ABT Studio Company at the Joyce
ABT's Studio Company, an apprentice group, performed April 25-30 and May 5-6, at New York's Joyce Theater. The group has been under the masterful direction of John Meehan. Next year, masterful Kirk Peterson assumes the post. The program for these 12 young dancers, 16-20 years-of-age, consisted of Balanchine's "Divertimento No. 15," the NY premiere of Seán Curran's "Aria," and a world premiere by Benjamin Millepied, "Capriccio."
The level of the group past and present has always been high and the dancers handpicked from around the world by ABT's artistic staff. After a period of 1 or 2 years, of performing and travel with the Studio Company, some may be selected to join the main ABT company or join another national or international company.
Balanchine's "Divert" as it is referred to, was a delight, full of sparkle, energy, charm and joy. Balanchine heard the dance in this work, not as a period piece, but as a swiftly moving, elegant exercise in pas de deux dance. The eye always goes to the dancer who seems to understand the context, and in this work, it was Nicole Graniero, a native New Yorker, who studied with Marina Stavitskaya and Deborah Wingert (a former NYCB dancer). Grainer had the advantage of knowing the style before the rehearsals. The staging by Merrill Ashley, also a former NYCB member, gave her the chance to assume the line, pulse and musicality needed. One characteristic of the B. style, long ago gone in NYCB performances, is the firm thrust of the hips forward in certain steps almost to the extent of danger. Nice to see that physical line again in the work.
Seán Curran's "Aria" to the music of George Friedrich Handel was sung on tape by Renée Fleming at the usual Joyce industrial strength level. The piece looked unfinished and sparse. Nothing much happened on stage excerpt for a few flexed feet as punctuation and a lot of lying on the floor.
Millepied is already a major talent, probably from having performed the master's works as a principal in the NYCB. He recently presented his company at the Joyce and contributed works to several companies. This work is full or surprise entrances and quirky exits, fun and non-stop lifts that twist and turn. Solo pieces gave full challenge to the dancers. Even some taqueté movements (hops on pointe) were inserted. As for the boys, Brooklyn Mack, who started his dance education at the Pavlovich School of Dance in South Carolina, no doubt got his easy grace and fine line from the Kirov Academy in Washington, D.C. He has made guest appearances in several companies.
While the worthy purpose of a review in a newspaper or weekly is to encourage the sale of tickets, our purpose is to let dancers, teachers and studios know what is currently required in styles and vocabulary. Important information on where to reach companies, see them on tour and audition is part of knowing the requirements of the current scene. In the case of ABT, young dancers can benefit from the company's residencies, master classes, lecture-demonstrations and other options. Contact: Studio Company Manager, Heidi Hoffman, 212-477-3030 x 3206.