Floozies, Lovers, Old Stars Herald ABT's Spring Season

This article originally appeared in the Culture section of Bloomberg News on May 21, 2008.

May 21 (Bloomberg) -- American Ballet Theatre opened its eight-week spring season Monday night at the Metropolitan Opera House in Manhattan with a gala program offering tidbit star turns from stars past as well as present.

The 1938 ``Judgment of Paris,'' Antony Tudor's sardonic take on the Greek myth of a hero's choice among three goddesses, honored the centennial of the choreographer's birth. The sleazy- cafe scene replete with inebriated client, pandering waiter and triad of over-the-hill floozies was made gala-worthy by the inspired casting of five memorable former ABT dancers.

Kevin McKenzie, now the company's artistic director, was wonderfully understated as the john, his manners growing ever more finicky as he slipped into paralysis. Victor Barbee, a compelling actor-dancer who is now associate artistic director, brought Stanislavskian depth to the minor role of the waiter. The ladies of the evening, who really carry the show with their solos, were Kathleen Moore, Martine van Hamel and Bonnie Mathis.

Dancers, from right, Kathleen Moore, Martine van Hamel and Bonnie Mathis perform in Antony Tudor's "Judgment of Paris" during American Ballet Theatre's opening night at the Metropolitan Opera House in New York on May 19, 2008. Photographer: Marty Sohl/ABT via Bloomberg News

Each created a character that was funny, grotesque and pitiful in her own singular style. Van Hamel, in her day a lovely, sensuous ballerina, outdid them all with the unflinching realism of her portrayal.

Pretty Effects

Dancers Irina Dvorovenko, right, and Maxim Beloserkovsky perform in Jessica Lang's "Splendid Isolation III" during American Ballet Theatre's opening night at the Metropolitan Opera House in New York on May 19, 2008. Photographer: Marty Sohl/ABT via Bloomberg News

Jessica Lang's new ballet, ``Splendid Isolation III,'' coupled Irina Dvorovenko, in a white gown whose skirt took up half the stage, with Maxim Beloserkovsky, nude but for skin-tight briefs. Apparently the pair was experiencing some sort of passionate but thwarted desire. Dances employing extravagant amounts of fabric are nothing new and always tricky to bring off. This one, despite occasional pretty effects, was no exception. Even when the lady belatedly shed her skirt, the simplistic choreography offered only cliches.

The balance of the evening was devoted to giving every principal dancer a number to shine in. The most moving among these was a segment from Act 2 of ``Giselle.'' As the eponymous tragic heroine, Nina Ananiashvili was, quite simply, ineffable. She was partnered by an eloquent Angel Corella, his usual pleasure-exuding affability and virtuoso feats here transformed by the gravity of love and remorse.

There were many reminders of familiar excellence, such as Herman Cornejo's dazzling technique, the lyrical ballerina Julie Kent's continuing development as an actress and Jose Manuel Carreno's seductive warmth.

Lightweight, Flashy

While this bodes well for the season, the programming for the coming weeks may make the bona fide dance lover flee and the corps feel suicidal. Four multi-act ballets -- ``Le Corsaire'' and ``Don Quixote,'' both largely lightweight and flashy, and McKenzie's hapless versions of ``Swan Lake'' and ``The Sleeping Beauty'' -- are each being danced for eight back-to-back performances.

The season will wind down with an unbroken week each of ``La Bayadere,'' ``The Merry Widow'' and ``Giselle.'' (Mercifully, ABT's productions of ``Bayadere'' and ``Giselle'' can still be called classical.) The sole mixed bill insists on following the season's potential highlight, a new work by Twyla Tharp, with Harald Lander's crowd-pleasing but alternately cloying and show- offy ``Etudes.''

These programming tactics suggest, overall, an attempt to save money and to sell tickets by satisfying the lowest common denominator of taste. It's a good thing ABT's dancers are so fabulous. But don't they, as well as their audience, deserve subtler and more varied challenges?

At the Metropolitan Opera House, Broadway at West 65th Street, through July 12. Information: +1-212-419-4321; http://www.abt.org.

© 2008 Bloomberg L.P. All rights reserved. Reprinted with permission.