Saturday, April 6, 2013

ABT Studio Company—Raw Talent and Promise

Catherine Hurlin in George Balanchine's Tarantella. © The George Balanchine Trust. Photo: Erin Baiano.
Notes on ABT Studio Company, which performed as part of Pace Presents at the Schimmel Center:

  • More interesting rep on the youngsters (see blog on Juilliard): Balanchine's Tarantella, Ratmansky's Les Carnaval des Animaux (Excerpts), Paul Taylor's Airs, and Raymond Lukens' Jerusalem Divertissement
  • Some familiar faces from The Nutcracker, including Catherine Hurlin in Tarantella (with Xavier Nunez), fast becoming a willowy, confident, versatile dancer. Neat to see her graduating like this through the stages at JKO/ABT (among others).
  • Jun Xia! This young man has extraordinary gifts and talent that could be called Hallbergian... fantastic feet, terrific extensions and flexibility, a gift for epaulement, and good presence. Watch him carefully.
  • Carnaval—a hodgepodge of animal-themed sections, including flitting birds, a dying swan, and bunnies. Not one of Ratmansky's best efforts but an entertaining short work appropriate for this troupe.
  • Airs—when Paul Taylor Dance Company performs it, it has a classical feel, but I wouldn't necessarily call it ballet, as seems appropriate on ABT SC. It also looks incredibly fast on these kids, another testament to the skill and athleticism of PTDC. But a lovely, serious dance that is a welcome variation on ballet.
  • Jerusalem provides a showcase for all of the technical skills that distinguish these youngsters

The company performs again today at 2pm (with the JKO Students) and tonight at 7:30pm.


Summation. Getting pelted with fruit.
Summation Dance is at the BAM Fisher from April 11—13. This relatively young group performs choreography by Sumi Clements that is bold, physical, humorous, structured, musical, grounded, and at moments evokes capoeira, Petronio, and gaga. 

The company presents Pathological Parenthetical Pageantry, which is as zany as the title sounds and involves fruit as projectiles, and a premiere that begins with an off-kilter pose suggesting imminent change. It builds momentum through orderly repetition and gutsy performances. Kyle Olson, a frequent collaborator, provides the commissioned score, with costumes by Brigitte Vosse. 

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