The Evolution of Ballet: A Night at Lincoln Center
Ballet is an art form that thrives on evolution, and thereās a glimmer of hope as two distinctly different ballets took center stage. On Wednesday, American Ballet Theater inaugurated its fall season at Lincoln Center with the premieres of works by Gemma Bond, a former company dancer, and Kyle Abraham, a contemporary choreographer. Notably, this performance marked Abrahamās inaugural commission for the esteemed company, and it was nothing short of a triumph.
However, the program began on a somewhat lukewarm note with Bondās āLa Boutique,ā a ballet featuring 26 dancers, choreographed to music from āLa Boutique Fantasque,ā as arranged and orchestrated by Respighi, drawing inspiration from Rossini. Originally conceived in 1919 by LĆ©onide Massine, this music accompanied a one-act ballet about a toy shop that magically comes to life. In contrast, Bond has presented a plotless ballet that embraces traditional tutus and emphasizes refined classical technique. While Bond’s low arabesques are visually appealing and the overall mood remains pleasant, one might wish that this ballet would truly come alive. The dancers often seemed to treat the expansive stage as if it were much smaller.
āLa Boutiqueā opens with three couples, prominently featuring the central duo of Devon Teuscher and Aran Bell, who lead the gentle choreography that values delicacy and restraint. Though Teuscher experienced a slip during her initial solo, she maintained an impressive presence, embodying the archetype of a statuesque ballerina. For those unfamiliar with her artistry, it may be challenging to grasp the unique charm of her performance, where powerful movements harmonize seamlessly with an air of unpretentious innocence.
Sunmi Park, held by Robare (partially obscured) and Joseph Markey, with Cory Stearns bowing in Gemma Bondās āLa Boutique,āCredit…Erin Baiano for The New York Times
Bondās choreography, evidently structured, often sweeps the dancers on and off the stage in formations that occasionally veer into recital-like territory as the ballet progresses. At times, the group choreography appeared somewhat unfinished at its edges. While Bond demonstrated a clear investment in Ć©paulement, she paired this with meticulous attention to the positioning of shoulders and arms. However, certain movements seemed to recur excessively: arms held low in first position that suddenly jutted open; arms raised like goalposts; and, most prominently, a single arm gracefully swooping overhead to a high fifth, which appeared more as an add-on than a natural extension of the dancerās body.
Teuscher and Bell exuded a regal quality, while Skylar Brandt and Carlos Gonzalez, less encumbered by self-awareness, infused more brightness into their performance. Sunmi Park stood out as the sole dancer who appeared to possess an inner life, alongside Cory Stearns, who together created fleeting moments that penetrated Bondās generally arid atmosphere, introducing a hint of mysteryāalbeit somewhat disconnected from the overarching narrative.