ABT 2024: Innovation Past and Present
Scene from Harald Lander’s Études. Photo: Emma Zordan.
October 16, 2024 saw the opening of American Ballet Theater's Fall Season. The evening's program 'Innovation Past and Present,' was comprised of two world premieres from choreographers Gemma Bond and Kyle Abraham, as well as the return of Lander's 'Etudes,' making for an electrifying night of dance.
Opening the program was the world premiere of Gemma Bond's 'La Boutique,' a work which melds Bond's experiences with The Royal Ballet and American Ballet Theater with influences from Massine's 1919 ballet 'La Boutique Fantasque.' Utilizing Resphigi's orchestration of Rossini's score, with set and costumes by Jean-Marc Puissant, the result is a wonderful mix of classical and modern styles.
The performance this evening featured principals Devon Teuscher and Aran Bell, who made a stunning pair as they navigated the sections ranging from boisterous, corps-driven passages, to moments of lyrical beauty, featuring some truly breathtaking catches and lifts which have to be seen to be believed. This first piece made for a highly-gripping opening, full of fresh choreography while paying tribute to earlier works and influences.
Scene from Gemma Bond’s La Boutique. Photo: Emma Zordan.
Bridging the gap between the traditional and the neoclassical was Kyle Abraham's 'Mercurial Son'. This bold, new work paints its story through dark strokes which contain a density of musical and kinetic ideas. The music is mostly synthetic, rising from a buzz reminiscent of a speaker on a ground loop, to a bevy of gritty, aural textures from the strings, harp, and more. The atmosphere is often one of dimmed lighting and coordinated dissonance which provides a stark yet fascinating backdrop for the dancers to enliven. The choreography features modern touches, such as the looseness of body which punctuates moments between more traditional phrases and allows the dancers to break for brief instances of flow or to transition into the next sequence.
The combination of electronic music, modern outfits, and utter sense of strut from the heeled dancers created quite a few moments where I felt as if I were at a fashion show. While the work itself has only a sliver of narrative from what I could gather between the performance and program notes, there was no shortage of movement or style to engage with. Lovers of modern dance will not want to miss this fascinating presentation, and even those of a more traditional bent can find much to enjoy.
Catherine Hurlin and Joseph Markey in Kyle Abraham’s Mercurial Son. Photo: Emma Zordan.
Wrapping up the evening was Harald Lander's 'Études.' Premiering in 1948, the work is set to an arrangement of selections from Czerny's piano studies, and structures itself after a traditional ballet class. While simple enough in premise, what unfolds is a stunning display which is renowned for testing a company's mettle. Fortunately the dancers of ABT were more than up to the task this evening, resulting in a spectacular performance. The opening sections go through foundational movements such as the five positions, ronds de jambe, battements, and more, with the corps divided into groupings which flow in and out of sync to achieve a clockwork of moving limbs and precise sequences.
The soloists for the performance were Catherine Hurlin, Jake Roxander, and Isaac Hernández, who drew no shortage of applause for their breathtaking efforts. Whether partnered or on her own, Hurlin artfully balanced elegance and expression as she went from gently-supported promenades and cambrés to interacting with the corps as she floated about the stage en pointe during the 'Mirror Dance' section and more.
Scene from Harald Lander’s Études. Photo: Emma Zordan.
One of the evening's highlights was undoubtedly Roxander's display of athleticism during the various sections. The height of his leaps carried him well as he toured the stage, and his ability to generate and sustain the force of his grand pirouettes never dulled for a moment. His utterly dynamic performance consistently found its mark with the audience, and drew them in to be thoroughly astounded. No less impressive was Hernández as he supported Hurlin through impressive lift and gentle carries for the romantic pas de deux, or matching the sheer energy of Roxander as the two leapt and spun to whip up a storm.
The evening's program was a thrilling assortment, and the artists and orchestra excelled in bringing the premieres to life while taking the familiar to new heights. American Ballet Theater's Fall Season is set to run through October, and audiences will not want to miss such inventive and spirited dancing before winter rolls in.
-written by Logan Martell