James Whiteside and Hee Seo dance the roles of Onegin and Tatiana in American Ballet Theatre's production of the Tchaikovsky ballet. (Photo by Rosalie O'Connor Photography)  

In the ballet world, eternal reverence is paid to only a handful of choreographers. But one who deserves it and is often dropped off that list (at least in America) is John Cranko – ballet’s most talented storyteller.
 
American Ballet Theatre reminded audiences of his immense gifts this week with a staging of his magnum opus, “Onegin.” With music by Tchaikovsky, which was originally composed as an opera, this romantic and tragic story is told by Cranko swiftly and deftly – without any unnecessary decoration that draws one away from the heart of the tale.
 
The story centers on Onegin, an arrogant aristocrat, who spurns the attentions of the bookish Tatiana, kills his friend Lensky in a duel and comes to regret it all. The production is one that reels the senses back to Imperial Russia when rank defines society and a country girl like Tatiana would not likely have a chance to elevate her station.
 
Yet that was hardly on her mind when Tatiana met and fell in love with the haughty Onegin, after meeting him at a party at her family’s estate.
 
At Saturday’s matinee, Hee Seo embodied the sweet, earnest Tatiana beautifully. Seo, already one of the most delicate of dancers, was ideal – first as her heart tumbled for Onegin that led her to dash off a missive of love to him and then what followed, rejection, anguish, and ultimately her rejection of him.
 
In it, of course with Cranko’s precision choreography, the audience witnessed Tatiana grow through Seo. The push and pull of her emotions and final triumph appeared real – so much so that Seo looked emotionally exhausted at her curtain call.
 
James Whiteside played the conceited Onegin, whose character evolved from chest-out superiority to bent-over broken despair – for killing his friend and losing the love of the regal and honorable Tatiana.
 
In addition to Seo and Whiteside, the cast was beautifully filled out by Skylar Brandt as Tatiana’s sister Olga and Carlos Gonzales as her betrothed Lensky. The cast of revelers – both in the countryside and in the palace – were a joy to watch as they swirled through their ensemble dances.
 
American Ballet Theatre’s version is also gorgeous. The sets were magnificent and so too were the costumes, especially the women’s skirts which moved with them with the grace of silk.
 
But as I left the matinee, I was also grateful to Cranko. At a time when speed and technical fireworks are often confused for brilliant choreography, Cranko tells us that story is the most powerful thing of all. And one well-told will survive the ages.

​Nature, in all of its terrifying, exhilarating, and divine magnificence, blazed across the stage on Thursday night at the Saratoga Performing Arts Center.
 
No, this was not one of the amphitheater’s storms that occasionally strikes on steamy summer nights. This was BalletX in an ode to our world of flowers, trees, ice and bees.
 
This exceptionally ambitious company from Philadelphia performed its “The Four Seasons Reimagined.” The new work is based on Vivaldi’s iconic score that electronic composer Dan Deacon shuffled and re-blossomed. And at the first SPAC show of the season, Deacon performed at the base of the stage with his computer and an accompanying octet of woodwinds, horns and strings.
 
Elevating the nuances of his music on stage was a dozen glorious dancers from the Philadelphia ensemble who embodied the seasons – starting with summer and ending in spring. Though a departure from Vivaldi’s original order – from spring to winter – Deacon and BalletX made it make sense, ending on an uplifting note that regardless of what is going on, we can all be reborn.
 
In another departure from other ballet renderings of Vivaldi’s music, each season was choreographed by a different dancemaker: Morgann Runacre-Temple (Summer), Penny Saunders (Fall), Jamar Roberts (Winter), and Trey McIntyre (Spring). And in each, to Deacon’s emotive soundscape, the dancers became the natural wonders of the season. Consequently, it brought to mind the episodic glories and harshness of the living in the Northeast where we are blessed with all four environments.
 
With each season, the intensity of the work grew. Temple’s “Summer” was slow in temperament with dancers greeting each other with enthusiasm fueled by an unseen brilliant sun. Their gestures signaled warm weather and rituals like outdoor gatherings, swimming, and harvests.
 
Saunders’ “Fall” rolled in like a strong wind – with dancers now wearing autumnal colors –tossing about like leaves tumbling from trees. Here, the music warns of wild days ahead but also heats with its tones, portraying the dancers as strong oaks. They bend but never break.
 
Roberts’ “Winter” was among my favorites as its movement was a metaphor for ice and snow. A group of women tiptoe en pointe as if trying to avoid slush and ice. Then the men enter, shooting straight into the air like icicles – strong and glowing. As “Winter” proceeds, it dancers stiffen and then melt away.
 
Finally, McIntyre’s “Spring” is bright and jolly. The dancers first appear in a tight bundle with their hands wavering above their heads. Then they are in full bloom, extending their fingers to the sun and the insects and reaching down to draw water and nutrients from the soil. In the end, they redeploy int this grouping and reach for sky.
 
It is a beautiful work that also showed off BalletX’s grit. This small ensemble danced each section with speed, zest and perfection. It was astounding and a grateful SPAC audience exploded in applause.