DTH May 20-25, 2003 in Washington, DC
Posted 24 May 2003 - 07:02 PM
Her main point seemed to be that it is a great company that is dancing well, but their program (Stabat Mater, Wingborne, Prodigal Son, Firebird) was old and tired. She attributed this to financial problems.
I did not see the May 20 performance, but I did see the alternate program May 23 (Viraa, Wingborne, Passion of the Blood, Return). These dances, except for Wingborne, are more recent (created 1999-2001) - that is why I picked that night - but to tell you the truth, I would probably write a similar review to Sarah's because even though the dances are (relatively) new, to me they seemed designed to please the crowd rather than to break new ground.
When even the "new" program seems old and tired, that has to be a wake-up call!
Posted 24 May 2003 - 07:48 PM
The audience seemed divided -- some really loud whoops and hollers from some, and silence from others.
Posted 25 May 2003 - 09:27 AM
In any event, we thought yesterday's (second) DTH program was one of the best in some time. The four ballets were quite different in style, and we found much to enjoy in all of them. The company also seemed in better form and better spirits than when we we last saw it. (Was there a dip at that time, and if so, does any one know why? It did seem a transitional period for the company.) All in all, it was an afternoon that exceeded our expectations. I'd be interested to hear what others thought.
I'd also be interested to know what some of the well-known names of the past are doing. An era seemed to come to an end in the few years, mostly due to retirement I presume. So many dancers to miss! Virginia Johnson is, of course, editing Pointe magazine, and Lowell Smith appears to be staging some works for the company. There was sad news about Stephanie Dabney awhile back. Any word of any of the others, Hugues Magen, for instance?
Posted 27 May 2003 - 07:50 AM
I can agree with both Mike AND Ginny. I thought the second program, which I saw Friday night, was rather like going to someone's home and being served peanut butter jelly sandwiches on wonder bread, with kool aid in plastic tumblers. But the house was immaculate, the children charming and well-behaved, and everyone so goldarned nice and obviously offering you the best they had that you enjoyed the evening.
I think what separates DTH from other companies with their resources is that Mitchell has an international standard, an international-level eye. Maybe he can't reach it, but he knows what it is, and the dancers do, too. The past few seasons I've seen (I didn't go last year) have looked under-rehearsed and sloppy. There was an "Allegro Brillante" two or three years ago that was shockingly bad. But this season, they looked well-rehearsed and dancing with purpose.
That said, and what I didn't say in my review that ran in yesteday's Post, everything on the program looked as though it could have been choreographed in the 1980s, even though the oldest piece was 1999. "Viraa" was a classical ballet, which pleased me, of course, but it's reworking old ground. "Passion in the Blood" could have been a very minor story ballet from earlier than 1980, actually, like the low '50s. (Although story ballets are so hard to do, I admire van Heerden for trying, and realize that you have to be able to actually DO one or two or three; you can't just sit around thinking about it.) And Garland's "Return", while fun, is nothing new either. By "new" I don't mean shock surprise stand classicism on its head, of course, but just a sense that one wasn't seeing a navy dress in the style of the 1980s redone in red or green.
Posted 27 May 2003 - 11:00 AM
I think what separates DTH from other companies with their resources is that Mitchell has an international standard, an international-level eye. Maybe he can't reach it, but he knows what it is, and the dancers do, too.
Posted 27 May 2003 - 11:06 AM
Ari, I don't know Shook's role in the company, nor who the other ballet masters have been (LeClercq used to teach there, but beyond that I haven't kept up with that aspect.)
Of course, in the 1970s, the repertory WAS rigorous. Balanchine at its core, and the new works, including those by Mitchell, were classical. Some of us make the point from time to time that if a company starts dancing a predominantly pop or contemporary dance rep, it loses its technique. DTH has done a lot of pop and contempo in the past 3 decades.
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