Texas Ballet Theater’s Dallas performance leaves something to be desired

More information

Texas Ballet Theater Dallas

Balanchine and Beyond

• 2 p.m. today

• Dallas City Performance Hall

• $30-$65

• 877-828-9200; www.texasballettheater.org

Posted 7:47am on Saturday, Mar. 29, 2014

If you caught Texas Ballet Theater’s mixed repertoire performance in Fort Worth last month, well, you saw what looks to be an early front-runner for dance production of the year. The company’s Dallas edition, however, with two of the three works seen in Fort Worth, pales in comparison.

For one, the performance that opened at Dallas City Performance Hall on Friday doesn’t have the company’s magnificent performance of Kenneth MacMillan’s Gloria — easily the best thing the company has staged in years.

Also, Ben Stevenson’s Liza Minnelli tribute, L, doesn’t feature the three live musicians playing Don Lawson’s all-percussion score, as it did in Fort Worth. L does still have an excellent all-male ensemble doing some showy ballet moves, again with Phillip Slocki as a standout.

What both concerts share is George Balanchine’s moonlight-kissed Tchaikovsky-set Serenade, again showcasing the company in excellent form. Balanchine’s technique — those arms! — is executed with pinpoint precision. The final view of Carolyn Judson as the Waltz Lady, lifted by three men and carried off as she stands perfectly vertical, is stunning.

The replacement for Gloria is the premiere of Clann, by the company’s principal dancer, Carl Coomer, his second ballet as choreographer for TBT (his first was Evolving in 2012).

Inspired by a Seamus Heaney poem about an Irish woman whose body is found after she committed adultery, the ballet is set up in a series of scenes, not necessarily linear, featuring the lively Gaelic music of viol player Jordi Savall and harpist Andrew Lawrence-King.

There are visual references to traditional Irish dance, including step dancing and jigs, but the movement is decidedly grounded in ballet technique.

It might be a ballet to appreciate more on subsequent viewings — not quite a home run, and bearing the mark of a young choreographer trying to find his voice and define his movement vocabulary.

A couple of scenes featuring bare-chested, tattooed men in kilts brim with testosterone, as if portraying warriors on a mission. The women don’t get such exciting choreography. Lucas Priolo, playing the husband, is the standout, especially in two comic scenes, with terrific physical control, as his character tries to heal with a bottle of booze. Really? A drunken Celtic man isn’t going to sit well with the PC police.

Although it isn’t straightforward storytelling, Coomer has a knack for narrative architecture. The whole is easy to understand. As a dancer with this company, he obviously knows the talents and limits of his fellow dancers. He doesn’t take it easy on them. High standards are important for any choreographer who wants to be taken seriously.

We welcome your comments on this story, but please be civil. Do not use profanity, hate speech, threats, personal abuse, images, internet links or any device to draw undue attention. Our policy requires those wishing to post here to use their real identity.

Our commenting policy | Facebook commenting FAQ | Why Facebook?

Hey there. or join DFW.com. Your account. Log out.

Remember me