ADVERTISEMENT
Tuesday, July 1, 2025
SUBSCRIBE
The Ballet Herald®
  • BALLET MAGAZINE
    • Ballet, Contemporary, and Modern Dance Performance Reviews
    • Interviews with Ballet Professionals
    • The Latest Ballet News
    • Feature Ballet Stories
    • Ballet Schools & Training
    • On This Day in Ballet History
    • Opinions
    • Ballet Meets the Mainstream
  • BALLET COMPANIES
    • Ballet Companies in Asia
      • Hong Kong Ballet
      • National Ballet of China
      • National Ballet of Japan
      • Singapore Ballet
    • Ballet Companies in Europe
      • Bavarian State Ballet
      • Birmingham Royal Ballet
      • Compañía Nacional de Danza
      • Dutch National Ballet
      • English National Ballet
      • Finnish National Ballet
      • Hamburg Ballet
      • Hungarian National Ballet
      • La Scala Theatre Ballet
      • Les Ballets de Monte-Carlo
      • London City Ballet
      • Mariinsky Ballet
      • Mikhailovsky Ballet
      • National Ballet of Ukraine
      • Northern Ballet
      • Norwegian National Ballet
      • Paris Opera Ballet
      • Polish National Ballet
      • Royal Ballet of Flanders
      • Royal Danish Ballet
      • Royal Swedish Ballet
      • Scottish Ballet
      • State Ballet of Georgia
      • The Royal Ballet
      • The Stuttgart Ballet
      • Varna International Ballet
      • Vienna State Ballet
    • Ballet Companies in North America
      • Alabama Ballet
      • Alberta Ballet
      • American Ballet Theatre
      • American Contemporary Ballet
      • American Repertory Ballet
      • Atlanta Ballet
      • Avant Chamber Ballet
      • BalletX
      • Ballet Arizona
      • Ballet Arkansas
      • Ballet Austin
      • Ballet Idaho
      • Ballet Memphis
      • Ballet North Texas
      • Ballet Tucson
      • Ballet West
      • BalletMet
      • Boston Ballet
      • Carolina Ballet
      • Charlotte Ballet
      • Cincinnati Ballet
      • City Ballet of San Diego
      • Cleveland Ballet
      • Colorado Ballet
      • Complexions Contemporary Ballet
      • Dance Theatre of Harlem
      • Eugene Ballet
      • Grand Rapids Ballet
      • Hollywood Ballet
      • Houston Ballet
      • Indianapolis Ballet
      • Joffrey Ballet
      • Kansas City Ballet
      • Les Ballets Trockadero de Monte Carlo
      • Les Grands Ballets
      • Los Angeles Ballet
      • Madison Ballet
      • Miami City Ballet
      • Milwaukee Ballet
      • Nashville Ballet
      • New Jersey Ballet
      • New York City Ballet
      • Oklahoma City Ballet
      • Oregon Ballet Theatre
      • Orlando Ballet
      • Pacific Northwest Ballet
      • Philadelphia Ballet
      • Pittsburgh Ballet Theatre
      • Richmond Ballet
      • Royal Winnipeg Ballet
      • Sacramento Ballet
      • Saint Louis Ballet
      • San Francisco Ballet
      • Sarasota Ballet
      • Smuin Contemporary Ballet
      • Texas Ballet Theater
      • The National Ballet of Canada
      • The Washington Ballet
      • Tulsa Ballet
    • Ballet Companies in Oceania
      • Queensland Ballet
      • Royal New Zealand Ballet
      • The Australian Ballet
  • BALLET PERFORMANCE CALENDAR
  • BALLET SHOWS IN…
    • Ballet Shows in Australia
    • Ballet Shows in Chicago
    • Ballet Shows in London
    • Ballet Shows in Los Angeles
    • Ballet Shows in New York City
    • Ballet Shows in Paris
    • Ballet Shows in Toronto
    • Ballet Shows in Washington, D.C.
  • FAMOUS BALLETS
    • A Midsummer Night’s Dream
    • Cinderella
    • Coppélia
    • Don Quixote
    • Giselle
    • La Bayadère
    • La Sylphide
    • Romeo and Juliet
    • Swan Lake
    • The Nutcracker
    • The Sleeping Beauty
  • MORE
    • Dance Jobs
    • 2025 Ballet Summer Intensive Programs
  • BALLET MAGAZINE
    • Ballet, Contemporary, and Modern Dance Performance Reviews
    • Interviews with Ballet Professionals
    • The Latest Ballet News
    • Feature Ballet Stories
    • Ballet Schools & Training
    • On This Day in Ballet History
    • Opinions
    • Ballet Meets the Mainstream
  • BALLET COMPANIES
    • Ballet Companies in Asia
      • Hong Kong Ballet
      • National Ballet of China
      • National Ballet of Japan
      • Singapore Ballet
    • Ballet Companies in Europe
      • Bavarian State Ballet
      • Birmingham Royal Ballet
      • Compañía Nacional de Danza
      • Dutch National Ballet
      • English National Ballet
      • Finnish National Ballet
      • Hamburg Ballet
      • Hungarian National Ballet
      • La Scala Theatre Ballet
      • Les Ballets de Monte-Carlo
      • London City Ballet
      • Mariinsky Ballet
      • Mikhailovsky Ballet
      • National Ballet of Ukraine
      • Northern Ballet
      • Norwegian National Ballet
      • Paris Opera Ballet
      • Polish National Ballet
      • Royal Ballet of Flanders
      • Royal Danish Ballet
      • Royal Swedish Ballet
      • Scottish Ballet
      • State Ballet of Georgia
      • The Royal Ballet
      • The Stuttgart Ballet
      • Varna International Ballet
      • Vienna State Ballet
    • Ballet Companies in North America
      • Alabama Ballet
      • Alberta Ballet
      • American Ballet Theatre
      • American Contemporary Ballet
      • American Repertory Ballet
      • Atlanta Ballet
      • Avant Chamber Ballet
      • BalletX
      • Ballet Arizona
      • Ballet Arkansas
      • Ballet Austin
      • Ballet Idaho
      • Ballet Memphis
      • Ballet North Texas
      • Ballet Tucson
      • Ballet West
      • BalletMet
      • Boston Ballet
      • Carolina Ballet
      • Charlotte Ballet
      • Cincinnati Ballet
      • City Ballet of San Diego
      • Cleveland Ballet
      • Colorado Ballet
      • Complexions Contemporary Ballet
      • Dance Theatre of Harlem
      • Eugene Ballet
      • Grand Rapids Ballet
      • Hollywood Ballet
      • Houston Ballet
      • Indianapolis Ballet
      • Joffrey Ballet
      • Kansas City Ballet
      • Les Ballets Trockadero de Monte Carlo
      • Les Grands Ballets
      • Los Angeles Ballet
      • Madison Ballet
      • Miami City Ballet
      • Milwaukee Ballet
      • Nashville Ballet
      • New Jersey Ballet
      • New York City Ballet
      • Oklahoma City Ballet
      • Oregon Ballet Theatre
      • Orlando Ballet
      • Pacific Northwest Ballet
      • Philadelphia Ballet
      • Pittsburgh Ballet Theatre
      • Richmond Ballet
      • Royal Winnipeg Ballet
      • Sacramento Ballet
      • Saint Louis Ballet
      • San Francisco Ballet
      • Sarasota Ballet
      • Smuin Contemporary Ballet
      • Texas Ballet Theater
      • The National Ballet of Canada
      • The Washington Ballet
      • Tulsa Ballet
    • Ballet Companies in Oceania
      • Queensland Ballet
      • Royal New Zealand Ballet
      • The Australian Ballet
  • BALLET PERFORMANCE CALENDAR
  • BALLET SHOWS IN…
    • Ballet Shows in Australia
    • Ballet Shows in Chicago
    • Ballet Shows in London
    • Ballet Shows in Los Angeles
    • Ballet Shows in New York City
    • Ballet Shows in Paris
    • Ballet Shows in Toronto
    • Ballet Shows in Washington, D.C.
  • FAMOUS BALLETS
    • A Midsummer Night’s Dream
    • Cinderella
    • Coppélia
    • Don Quixote
    • Giselle
    • La Bayadère
    • La Sylphide
    • Romeo and Juliet
    • Swan Lake
    • The Nutcracker
    • The Sleeping Beauty
  • MORE
    • Dance Jobs
    • 2025 Ballet Summer Intensive Programs
No Result
View All Result
The Ballet Herald®
Home Ballet Magazine Ballet, Contemporary, and Modern Dance Performance Reviews

