Changes at the Top, but the Dancers Endure
Macauley singles out Catoya, Jeanette Delgado, and Rebello, along with Emily Bromberg, Jennifer Lauren, Nathalia Aria, and Chase Swatosh. Duo Concertant isn't discussed, except in general terms, nor does he refer to what I thought to be the most powerful performances of the weekend -- Patricia Delgado and (especially) Renan Cedeiro -- in that work. I do love his comment on the ballet itself ...
It’s always a delight to revisit the company; these dancers flood the auditorium with warmth, finesse and pride in their work.
“Duo Concertant” surprises its audience even more: Balanchine leaves parts undanced, like a radical painter who knows where to leave the canvas untouched, sketches in other parts with what feels like utter spontaneity, and then confounds expectation with an astonishing male-female drama indicating love, inspiration and devotion.
Macaulay's response to Euphotic is more single-dimensional than I would have liked, but I do get and mostly agree with his point:
This was indeed jarring. To watch Sara Esty (and Zoe Zien in the other cast) being hauled around and finally tossed (and dropped) as if in a blanket was awkward and ugly on several levels. No wonder this woman, at other times in the movement, seems to be expressing something like anger, as she races back and forth across the stage, avoiding contact with her colleagues and often not even acknowledging them. The lift-obsessed trio I mentioned above is another example of "manhandling," though my own objection was more aesthetic than moral.
Mr. Liebermann’s concerto has four movements; onstage, each of the first three features a different woman. In the first, the ballerina gets hauled around by one man, in the second, one soloist receives more intense treatment from four men (the way they flip, throw and drop her is particularly disagreeable), and in the third, a second female soloist is continually manipulated by two men.
I was interested in Macaulay's implication that this particular element seems tailored for Miami, while it is not present in Scarlett's work for the Royal. Why Miami, I wonder? And -- if Macaulay is correct -- why do the Miami dancers (including the the women, who are given a great deal of dancing) love dancing Scarlett's two Miami pieces so much?