Atlanta Ballet: Heart/Beat

I was disappointed by the poor turnout for Atlanta Ballet’s Heart/Beat program last night. I think that Atlanta Ballet has tended to stage narrative pieces for their February program in the past to maximize ticket sales with the St. Valentines Day boost but this year they went with a mixed repertoire show featuring one piece from each of the three decades of the millennium so far.1 I’m sure turnout will be higher next weekend with V-Day being on the day of the Friday performance but I normally don’t go to the V-Day weekend performances2 and the earlier showings have usually had better turnout. Hopefully next weekend will make up for it.
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Atlanta Ballet: Love Fear Loss

For some inexplicable reason, I just could not pay attention to Liam Scarlett’s Vespertine, which was at the top Atlanta Ballet’s program for last night, Love Fear Loss. I don’t know if it was the contrast of the lights in the ushers’ alcoves on either side of the stage or the constant sniffling of the gent sitting beside me, but from the first moment my mind wandered and would not settle down. I heard the music more than I saw the performance. I’ve seen it before and liked it very much and there was nothing in this performance of it that turned me off. The best I could do was to focus on whatever single dancer held my eye best, which is usually something I only do to entertain myself while waiting for a lousy performance to end. The only thought relevant to the piece that I cam away with was that the heavy use of top-lighting doesn’t look as good from the mezzanine: instead of outlining the form of the dancer, it kind of just draws attention to the tops of their body parts and away from the bits that are doing the most interesting work. Plus there’s lower contrast since the form is often seen against a pool of light on the floor rather than against an unlit backdrop.
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Atlanta Ballet: Director’s Choice

I can’t say that I thought much of Director’s Choice, last night’s production by Atlanta Ballet. If I hadn’t gone to this then I’d have gone to the MAD Festival on Friday and been able to make the ASO performance on Saturday, which would probably be enjoyable enough despite featuring Oliverio’s double-timpani concerto. Normally I’d just go on Thursday, but Richard Prior’s …of shadow and light… isn’t quite enjoyable enough to offset the Oliverio and I honestly don’t feel that I can trust Spano to do a serious reading of Beethoven’s Symphony no. 5 on a program like that. (Hence my willingness to skip it in favor of the MAD Festival to begin with.)
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Atlanta Ballet: Look/Don’t Touch

Atlanta Ballet’s Look/Don’t Touch began with a piece by Mark Morris titled Sandpaper Ballet. It was set to the music of Leroy Anderson and featured a large cast of dancers dressed in full-body costumes by Isaac Mizrahi that were mostly green with a little bit of blue sky with random cloud shapes at the top of the torso. If you were to line everyone up, it would look like a rolling meadow on a nice spring day. If you didn’t line everyone up, it looked like the strangest super-hero gang ever. They were lined up through much of the piece, though.
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Atlanta Ballet: La Sylphide

I can’t even begin to describe how delighted I was by the feet Atlanta Ballet’s performance of Johan Kobborg’s production of Bournonville’s La Sylphide last night. Kobborg’s notes for the program point out how distinctive Bournonville’s use of intricate, speedy, and precise footwork is and I have to say he was absolutely right: the bouncing, flitting, flicking, hopping, feet were definitely what held my eye throughout the work.
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National Ballet Theatre of Odessa: Swan Lake

It occurred to me that you could keep the choreography for Swan Lake exactly the same and change the story to be about a prince who encounters a magical swan who helps him to realize that animals are people too and sets him on the path towards becoming an animal rights activist. The prince turns down the four princesses because each has livestock as part of their dowry. Von Rothbart is a swan farmer and Odile is actually his daughter who tricks the prince into swearing to protect her father from those in the kingdom who would take away his living. Really, Rothbart makes a lot more sense this way than being some random magician who likes turning young women into swans. I mean, what’s that about? Is he supposed to be some sort of incel misogynist taking his revenge through sorcery on women who won’t date him? And, really, the prince falling in love with a freakin’ swan-lady on first sight is pretty shallow and just a little on the gross side. Unless he’s got some serious bestiality fetish for birds, I don’t think someone that shallow is going to risk his life to fight a wizard who can summon lightening and turn people into animals. He’d be like, “Oh, you’re hot but there are other fish in the sea…or birds in the sky…or ducks in the pond…whatever,” and then go have his way with some serf girl who will be killed if she says no to him because, let’s face it, the reality of feudalism and our romantic ideals aren’t really as compatible as the modern adaptations of the old European folktales may want us to believe. I find it much more believable that the prince became a vegan and tried to keep the swans dancing to Tchaikovsky instead of singing Orff.
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Atlanta Ballet: Return to Fall

I’m glad that Atlanta Ballet decided to restore their autumn program.1 It felt a little odd to have the entire season crammed into four months at the end of the arts season. By the time February would roll around, I often found myself almost surprised to see their dance concerts on my calendar. I must say their Return to Fall was quite the triumph, with good performances in an excellent program that was a perfect beginning to the new season.
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