Review: NEW YORK THEATRE BALLET Brings Old and New to the Stage

At the inviting New York Live Arts Theater, New York Theatre Ballet presented their Uptown/Downtown/Dance series on March 3, 2017. Now in their 38th Season, the company stands apart within the larger ballet community for its grasp on classical technique that mingles with undercurrents of modern dance vocabulary. But the program's pacing left something to be desired, as the excitement and delight peaked before intermission.

The show began with Antonia Franceschi's "She Holds Out Her Hand," a romantic piece dedicated to the timeless practice of yearning. Portrayed through visual opposites -light and dark, sound and silence - a clean background let the dancers' shadows create a second world of its own, begging the question: aren't we all longing for permanence in a world where everything is fleeting? Rich choreography heavily influenced by Balanchine created exciting syncopation with an energetic series of repeated grand jetés and arabesque fouettés. A notable standout was Amanda Smith, who captivated with her strong technique and fluid movement style.

"La Chatte Metamorphosée en Femme" followed, a delightful, quirky classic from Sir Frederick Ashton that spotlights the very charm and balletic persona of our feline friend. Portrayed wonderfully by Elena Zahlmann, her sleek arches and long, graceful lines played with the audience like catnip with quick pique turns.

But it was the third piece of the evening, "Pas de Deux from Such Longing" that stole the show. Opening on the statuesque Melendez, Steven carved out the space with impressive control, performing off-center attitudes and spellbinding leaps with ease that created an atmospheric calm for Amanda Treiber. When the duo came together, the piece ignited, each using each other's energy to create gorgeous lines and shapes through constant contact. It was the perfect way to conclude Act I.

Unfortunately, Act II's energy couldn't compete. The show continued with "L'Après-Midi d'un Faune," which was revived from Nijinsky's dance notation by Ann Hutchinson Guest and Claudia Jeschke. With its iconic tranquility in both tone and choreography, the piece wavered, as minor technical issues and timing discrepancies tripped up the dancers' consistency. But Joshua Andino-Nieto as The Faune delivered a nuanced performance, portraying both the naïve and the sensual with conviction.

Melendez' "Tickling Titans" followed, which capably showcased Mayu Oguri as a strong technician working through powerful internal struggle. Arnold Schoenberg's heavy, frenetic score reflected this tension easily, but at times, the choreography and the music fought against each other, weighing down the movement with one-dimensionality.

The final piece of the evening, Pam Tanowitz' "Light Moving" brought together a striking trio of dancers, whizzing and whirring across the stage with palpable distinction. Marked by eye-catching color, the group danced with slick synchronicity, bringing to life a true sense of unity and purpose - which, despite Act II's lull, brought to life the true power and presence of the New York Theatre Ballet.

Photo by Rachel Neville

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