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By contrast, the ballet is finest and most original in several places where the plot has challenged Mr. Yeston and Mr. Whitener to find a dance equivalent. Act I starts with the famous fence-painting scene, an engaging male pas de trois for Tom’s friends (successfully individualized). Town, schoolroom, church are all clearly delineated (helped by Walt Spangler’s economical but evocative décor, with the barest wooden framework for each building descending on cue, and Holly Hynes’s costumes). The Act III courtroom scene, which should be so dance-hostile, is made vivid by effects of grouping and gesture.




