Stratospheric Dance

Tulsa re-post finalSoo Youn Cho and Alfonso Martin in Tulsa Ballet’s production of William Forsythe’s “In the Middle, Somewhat Elevated.” Photo copyright Rosalie O’Connor.

Copyright 2010, 2017 Alicia Chesser

TULSA — For the past 15 years, Tulsa Ballet artistic director Marcello Angelini has been leading his company to this moment, when it could not only obtain the rights to perform works like William Forsythe’s “In the Middle, Somewhat Elevated” and Jiri Kylian’s “Sechs Tanze,” but actually perform them with the skill, stamina, and artistic maturity they require.

It feels like a turning point.

To receive the rest of the article, first published on December 18, 2010, including more photos + a bonus story by Tulsa Ballet artistic director Marcello Angelini written exclusively for the Dance Insider,  subscribers please contact publisher Paul Ben-Itzak at paulbenitzak@gmail.com. Not a subscriber? Subscribe to the Dance Insider for just $29.95/year 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. Just designate your PayPal payment to paulbenitzak@gmail.com, or write us at that address to find out about payment by check or in Euros. Just want this story? Donate $5 through PayPal to paulbenitzak@gmail.com then send an e-mail to that address with “Tulsa” in the subject line.

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American Ballet TheatreAmerican 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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