Balanchine's intoxicating ode to America

Preston Chamblee and Emily Kikta performed the duet in George Balanchine’s "Episodes."  (Photo by Erin Baiano)

Choreographer George Balanchine never made it a secret: he loved his adopted home in America.

One can see it in his delightful "Western Symphony," dance with gusto at Saturday's matinee at Lincoln Center. And there is still a whiff of that sentiment in the bright "Square Dance," an obtuse nod to American folk dance, set to the sparkling music by Arcangelo Corelli and Antonio Vivaldi.

That too was on the program on Saturday, and both took me aback — mainly for the dancing that was outstanding.

First, in “Square Dance,” Taylor Stanley was incredible in the mournful solo. He’s imbued every gentlemanly gesture – a sweep of his arms, his determined walk, and slow turns – sent chills as if he was called to embark on a somber task.

Emma Von Enck was his terrific partner whose presence gave a light touch to those amazing pas de chats with a little extra shake and her bouncy petit allegro. She was invigorating to watch.

So too where the “Western Symphony” cast of mainly soloist and Victor Abreu, a corps de ballet dancer, who took on the role of the diamond studded cowboy who has an encounter with the ethereal dance-hall lady as danced by Olivia MacKinnon. Together, these two gave the audience a good laugh as their cat-and-mouse antics never got stale.

Ryan Tomash and Isabella LaFreniere were teamed for the Rondo which they played cowboy and his sophisticated partner who even as he tried to shoot at her feet, she kept spinning in a dizzying round of fouettes. And of course, all this is to an amazing orchestration of American folksong classics like “Red River Valley” and “Oh Dem Golden Slippers.”

While I thoroughly enjoyed both dances, the third piece on the program Balanchine’s four-part “Episodes” always baffles. I think it’s the music, Anton von Webern’s atonal orchestral score, that can be difficult to mentally unravel and more difficult to enjoy. I can’t imagine how the dancers do it.

However, this work has astounding innovative moments. For example, the dark duet, as danced by Emily Kikta and Preston Chamblee, was memorable for its sense of too isolated figures whose individual worlds collide. They come together and entwine in the most unusual way – particularly when he carried Kikta on his back upside down.

The finale with Miriam Miller and Aaron Sanz was also intriguing to watch the clean intersection of the 14 corps de ballet dancers expressing the atmosphere that this ominous music portrayed.
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“Episodes” is one of those dances that requires deeper study. Though not an audience favorite, I hope it will not be placed on the lost repertory shelf for years to come.