Theater Online - New York Theater Reviews

It’s an especial delight to get to attend the prestigious School of American Ballet’s end of year workshop performance showcasing the senior students. Made famous to the non dance world in the film Center Stage – these performances are the debut for many of tomorrow’s ballet superstars, and one of the only ways classical ballet students are able to find work in a company post graduation. There are no “open calls” in the ballet world. To do well in this workshop essentially means you will have a career.

The performing students range in age from sixteen to nineteen, and have traveled from all over the world to study at the School of American Ballet – founded by the great George Balanchine as the feeder school to the New York City Ballet – one of the greatest ballet companies in the world. The students performing this year all demonstrate the beautiful technique and skill such an educational pedigree implies. It’s always a special event to get to witness such wonderful talent while still “green.” Most of these dancers have never danced principle roles in such an important arena – and most almost give the appearance of thoroughbred colts who have yet to grow into their long limbs, and feel in complete control of their power and ability.

There is a slight air of fear and panic apparent in the Peter Jay Sharp Theater – these students don’t yet have the experience of hundreds, if not thousands of performances under their belt, and they know what’s at stake in their performance. The combination is enough to create palpable tension.

The repertoire this year included three works by Balanchine: Divertimento No. 15, Le Tombeau de Couperin, and Walpurgisnacht Ballet (From Gounoud’s Faust.) I was grateful to see the students in these three pieces. Unlike classical dance competitions – such as the Youth America Grand Prix, Balanchine’s choreography is not about “flashy tricks.” As wonderful as ten pirouettes may be to watch, you can often tell much more about a dancer from watching them do “simpler” (though in reality, often harder) choreography. This separates the artists from the “classroom dancers.” In reality, I was a bit disappointed by the lack of artistry in general.

One dancer stood out from the moment the curtain went up. The extraordinary Mimi Staker – who performed the third variation of Divertimento No. 15 already knows what it means to be an artist at the tender age of seventeen. She was the one dancer of the evening who seemed to never have an ounce of fear. Not only did she have beautiful technique, exquisite lines, and impeccable timing, she had something few dancers years beyond her have – a unique style, and utter confidence. Ms. Staker was instantly recognizable whenever she took the stage, and you couldn’t take your eyes off her – even when she was dancing with the corps. She was the only dancer in Divertimento I saw who had a strong point of view about what she was dancing, and was relishing every moment of it. Ms. Staker was utterly committed every moment she was onstage – imbuing soul, and passion into the simplest corps steps – while still functioning elegantly as a part of an ensemble. And her solos seemed to proclaim, “Take notice!” She has a fire, and passion about her that bring to mind The Black Swan Odille, or The Firebird – roles I hope she performs one day. She has an excellent career ahead of her, and I look forward to watching her grow.

The other dancer I couldn’t stop watching, and found quite beautiful, in a very different way was Laura Gunder in (especially) Le Tombeau de Couperin, and Walpurgisnacht Ballet. Where as Mimi Staker is intense, confidant style and passion, Ms. Gunder is calm, regal elegance. Ms. Staker is Odille, Ms. Gunder is Aurora. Laura Gunder kept my focus the entire second act – I couldn’t stop watching her even when her back was turned towards the audience. In a year of hesitant, even lackluster male partnering, Ms. Gunder seemed to float suspended in the air no matter WHO was partnering her. I’m still trying to figure out how she did it. Like Ms. Staker, Ms. Gunder had a point of view about what she was dancing, and was able to bring out sweet, beautiful emotion in the steps, when her classmates seemed to be solely focused on trying “do them perfectly.” She has beautiful technique, and a lovely extension. She danced with deep care, and great enjoyment – she was like a breath of fresh air.

I also have to single out a dancer who did not have a featured role – in fact she only danced in the corps in the final piece Walpurgisnacht Ballet. Ironically, sometimes the featured performers, though technically proficient, are not the most memorable dancers. For me, Joscelyn Dolson was the high point of Walpurgisnacht. With stunning long red hair, long lines and extensions, and a beautiful dancer’s body, Ms. Dolson reminded me of a cross between Gillian Murphy, and Leslie Browne. If she really becomes confident in her artistry she will be a stunning dancer. I enjoyed watching her very much.