The Suzanne Farrell Ballet
"Mozartiana," “Divertimento Brillante ," “Scene d’amour” from Bejart’s “Romeo et Juliet,” and "Slaughter on Tenth Avenue"
The John F. Kennedy Center for the Performing Arts
June 8, 2007
by Alexandra Tomalonis
copyright © 2007 by Alexandra Tomalonis
Suzanne Farrell is taking the slow, careful road to building a ballet company. Rather than bringing in stars and have them dance whatever they dance, she’s training dancers to support her vision for the troupe, and it’s beginning to pay off. Every year, the Suzanne Farrell Ballet looks more like a company. This year, in “Scotch Symphony,” the corps was much stronger than it’s been on previous outings, and danced cohesively. It's beginning to develop an identity, a School. Couple this with Farrell’s gifts as a stager, her ability to show the outline of a ballet clearly from its first outing (and fill in the details later, if necessary), and an evening at the Suzanne Farrell Ballet is a wonderful way to enjoy sophisticated choreography. The downside is that, until these dancers develop into principals, or Farrell can, or will, use established dancers as part of her ensemble, those details are sometimes marred by underpowered dancing, and that was, unfortunately, often the case this week.