Each of the three ballets has ensembles of asymmetrical multiplicity — no single pattern governs the solos, duets and other groups that come and go — suggesting the randomness of society in a way I recall in no other ballet. Often dancers stand on flat feet like ordinary folk and use informal body language and gestures. But all of them, whether everyday pedestrians or impassioned artists or heroic athletes, inhabit a society where they are not free.
New York Post review:
“Chamber Symphony” may be a fantasia on Shostakovich’s life — though if we’re to believe Ratmansky, the composer’s three wives were High Maintenance, Consumptive and Rebound. Even if the idea of the suffering artist at odds with society is familiar, Ratmansky states it with conviction and makes a tour de force role for David Hallberg, who never seems to leave the stage.