I feel as if I've deserted you in your Hour of Need. But I'm at the mercy of the red sands trickling through my own hourglass. The mind, it is a wicked thing, attacking you in the middle of the sleepless night, when your defenses are down. But I spotted a Baltimore Oriole yesterday, and saw a bearded birder legendary for his foot patrols the length and width of Cape May Point birding from a motorized wheelchair yesterday, refusing to let whatever had befallen him put him out of commish, birding-wise.
Having adopted a policy of media chastity here in Cape May, averting my eyes from the front pages of The Washington Post and The New York Times, I became aware of the hiring of Alexei Ratmansky as "artist in residence" at ABT only as a puff of pipe smoke on the horizon, its sonic boom failing to pipeline down the Jersey shore. While the news, I gather, has been greeted on the ballet blogs and boards as an unambiguous coup, the greatest thing since Tarzan met his first vine, critic Robert Johnson has a far more complicated and forboding reaction, which he puts across with knowledge and force.
I particularly like the way he stands up for ABT's blockbuster ballet programming of full-length classic works, which so many critics and balletomanes have denigrated as stodgy and warhorse-y. Johnson:
the greatest progress that ABT has made in the last 16 years -- and it IS progress, most wonderful and meriting exultation -- has come in the revival department. The troupe, which is a repertory company, after all, must bear the weight of its institutional stature. ABT is a world-class company that represents the U.S. at home and abroad, and has the responsibility to act as a major cultural force. It is America's national ballet company, and the keeper of the flame.McKenzie takes his charge seriously, and despite the challenge of continually raising money from private sources he has made a conscientious and systematic effort to maintain the legacy of classical ballet for all posterity. ABT has supplied elegantly polished restorations of works by Frederick Ashton, George Balanchine, Michel Fokine and Antony Tudor, painstakingly mounted and often brilliantly danced. Who else will do this, if not ABT?
Just as important have been two outstanding productions of the classics staged by Anna-Marie Holmes -- "Le Corsaire" and "Raymonda" -- which set new standards of excellence for this company. It may seem easy now to scoff at the conservatism of ABT's spring repertory at the Metropolitan Opera House, which consists almost entirely of such evening-length classics. No one should forget, however, that most of these works, which are the backbone of the ballet repertory, have become available to us in living memory.
During most of the 20th century, the only full-length classics that our fledgling Western ballet companies possessed were "The Sleeping Beauty," "Swan Lake" and "Giselle." The rest were locked up behind the Iron Curtain. ABT, founded in 1940, did not acquire "Don Quixote" until 1978 and "La Bayadere" until 1980, thanks to defectors Mikhail Baryshnikov and Natalia Makarova. "Le Corsaire" arrived in 1998, and an authentic and successful "Raymonda" (as opposed to Rudolf Nureyev's 1975 version) did not appear until 2004.
New masterpieces are a prospect devoutly to be wished for, but it would be foolhardy to discount or, God forbid, discard this precious classical repertory, which offers a school and a proving ground for ballerinas. All these 19th- and 20th-century revivals have given ABT a base from which to work. They have conferred an identity on the company and on the art of dance in the way that only living history can, and they have inspired dancers, audiences and even contemporary choreographers with a vision of classicism's multiple, branching possibilities.
He also discusses Ratmansky's limitations and gauche traits as a choreographer, the subject of another essay to spice up your afternoon.
As for politics, it seems to be all Palin and polls, polls and Palin, but as Chris Floyd's Empire Burlesque reminds us, a new gate of hell has just swung open, yet another chapter in the endless endgame.