Returning to its roots as a Direct E-mail List — as the most effective, efficient way to serve our subscribers, writers, advertisers, and readers — the DI will heretofore make all new content, as well as reprints from our 20-year archive of more than 2,000 exclusive reviews by 150 writers of performances on five continents, plus news, commentary, art, and the Jill Johnston Archive, available strictly by e-mail. To subscribe to the DI and access both this new content and archived stories, for just $29.95/year individuals or $49.95 institutions, just designate your PayPal payment in that amount to firstname.lastname@example.org, or write us at that address to find out about payment by check or in Euros. (In the latter case, the payments will be directed to our European correspondents.) You can also contact us at that address to find out about limited, well-integrated e-mail advertising options.
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.
To get the rest of the article — and access 20 years of Dance Insider articles by Harris Green and other leading critics — subscribers can contact publisher Paul Ben-Itzak at email@example.com. Not a subscriber? Subscribe to the Dance Insider for just $29.95/year ($99 for institutions gets full access for all your teachers, students, dance company members, etc.) and receive full access to our Dance Insider Archive of 2,000 exclusive reviews by 150 leading dance critics of performances on five continents from 1998 through 2015, as well as the Jill Johnston Letter. To subscribe via PayPal, just designate your payment to firstname.lastname@example.org, or write us at that address to learn how to pay by check, Euros, or British pounds. You can also purchase a complete copy of the Archives for just $49 (individuals) or $129 (institutions). Purchase before January 31 and receive a second, free copy for the recipient of your choice. Contact Paul at email@example.com .