THE HANGOVER REPORT – Ballet Theatre substantially updates a pair of Stravinsky-scored story ballets: FIREBIRD and THE RITE OF SPRING (i.e., AFTERITE)

One of the programs I was most looking forward to in American Ballet Theatre’s spring season is being danced this week – the pairing of Alexei Ratmansky’s version of Firebird with Wayne McGregor’s radical re-interpretation of “The Rite of Spring” entitled Afterite. The two one act story ballets share a lot in common. First and foremost, both are danced to iconic Stravinsky ballet scores (the ubiquitous but still jarring “The Rite of Spring” celebrates its 105th birthday this week). Secondly, both Mr. Ratmansky and Mr. McGregor have taken significant liberties with the original ballet plots and choreographies – both were originally danced by the Ballets Russes in 1910 and 1913, respectively – to create works that are distinctly their own. Lastly, both pieces tell the (perhaps timely) story of a society under duress and its traumatic passage back to peace and stability.

The company of Alexei Ratmansky's "Firebird" for American Ballet Theatre at the Metropolitan Opera House.

American Ballet Theatre dances Alexei Ratmansky’s “Firebird” at the Metropolitan Opera House.

First up was Mr. Ratmansky’s Firebird, which was unveiled by by Ballet Theatre in 2012. Firebird is one of those ballets – as is “Rite” – that doesn’t suffer from reinvention. Michel Fokine’s original 1910 choreography for the Ballets Russes, which I had seen the Mariinsky Ballet recreate a number of years back at the Kennedy Center, is in my opinion static and often lackluster. However, Stravinsky’s colorful, varied, and ultimately triumphant score is a musical compositions that will live on through the ages. Indeed, it was a pleasure to hear the ABT Orchestra play it again last night, despite some sloppy patches (David LaMarche conducted last night’s performance).

Mr. Ratmansky’s Firebird retains the outline of the Fokine original but considerably restructures the ballet’s tone and the manner in which the plot unfolds. The Ratmansky version tells the story of a man (Ivan) who wanders into a mysterious, enchanted land. Along the way, he encounters the Firebird and her flock. He subsequently runs into a community of downtrodden maidens who are ruled by a sinister overlord. With the help and guidance of the Firebird, he releases the maidens from the villain’s evil, binding spell, to reveal a refined, high-minded society that’s been kept at by. Ratmansky’s choreography here is excellent, conveying with great nuance, economy, and panache the essence of the fairy tale’s various groups. With their rendition of Ivan and the Firebird, respectively, I feel that Thomas Forster and Christine Shevchenko have taken steps forward as leading performers; both danced and, just as importantly, acted (with surprising ease and specificity) quite wonderfully last night.

The company of Wayne McGregor's "Aferite" for American Ballet Theatre at the Metropolitan Opera House.

American Ballet Theatre dances Wayne McGregor’s “Aferite” at the Metropolitan Opera House.

Even more radical in its re-envisioning of Vaslav Nijinsky’s original “Rite of Spring” – which I had seen Chicago’s Joffrey Ballet also recreate a number of times – is Mr. McGregor’s Afterite, which had its world premiere earlier this week courtesy of Ballet Theatre. His ballet apparently takes the the ballet’s depressing original premise (human sacrifice for the good of society) and sets it in some distant future. Astonishingly, Stravinsky’s groundbreaking score, an ode to human savagery, feels at home anywhere. Indeed, I think Mr. McGregor’s take is the fifth completely different choreographic take I’ve seen of “The Rite of Spring”. I was thrilled to hear the ABT Orchestra play it again so splendidly (again under the baton of Mr. LaMarche).

Now to Mr. McGregor’s work. I found it disjointed and all a bit vague; but it’s also these qualities that I found compelling about the piece. In the barren futuristic landscape he conjures, humanity itself seems to be in short supply. There’s a coldness and impersonality that permeates the steps and the design (Vicki Mortimer’s set is dominated by a giant gas chamber) that seems to suggest that perhaps the lucky one is the child who is ultimately sacrificed. Afterite, which is aptly named, is essentially an ensemble piece with a number of interweaving solos and pas de deux, which the Ballet Theatre dancers – last night’s cast featured Isabella Boylston, Daniil Simkin, Devon Teuscher, among others – performed with great precision and commitment.

 

RECOMMENDED

 

FIREBIRD / AFTERITE
Dance
American Ballet Theatre
1 hour, 45 minutes (with one intermission)
Through May 26

Categories: Dance, Theater

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