Reviews of Ballet West's Tudor program at the Edinburgh Festival:
Not even Ballet West's most devoted fans would presume to rank this Utah-based company as one of America's finest. But a modest technical standard can almost be an advantage when tackling the ballets of Antony Tudor. Star performances and jaw-dropping virtuosity are not what Tudor is about and from the start of Ballet West's all-Tudor bill the dancers honour this. Far from seeing a second division company trying to force effects that are beyond them, we see an intelligent, dedicated ensemble focusing on the musical subtleties and dramatic nuances that make these ballets unique.
What is most striking about The Leaves Are Fading, however, is Tudor’s musical ear. Each note of Dvorak’s score is treated with respect, and matched perfectly to movement. Music proved to be the dominant factor in The Lilac Garden, one of Tudor’s earliest works from 1936. Guest violinist, Kelly Parkinson packed more passion into her playing than any of the dancers on stage; few of whom looked at home in their individual characters. Not so with closing number, Offenbach In The Underworld -- as perfect a ballet as one could wish for. Tudor at the height of his powers in 1954, and the Ballet West performers dancing roles they were born to play. the perfect tribute to Tudor’s choreographic genius.