Photo courtesy of Hannah Nagy ’21
This pas de deux was featured in the American Ballet Theater’s show.
From the 28 to the 29 of February, the American Ballet Theater Company (ABT) performed at Mount Holyoke College. I was excited to go see the show, as ABT has an outstanding reputation in ballet: I could only imagine their studio company would put on a beautiful performance.
The American Ballet Theater Company and the Studio Company are not the same. According to the show’s program, “The central mission of ABT Studio Company is to prepare its twelve exceptionally promising dancers (ages 16-20) for careers in American Ballet Theatre’s main Company or other leading ballet companies worldwide.”
The group performed six selections on Friday night, when I saw the show. Beginning with a group piece called “Escapades,” choreographed by Amy Hall Garner, the dancers — dressed in simple black and white costumes — showed how choreography can build complexity through layering movements. I noticed similar phrases of choreography peppered throughout the work and occasionally certain gestures or actions that referred to previous ones. I really enjoyed this piece but wouldn’t say it was my favorite.
“Grey Verses,” choreographed by Brendan Saye, rounded out the first half of the performance. Comprised of a pas de deux danced by Aleisha Walker and Tristan Brosnan, a solo danced by Yoon Jung Seo and another pas de deux danced by Teresa D’Ortone and Gabriel Rajah, this piece was the most interesting of the first half. The first pas de deux relied on gorgeous partner work. Walker and Brosnan were a lovely pair and danced as one. The second pas de deux was also elegant, but most notable was the solo performed in the middle of the two pas de deuxs by Seo. The choreography of the solo built each movement on the foundation of the last, repeating in a way that was hauntingly beautiful.
The end of the piece also struck me. The dancers ended onstage together in a simple pose that reminded the audience that stillness is just as important as movement in dance.
“Preview: New Piece by Jessica Lang” by choreographer Jessica Lang followed the intermission. This piece had a good combination of more active and subdued movements. At points, the dancers seemed to be moving through water, while in they danced through air in other instances. The performers also created beautiful shapes and forms by just posing; at times they looked like a painting come to life.
“La Bayadere (Suite),” with choreography inspired by Marius Petipa from the ballet “La Bayadere,” concluded the performance. This piece showcased the tutus ballet is known for, with two dancers dressed in a gorgeous shade of purple and another in yellow. Elwince Magbitang danced the role of the Bronze Idol, Seon Mee Park performed the role of Gamzatti, Andrew Robare was in the role of Solor and Elisabeth Beyer and Teresa D’Ortone shared the roles of the pas d’action women. The impressive dance stood out for a gorgeous lift straight out of a sous-sous position, jumps that hung in the air and a clean line of turns.
CC Cogswell ’23 was most impressed by “the technique ... and the strength of the dancers and the expression with which they danced, and [the] artistry.”
“I thought it was very impressive,” Delian Ligon ’23 said. “I really liked how they incorporated a lot of different styles and choreography of different backgrounds.”
Ligon hits the nail right on the head; the studio company did a great job of incorporating classical and contemporary ballet.
Overall, the performance was beautiful. The dancers were technically clean, expressive in their movements and evocative in their acting. The combination of classical and contemporary ballet in the performance was great, because it showed that ballet is more than just “Swan Lake” or “Giselle.” I would highly encourage anyone who has the opportunity to attend a performance by the ABT Studio Company to do so. The company dances beautifully, the choreography is interesting and the performance is well-constructed.