SYLVIA

REVIEW BY Celia Ipiotis

Built for Margot Fonteyn in 1952, Frederick Ashton’s mythical Sylvia returned to American Ballet Theater’s season. 

Diffuse light filters across the stage suggesting a 19thth Century color tinted lithograph. Atop a hill stands the God Eros and below Syliva, a nymph devoted to the virgin Goddess Diana. Full of vigor and youthful energy, Sylvia charged after her prey into the woods. Joined by the band of Diana’s nymphs, they gamboled about, aimed their arrows and raised their arms in a statement of girl power.

I saw two casts and each expressed different artistic dimensions. In the role of Sylvia, Catherine Hurlin projected feline beauty and fluidity but offered an understated picture of a potent huntress. Christine Shevchenko convincingly adapted to the role of the mighty hunter, highlighting her commanding strength and allure. 

As Eros, both Carlos Gonzalez and Takumi Miyaki  projected a regal sense, displayed strong classical lines and exhibited a comic streak when portraying the hunched over cloaked figure who produces a life-reviving flower.

Guest artist Reece Clarke was a welcomed addition and he assumed the role of Aminta with a grace, grandeur and finesse that uplifted the whole production. Opening night Calvin III brought his usual aplomb and strong partnering skills to the role.

Both Cory Stearns and James Whiteside took a run at Orion who abducts Sylvia. Exaggerated gestures enlarged the villain, arms widespread, gesticulating over grand stances. Additionally, Stearns is proving to be an admirable comedic and dramatic dancer.

Ashton, an expert at  moving groups in engaging patterns and establishing a theatrical ambiance, excelled in classical invention, devising glorious villainy and imagined pastoral dances. Tricky choreography threw the weight from one limb to another with nary a pause in the action. When the village peasants emerged, they carried long flower garlands that the men swung around the women’s waists creating a graceful carousel of color and comradery.

In a nutshell, Aminta falls in love with Sylvia who shoots him with her bow and arrow. Then Eros shoots Sylvia with the arrow of amour. When she returns to the scene of Aminta’s apparent death, Orion abducts Sylvia to an island cave where he tries to win her affections. Suffice it to say Orion does not succeed, but Sylvia and Aminta are united.

After being carried off, Sylvia  (dressed like Sheherezade in a skimpy, sheer midriff baring outfit), danced alluringly to distract Orion. Hurlin was softer and more lyrically sustained while Shevchenko presented a fieryer rendition. 

After Orion helps Sylvia escape, she reunites with Amnita below Diana’s temple. Hurlin and Royal regained  their calm attachment, securely supported by one another while Shevchenko and Clarke joyously bit into the sparks of passion that drove them back into one another’s arms.

EYE ON THE ARTS, NY — Celia Ipiotis