Arpino Dance Festival at The Joyce Theater, A Review

Celebrating American choreographer Gerald Arpino, the Arpino Dance Festival currently playing at The Joyce Theater, is a rare opportunity to view works not seen for decades. Arpino, who was artistic director and resident choreographer of The Joffrey Ballet, the ballet company he co-founded with Robert Joffrey, created a profound legacy with what The New York Times described as “seemingly unstoppable creativity.”

Never a favorite with critics, Aprino’s works were often criticized for pandering to popular tastes, yet lauded for their accessibility and appeal to new audiences. An entire evening of Arpino choreography ensures plenty of virtuosity and soaring lifts but little substance beyond what the individual dancers are able to infuse.

Confetti, a virtuosic display for a cast of six, made for a hesitant program opener. The complexity and demands of the choreography seemed to outpace the dancers leaving the work appearing under-rehearsed or too ambitious.

In a stark contrast came the romantic themed L’Air d’Esprit danced by San Francisco Ballet principal Misa Kuranaga and Houston Ballet Principal Angelo Greco. The level of artistry and technique rose dramatically, with Kuranga exploiting every smooth-sharp contrast. Greco, who seemed constrained by the size of the stage, partnered Kuranga assuredly, though it’s a shame Arpino’s choreography reduces the male dancer to a vehicle for carrying the ballerina as opposed to a true equal. Some of the romantic moments feel contrived — eliciting chuckles from the audience, intentional or not — but choreography aside, Kuranga and Greco float through the piece ethereally.

Round of Angels, danced by The Joffrey Ballet, features a lead couple (Jeraldine Mendoza and Dylan Gutierrez) surrounded by five male “angels”. Gutierrez towers over and engulfs Mendoza’s pliant lines and while their partner work and challenging lifts are executed effortlessly, their relationship lacks connection appearing stoic. Arpino’s blend of neo classical ballet and modern floorwork — surely inventive at the time — comes across as dated today. Still, Round of Angels retains a measure of emotional resonance, although much of that credit could be given to Gustav Mahler’s haunting Adagietto from his Fifth Symphony.

Birthday Variations, a perennial favorite performed by Oklahoma City Ballet, is another of Arpino’s virtuosic showpieces. Lead couple Paige Russell and Alejandro González shared a poised, cohesive partnership. Russell, struggling slightly in her solo work, carried an elegant stage presence. González, extending beyond what his slight frame would suggest, gave a dynamic performance, though some of his lines failed to reach full clarity. Mayu Odaka, Leah Reiter, Anna Tateda and Flannery Werner brought a lively continuity to the ensemble sections and just enough individuality to their variations. Unfortunately dim, shadow-heavy lighting diminished the vibrancy of the dancers.

The Arpino Dance Festival is a rare opportunity to revisit — or discover — Arpino’s choreography. Whether one loves it, dislikes it or remains indifferent, the true fascination lies in seeing a wide range of dancers from across the country interpreting these works and, in turn, reshaping them.

The Arpino Dance Festival is currently in performance at the Joyce Theatre through October 12th.