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American Stories: June 3-4, June 9-12


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Yes, Thursday's Square Dance was interesting. I thought this cast's corps looked like they were still finding their way into the roles on the whole...but I really liked the petite young brunette lady (Rizzitano...maybe Casciano?) who was at stage left front in the first movement: noticeably attentive to the other cast members and musicality. Pantastico seemed to start a bit tentative, but gathered steam as she went: by the late echappe releve sequence, she was her usual musical self. Porretta was the one person who really looked in fully in command from the beginning (wonderful beats). It's funny though. I'm used to Square Dance the way Hubbe did it: very understated, with glints of light and shading. And everyone I've seen since has emulated that approach unsuccessfully, lacking his stagecraft. I was really surprised to see Porretta approach in such an extroverted fashion...not leaving things unsaid. He was fearless (and I thought the solo worked well), but still chewing on this.

I've been thinking alot about Square Dance, in relationship to other small ensemble neo-classical works, and in relation to other Americana works from the Balanchine rep. When we see it today, it doesn't really reflect the vernacular materials from the premiere -- there's no caller, no pigtails, no hay bales. Those references aren't really built into the choreography, like they are in Western Symphony or Stars and Stripes -- it has become a small ensemble work with neo-classical vocabulary. But Porretta did seem to bring a slice of that western zest to his performance. It's a part of his essential style, and it made a lovely contrast with the more contemplative aspects of the male solo, but he did make it an egalitarian duet, rather than a female ballet with male assistance.

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"Square Dance" is also a ballet that dancers dance up to, in my experience. Porretta was very clean in his zestiness.

The PDD has Bournonville-like aspects in the balance between the man and woman, with mirrored dancing side by side, and the male not primarily behind and supporting the woman. It was made for Patricia Wilde :)

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The PDD has Bournonville-like aspects in the balance between the man and woman, with mirrored dancing side by side, and the male not primarily behind and supporting the woman. It was made for Patricia Wilde :)

Oh yes -- my notebook is full of that Bournonville equality!

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