Heart warming and hope building. That’s how Haglund describes the latest rendition of Benjamin Millepied’s Dances Concertantes on Saturday evening. The clear progressive developments of both choreographer and dancers came as unexpected surprises. Sitting comfortably in the Joyce Theater, Haglund was suddenly tickled by the epiphany that it might be very valuable for this developing choreographer to re-read James Joyce, in sequence. Start with The Dubliners wherein each short story is unique, complete, and stands on its own while much of the imagery and metaphors continue throughout the volume thereby creating a piece of work whose whole is far greater than the sum of its parts, so to speak. Then move on to Portrait of an Artist as a Young Man and eventually Ulysses. Joyce was not ready to write Ulysses before writing The Dubliners and Portrait nor are most of us ready to read one before reading the other. The temptation in choreography today is to try to create your Ulysses before warming up with The Dubliners. Last night Haglund was delighted by the progression he observed in the two choreographic pieces on display. The first, 28 Variations on a Theme by Paganini, was almost obnoxious in its steppiness in the collective movement. The choreography banged out the piano music with great and literal force, and there were too many saute arabesques - giving it that student recital feeling. Of course, it was intended to be a student recital piece for SAB in 2005. But then, every so often there would be a sparkling or touching moment within the pas de deuxs and solos that made Haglund forget about what preceded it. Haglund’s eyes were drawn to Maria Riccetto and Sarah Lane throughout the music. The second offering, Without, was conceived more than three years after Paganini and offered much more invention, more tenderness, and more construction. Maria Riccetto had been a highlight of Paganini with her newly softened port de bras and Degas hands, and she was again in this piece. She may well become Millepied’s muse. Haglund has been picking on young Cory Stearns lately, but the kid is growing on him. Stearns is trying so damned hard and is irresistibly handsome. Last night he seemed less overwhelmed by his responsibilities and more confident than just a few weeks ago at City Center. Eric Tamm, still high from his Ballo opportunity at City Center, tore up the stage with his prodigious technique and his delight in the freedom to create nuance and drama. The kiss to his partner’s hand and the subsequent search for response in her eyes was Boccanian. All of these dancers, most of whom are ABTers, gave the Joyce audience every reason to come uptown in the Spring. It’s not often that this caliber of ballet dancer is seen on the Joyce stage. The audience, accustomed to less traditional fare at this Chelsea venue, was clearly smitten. Haglund awards this surprisingly comfy Christmas Pump Bump to Benjamin Millepied and dancers for bringing us such a splendid evening.
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