Review: A Scrappy Ballet Company, retreated by high expectations

Unfortunately, this is not enough. Mr. Hanna’s representative and pioneering moves are commensurate with the ingested soldier, and Mr. Kelly attends some sizzling, presenting all his lines as a double competitor. But without introducing the usual narrator, the story is mysterious and flat on the sites, and choreography, rich in Balinese folk dance, never goes out of service. The great result seems incomplete.

“The Soldier’s Tale” story takes the lead in an amazing and amazing program. In the past, I used to think that Antonia Francesi was one of those unjustly neglected designers that the NYTB advocated. It is not on the same global scale as Bam Tanwitz, who made her smart and thoughtful “Double Andante” title in this program, for NYTB again in 2014, before many of the world’s biggest companies began hiring it. However, Mrs. Franceschi has talent and skill.

Unfortunately, she found her new “unrestricted” simultaneously hungry and stocky. The dance was set on a melodramatic basis commissioned by Claire Van Campen, and the dance, according to the program note, was inspired by Lee Krasner’s “Umber Series” paintings. But this vulgar view of violent relationships between males and females does not have any of the precision or power of Krasner.

Likewise, while I loved the works made by veteran British choreographer Richard Alston for the company, I was disappointed by the “little sonnet”, which he created for his own team in 2004. Admittedly, I was very distracted by Julian McDonald’s fashion: netting and more favorable crystals To dance on ice. But it seems that Mr. Alston’s amazing musicians are not discovering much in Raphael’s “Two Sonnies”.

This musical, however, was shown by the dancer Erez Melatin. A little guy with classic clear technique, he’s one of NYTB’s great dancers who raise expectations; easy to imagine as he moves into a big band. It might be tempting for the devil to want more, and more for him, but I do.

NYTB / Chamberworks REP
Through February 15 at the Danspace Project, Manhattan; nytb.org.

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