Review: ABT's LE CORSAIRE Transcends Time & Space

At its best, classical ballet has the ability to utterly transfix, bending the boundaries of what we as human beings think is possible. With every gravity-defying grand jeté and blossoming développé, dancers transform into otherworldly beings, physicalizing that which can't be believed. At the 2016 Spring Season premiere of American Ballet Theatre's Le Corsaire, the company did just this, mesmerizing the audience and showcasing their ability to create a unique world of beauty, unto its own.

Exotic jewel tones and scenic props created something for audience goers to sink their teeth into; a lush dessert that lingered for the ballet's two-and-a-half-hour duration. Herman Cornejo, a strong dancer with great aplomb, danced the role of Conrad with specific sharpness, providing the perfect yin to Daniil Simkin's yang. As Lankendem, Simkin was electric, showcasing his comedic chops and letting that inform every carefree pirouette and acrobatic tour en l'air that he did, as if he chose to do so spontaneously.

But it was supreme star-in-the-making Jeffrey Cirio as Ali who took my breath away. With a sculpted musculature and impeccable facilities, Cirio danced with suppleness, moving through the space easily and with such force, he was reminiscent of a young Angel Corella, thanks to his impressive speed and committed intent throughout every movement and transition. I expect great things from him in the coming years.

And though this ballet spotlights the impressive range of American Ballet Theatre's male dancers, it would be remiss not to discuss their female counterparts with just as much care. At the crux, a striking Maria Kochetkova as Medora was an angelic vision, lithe in limbs and full in presence. The curvaceous slope of her feet gave her such length and fluidity, you would think she was at least a foot taller than her 5'0" frame. And her repeated series of circling pique turns? Fiery, as she jumped across the stage with feverish drama. In contrast, Sarah Lane's Gulnare was much quieter; smaller and more compact as she maintained her control throughout. While she and Simkin danced a magnetic pas de deux together in Act I, Lane's bravado faded when dancing alone. She is a lovely dancer with lovely facilities; I would have enjoyed seeing her use every corner of the stage to her advantage.

Overall, the corps de ballet added depth to the production, yet at times lapsed in synchronicity, serving as the only brief reminder that these dancers are indeed human. But in some very tangible way, this imperfection was refreshing; an encouraging takeaway to hold onto throughout this production's inherent magic.

It is often the classics that make us appreciate the art the most, and this production proves just that. Bravo.

Photo Credit: Rosalie O'Connor

To post a comment, you must register and login.