Kennedy Center Washington, D.C.

Blurring the lines between spectator and the dance, the Washington Ballet’s performance of Balanchine + Ashton was stunning and experiential. At one point, there was no distinction between dancers, music, costumes, story, and viewer – simply an experience of unbroken  connection where everything became one.

Watching the spectacular performances at the Saturday, Feb. 22 matinee, I felt as if I left my seat in the Eisenhower Theater and hovered inside the spirit of the ballet. The ephemeral choreography of Méditation From Thaïs  by Sir Frederick Ashton and its glorious performance of by Katherine Barkman and ABT guest artist, Marcel Gomez, left me spellbound.

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Ashton created the Thaïs pas de deux to the music of Jules Massenet, to resemble a vision scene. Thaïs is a dream. True to the intent, Ms. Barkman transformed into a weightless, supple spirit who, with willow-like suppleness moved effortlessly through space with exquisite lines and delicate shapes. Marcelo Gomez made a striking presence on many levels; from his physicality to his impeccable dancing and partnering. The two simply flowed together.

Thaïs was not the only surprise that afternoon. The best way to describe the experience would be to liken it to a delightful box of chocolates. Every piece had remarkable flavor.

Completely unexpected, former First Daughter, Chelsea Clinton, walked onto the stage and welcomed the audience and congratulated the Washington School of Ballet on their 75^th anniversary. She said,  “ The Washington School of Ballet is celebrating 75 remarkable years. This  means so much to the City, the Country, and to me.  I was a student there although, I was never as good as I had hoped to be and never danced on the Kennedy Center stage, but I never lost my love of the ballet. I believe that it is important to love things that we are not the best in.”

Ms. Clinton’s sincerity was relatable when she told us, “I could not imagine my life without my deep appreciation for the arts, without the discipline that I had to master to go from school to ballet to homework. It is with deep gratitude for this remarkable place that I am so excited for the next generation of dancers. I have enormous and immense gratitude for the difference you make in all of our lives.”

When the curtain opened, two tiny dancers dressed in white, posed beside grand candelabras. They were adorable and executed their choreography with utmost professionalism. Students of the Washington School of Ballet from smallest and youngest, to most senior, took the stage with grace and ease in the opening, “Défilé”.  They confirmed that the next generation is determined to continue ballet excellence.

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“Ashton’s choreography is exacting in every respect of the dance, the staging, and the execution. We were coached to the final finger placement,” said Katherine Barkman, during the after-performance talk. Indeed, the two Ashton pieces, while very different, were stunningly precise. Cory Landolt, male lead, in Balanchine’s Allegro Brillante told the audience, “With Ashton, everything is musical. Being with and on the music is what works with his choreography. In Balanchine’s choreography, we are ‘in’ the music and we play with the music.” These revelations validated my understanding of the performances.

Birthday Offering, the first of the two Ashton pieces, was sumptuous. The costumes were ablaze with color, texture, and sparkle. Choreographed to the music of Alexander Glazunov, the costume colors corresponded with each dancer’s choreography. From the red skirt with the rapid, coquettish solo, to the elegant black, to the playful blue, yellow, pink, and green, to the  opulent lead solo, the effect was dazzling.  

The mood and tempo, changed with Balanchine’s pieces. They  brought ‘modern’ interpretations with lighter, unadorned costumes. Here, the body’s lines and shapes were emphasized.

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The subtleties of the Allegro Brillante costuming were fun to observe. The pallet was  mint green and gray with hints of rose. Male bodices’ front laces were also mint. The soloist’s dress was rose and floated and twirled while it shaped to the music. His bodice, of course, had pink laces. Soloists, Eun Won Lee and Corey Landolt performed with joy, style and brilliance to the music of Tchaikovsky’s Piano Concerto No. 3, Op. 75. Balanchine would have approved.

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Slaughter on Tenth Avenue, also by Balanchine concluded the program. Set in a saloon complete with a striptease girl, gangsters, gentlemen, ladies, and of course, police, it was fast, bright, and fun. No pointe shoes there but brilliantly colored character shoes punctuated the choreography. There was Broadway feel with dramatic balletic artistry laced with a bit of melodrama.

It is the small details that spoke of the care and attention that Artistic Director, Ms. Julie Kent, brings to this, now, exciting Company.  Ms. Kent took over as Artistic Director of the Washington Ballet in 2016. Before coming to Washington, she was principal dancer with the American Ballet Theater (ABT) in New York. Her performance bio states that she “…helped redefine the image of an American ballerina.”

“Redefine,” is an appropriate term for Ms. Kent. She has transformed Washington Ballet to an elegant, artistic, enjoyable, world class ballet company. Under Ms. Kent’s direction, live music accompanies the performances. Bravo, to Conductor, Charles Barker, and The Washington Ballet Orchestra!

It was a pleasure to be so brilliantly entertained  by the Washington Ballet Company, here, in my home town. Heartfelt thanks to Ms. Kent for her vision and commitment to excellence.