Monday, February 8, 2016

Pennsylvania Ballet premieres Jiří Kylián, Matthew Neenan, William Forsythe

The Pennsylvania Ballet closes its 2013 spring season with an artistically varied program that is emotionally and intellectually satisfying.

Pennsylvania Ballet premieres Jiří Kylián, Matthew Neenan, William Forsythe

Blog Image

By Merilyn Jackson
For the Philadelphia Inquirer

The Pennsylvania Ballet closes its 2013 spring season with an artistically varied program that is emotionally and intellectually satisfying.

At the Academy of Music Thursday night, the curtain rose on 12 dancers, backs to us, walking forward, taking steps back, making half-turns, adding more dance moves until they broke rank. The women in long-sleeved gowns, the men in blouses and straight trousers (by John Macfarlane, who also designed the moody set based on a Munch painting) were dancing Jiří Kylián’s 1981 Forgotten Land. In this company premiere, Gabriella Yudenich and partner James Ihde were passionately dramatic in black while Lillian Di Piazza and Lorin Mathis were exquisitely romantic in white. Benjamin Britten’s Sinfonia da Requiem gave the work gravitas, but the women’s hunched backs and crooked arms with fingers seeming to drip from their hands, gave it its macabre Munch-ian look.

The ballet’s resident choreographer, Matthew Neenan, set his poetic At Various Points to Mendelssohn’s Song Without Words. A world premiere, this quartet is his 14th commission for the company. There is always something ludic about Neenan's work. Here, it’s finger wagging, putting the finger on the nose or chin, or pointing straight at the audience as if to say, We see you, seeing us. I wish I could have seen Rebecca Kanash’s raggedy costumes better, but designer John Hoey shaded them too darkly while his particolored spots that didn’t reach the dancers. If they had too little light, Martha Koeneman’s piano playing in the pit sparked them through the darker parts of the score.

With the company and East Coast premiere of William Forsythe’s Artifact Suite, the Ballet adds to the two Forsythes in its repertoire. Condensed from his full evening-length 1984 ballet (the first he made for the Frankfurt Ballet when he became its director) and staged by choreographer Jodie Gates to the chaconne from Bach's Solo Violin Partita No. 2, it looks very masculine: muscular, combative, cerebral, philosophical and breathtakingly unsentimental. The firewall falls repeatedly with unapologetic thuds to rise again on the 38 dancers now regrouped.

Barefooted Carolin Curcio is "The Other" who conducts arm signals throughout, echoing the Eurythmics exercises and Laban-like movement choirs – masses moving in synch. She was commanding, but sometimes got lost in the overly crowded field. When these forces walk off in soft goose step at the end of the first half, it looked very like Forsythe was referencing Germany’s past while ushering in its artistic future.

To the late Eva Crossman-Hecht’s pianisms in the second half, the pointe-slippered women perform a torrent of tendus as if in ballet barre class. Later,Curcio leads the men, ribboning them through the women in this blitzkrieg of pure classicism sans embellishment.

We encourage respectful comments but reserve the right to delete anything that doesn't contribute to an engaging dialogue.
Help us moderate this thread by flagging comments that violate our guidelines.

Comment policy: comments are intended to be civil, friendly conversations. Please treat other participants with respect and in a way that you would want to be treated. You are responsible for what you say. And please, stay on topic. If you see an objectionable post, please report it to us using the "Report Abuse" option.

Please note that comments are monitored by staff. We reserve the right at all times to remove any information or materials that are unlawful, threatening, abusive, libelous, defamatory, obscene, vulgar, pornographic, profane, indecent or otherwise objectionable. Personal attacks, especially on other participants, are not permitted. We reserve the right to permanently block any user who violates these terms and conditions.

Additionally comments that are long, have multiple paragraph breaks, include code, or include hyperlinks may not be posted.

Read 0 comments
comments powered by Disqus
About this blog

Toby Zinman's night job since 2006 is theater critic for the Inquirer where she reviews New York and London as well as Philadelphia. Her day job: Prize-winning prof at UArts, author of five books about modern and contemporary drama, and doer of scholarly deeds (winner of five NEH grants, Fulbright lecturer at Tel Aviv University, visiting professor in China). She was recently named by American Theatre magazine "one of the twelve most influential critics in America."

Wendy Rosenfield has written freelance features and theater reviews for The Inquirer since 2006. She was theater critic for the Philadelphia Weekly from 1995 to 2001, after which she enjoyed a five-year baby-raising sabbatical. She serves on the board of the American Theatre Critics Association, was a participant in the Bennington Writer's Workshop, a 2008 NEA/USC Fellow in Theater and Musical Theater, and twice was guest critic for the Kennedy Center American College Theater Festival's Region II National Critics Institute. She received her B.A. from Bennington College and her M.L.A. from the University of Pennsylvania. She also is a fiction writer, was proofreader to a swami, publications editor for the Women's International League for Peace and Freedom, and spends all her free time working out and driving people places. Follow her on Twitter @WendyRosenfield.

Jim Rutter has reviewed theater for The Inquirer since September, 2011. Since 2006, he covered dance, theater and opera for the Broad Street Review, and has also written for many suburban newspapers, including The Main Line Times. In 2009, the National Endowment for the Arts awarded him a Fellowship in Arts Journalism. Thames & Hudson released his updated and revised version of Ballet and Modern Dance in June, 2012. From 1998 to 2005, he taught philosophy and logic at Drexel, and then Widener University. He also coaches Olympic Weightlifting for Liberty Barbell, and has competed at the national level in that sport since 2001.

Merilyn Jackson regularly writes on dance for The Inquirer and other publications. She specializes in the arts, literature, food, travel, and Eastern European culture and politics. In 2001, she was dance critic in residence at the Festival of Contemporary Dance in Bytom, Poland; in 2005, she received an NEA Critics’ Fellowship to Duke University’s Institute for Dance Criticism. She likes to say that dance was her first love but that when she discovered writing she began to cheat on dance. Now that she writes about dance, she’s made an honest woman of herself, although she also writes poetry.

Philly Stage
Also on
letter icon Newsletter