August Bournonville/Nikolaj Hübbe:
”La Sylphide”
George Balanchine:
”Theme and Variations”
February 13, 2006
Nobody can accuse the Royal Danish Ballet for being lazy. The last month’s activities have included an extensive tour to the Danish provinces, creating a new ballet on a current issue, including re-choreographing this specific ballet, hosting a number of forums about the same ballet and started rehearsals on a new ballet by Kim Brandstrup and the John Neumeier “Romeo and Juliet” as well as preparing for a new version of “The Hübbery”
Unfortunately last night’s performance of “La Sylphide” and “Theme and Variations” showed some strains in the productions: The ensemble was less precise in the choreography, there was several new dancers in new places. The symmetry of the variations was compromised. For example, the four semisolists in “Theme and Variations” were three tallish girls and one small. In all.it was not as neat and precise as usual. In “La Sylphide” the principals Susanne Grinder and Marcin Kupinski could not reach the high level they produced last time. She had no confidence in her jumps and while he managed a high technical level, their report with each other and the audience faltered. In the divertissement, the décor looked even more claustrophobial than usual.
New York Girl
When I interviewed Holly Jean Dorger a few year ago, she spoke on her schooling at American School of Ballet, and how the pupils saw Balanchine and NYCB as their quest. However, since joining RDB she had only had limited exposure in the Balanchine repertoire. True, the Balanchine quote has been down a few seasons, but another reason could well be that when RDB choses the Balanchine content, there is a strong overrepresentation in the older, one could say, more European part of the repertoire. The roles that would suit Dorger best have not been included.
Having her debut in “Theme and Variation” delayed by an injury, it was understandable a very eager Dorger that took to the stage. Her technical content was clean, but the elegance, so pivotal for this ballet, was missing. It was as if she did not consider that “Theme and Variations” is as much about the Petipa style as the Neoclassical. They have to emerge.
She was partnered by Ulrik Birkkjær, who also have a surprisingly short Balanchine resume for a RDB principal. In contrast to Dorger, he got the Petipa content, but struggled with the Balanchine component.
For this reasons the miracle did not happen. They could deliver the content and as importantly the tempi, but not the harmonization of the two great choreographers and styles. And that is what “Theme and Variations” is all about.
Photo:
Holly Dean Dorger and Ulrik Birkkjær in "Theme and Variations"
by Costin Radu Copyright(c) Royal Danish Ballet.
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