American Ballet Theatre’s “ABT@85”, A Review

American Ballet Theatre’s Sunday matinee of “ABT@85: A Retrospective of Master Choreographers” was perfectly curated to highlight the company’s diverse past. Artistic director Susan Jaffe’s choice of programming emphasized ABT’s leading influence on dance in America and leaned heavily into the theatre of the namesake.

Michel Fokine’s classic Les Sylphides, ethereally danced by ABT’s increasingly cohesive corps de ballet, captured the difficult to secure mood and perfume of Fokine’s romantic vision. With music by Frederic Chopin, a waft of etherealism settled over the theatre. Technique is not the focus but the foundation — expertly applied — to create a moment that hangs in the mist. Zhong-Jing Fang, dancing the Prelude, masterfully sculpted the romantic poses and nuances with an ease of familiarity. Yoon Jung Seo, featured in the Waltz, hovered in the air with jumps akin to a tossed feather. Unfortunately, Christine Shevchenko dancing the Mazurka, couldn’t find the same lofty quality in immediate comparison but elegantly wove through the pas de deux, securely partnered by Joo Won Ahn.

Gala Performance, choreographed by Antony Tudor, is an abrupt and comedic contrast to Les Sylphides. Comedy isn’t what first comes to mind when Tudor is mentioned. A satire of ballet’s grand traditions, the performance was a perfect vehicle to highlight Skylar Brandt’s versatility. As the Russian Ballerina, Brandt could have relied on her stellar technique, paired with choreographed comedic moments to perform the role, instead, she made the comedy priority, never missing a beat with precise comedic timing (her fouetté turns were, as expected, fantastic). Hee Seo, as the Italian Ballerina, could have been playing a parody of herself. The casting and execution — near perfect. Léa Fleytoux, as the bubbly French Ballerina, had perhaps the easiest role to pull off and did so with coquettish charm.

Closing the program, Agnes De Mille’s Rodeo, stands as a quintessential American ballet. While De Mille was a pioneering force in a male dominated world of choreographers, the ballet’s tomboy (danced by Breanne Granlund) conforming to stereotypical gender ideals reads as misplaced today. Yet the ballet, with its storytelling and raw, realistic movements, danced to Aaron Copland’s famous score, still has the power to elicit a wellspring of emotions. While Patrick Frenette, as The Head Wrangler, failed to stand out as the alpha stud and Carlos Gonzalez, as The Champion Roper, didn’t have quite enough believable charm, Granlund single handedly pulled at heartstrings in triumphant and notable performance.

ABT’s 85-year history has produced a vast catalogue of repertoire, and Sunday’s performance is a heartening display that the company is strong enough to tackle all its contrasting gems.