplied two ballets. His exquisite “Monotones I and II,” conducted by David LaMarche, looked more at home in the smaller theater than it had in the Metropolitan Opera House. ABT had no difficulty casting it with six dancers who all exuded presence and authority. “Symphonic Variations,” however, was generally a dreary affair that shouldn’t be blamed entirely on a secondary cast. It was jolting to find Ashton denying his ballerinas the exquisite subtleties they could achieve with wrists and fingers by decreeing that at one point their hands be merely a rigid continuation of their arms, with the palms facing down.
And yes, I realize I have just committed An Arrogant Reviewer Error by giving a flaw a percentage of space in the review greater than the percentage of time the flaw occupied in the performance, but you should have seen those hands.
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