Friday August 17, 2012 – Alison Cook Beatty (with Michele Wiles and Jason Reilly in the above photo by Paul B Goode) is choreographing a new work for Ballet Next; entitled TINTINNABULI, the ballet is set to Arvo Pärt’s Tabula Rasa. Today I stopped in at the DANY studios to have a look at this new creation, which will have its premiere during Ballet Next‘s upcoming season at The Joyce.
The dancers were having a breather when I arrived but after a few minutes they gathered their energies (they’d already been rehearsing for 2 hours) and ran thru the new ballet’s completed first section and the nearly-finished second part.
TINTINNABULI begins with the women on a diagonal (watch a rehearsal sample here) which evolves into a solo for Michele Wiles – stylized, mystical movement but highly emotive in expression. Her solo is observed by Jason Reilly – principal dancer from Stuttgart Ballet, guesting with Ballet Next this season – a charismatic dancer and excellent partner. As their pas de deux commences, there’s a nice chemistry between Jason and Michele Wiles, even though for the longest time they don’t actually touch. But when they do, it’s luminous. Jason has a dynamic solo passage of his own.
Alison Cook Beatty, Michele Wiles and Jason Reilly in a Paul B Goode photo, above.
The quartet of soloists form chains with joined hands; they crouch is a circle. Their linked, ritualistic movements evoke images of Matisse and Balanchine as they move along the diagonal. The girls of the ensemble – Lily Balogh, Lily Di Piazza, Kristie Latham, Tiffany Mangulabnan and Erin Arbuckle – each bring a distinctive element to the work while functioning as a unit.
Michele and Jason resume their duet, really gorgeously set on the music, and they give it a strong emotional context even though it’s just a rehearsal. A brief flurry of virtuosity follows.
Alison went on from the finished passages, exploring possible phrases as the ballet moves to a conclusion. I’ll have to go back one of these days and find out how she resolves things.
Charles Askegard is a wonderful presence in the studio, supportive of the young choreographer and offering meaningful suggestions without intruding on the process. At one point, a lift was being pondered and Charles suddenly swept Alison overhead with the signature effortlessness of a prince among cavaliers.
Really nice atmosphere in the studio, and I look forward to seeing Alison’s ballet costumed and lit at The Joyce. My special thanks to Paul Goode for his evocative rehearsal images.
You can catch Ballet Next at the 92nd Street Y in the Fridays at Noon series: Friday October 19th at 12:00 noon. It’s free!
Oberon's Glade 