Performing Arts: Dance
  ABT/THEME/DUO/GAITE
May 25, 2014
These days, Sarah Lane is coming into her own at American Ballet Theater. Thrust into the lead role opposite Danil Simkin in George Balanchine’s “Theme and Variations” Lane fully inhabits each step. Only occasionally unsure of herself, Lane’s partner, the technically exceptional Danil Simkin was a last minute replacement for the injured Herman Cornejo. Despite the last minute changes, Simkin found Lane’s rhythm, partnering her with ease and concern.

Performed to Tchaikovsky’s Theme and Variations, Simkin whips around in air turns punctuated by pirouettes without breaking a sweat. He executes complex sequences effortlessly, landing in neat positions. Lane exploits strong, well-arched feet and is on her way to getting inside the choreography. There was a good deal of variation in the demi soloists’ appearances, but Gemma Bond and Misty Copeland successfully maneuvered through their solos.

In Balanchine’s “Duo Concertant” to the music of Igor Stravinsky, James Whiteside joins a poised Paloma Herrera. Listening intently to the music played by the on stage violinist, Benjamin Bowman and pianist Emily Wong, they exchange looks and steps. An under-choreographed duet, the dancers are asked to impress each step with a depth of intent. Each passage switches up the mood, from languid to jolly, frisky and reflective. A natural Balanchine dancer, Herrera’s long legs and strong feet know how to attack the technique. A fine partner, Whiteside looks less steady, in part because his long limbs don’t snap as quickly into positions.

The program closes with the vibrantly colorful Gaite Parisienne choreographed by Leonide Massine to the popular music by Jacques Offenbach. Veronika Part (Glove Seller) and Misty Copeland (Flower Girl) assumed the leads along with a broadly humorous Craig Saltenstein (The Peruvian), Jared Matthews’ noble bearing (The Baron), Sterling Baca (The Officer) and the dramatically weighty Roman Zhurbin (The Duke). Christian Lacroix’s costumes cheer up the audience, particularly when the legs start flying in the celebrated “Can Can.”
EYE ON THE ARTS, NY -- Celia Ipiotis




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