Texas Ballet Theater Tchaikovsky Evening Review: Revitalizing the Russian Composer

Jillian VerzwyveltbyJillian Verzwyvelt
February 12, 2022 - Updated on May 23, 2024
in Ballet, Contemporary, and Modern Dance Performance Reviews
Reading Time: 6 mins read
A A
Texas Ballet Theater Tchaikovsky Evening Review

Texas Ballet Theater Tchaikovsky Evening Review: Revitalizing the Russian Composer

Texas Ballet Theater Tchaikovsky Evening Review
February 11, 2022 | Wyly Theatre – Dallas, TX, USA

On February 11 at the Dee and Charles Wyly Theater of the AT&T Performing Arts Center, Texas Ballet Theater celebrated the opening night of a three-piece showcase set to the stunning sounds of the Russian composer behind many of ballet’s beloved scores – Pyotr Ilyich Tchaikovsky. Those in attendance were also witness to the world premieres of choreography by Artistic Director Ben Stevenson and Associate Artistic Director Tim O’Keefe.

The evening opened with one of George Balanchine’s signature works, Serenade, set to Tchaikovsky’s Serenade for Strings in C, Op. 48. Serenade is heralded as a major milestone in dance history, as it was the first original ballet Balanchine choreographed in the United States and remains revered 87 years later.

The ballet has undergone several transformations since its initial presentation, though in its present form there are four movements expressing a breadth of movement quality and emotion – “Sontina,” “Waltz,” Russian Dance,” and “Elegy.” The final two movements reverse the order of Tchaikovsky’s score, concluding the ballet on a somber note.

The music begins in a darkened theater, and the curtains open to reveal the women of TBT bathed in pale blue and standing stoic in the iconic parallel position with one arm and a flexed wrist elegantly extended upward toward the light.

The audience breathlessly awaits the ascending chords that compel the women to gradually lower their arms until the backs of their hands have just grazed over their brows, moving in striking synchronicity. The women appear to effortlessly float through the symbolic first few phrases demonstrating the progression through ballet’s basic positions until the music changes and signals a shift in overall texture on stage.

Now they begin to dance.

ADVERTISEMENT

Serenade is not a narrative ballet, though it is imbued with much romance, a bit of drama, and untamed passion.

The first movement, comprised of simple yet shifting patterns of pairs, trios, and so forth, is often believed to exhibit hegemony. And in some sense there was.

The dancers moved harmoniously together, demonstrating not symmetry but authority and precision in their non-linear movements. The heterogeneity was not perceived in the choreography itself but in the strength of the soloists far surpassing that of the corps de ballet as well as in the variation in the physique of the women on stage.

Balanchine is largely credited with constructing the notion of a stereotypical slender ballet body, though the capacity of the dancers to perform such a technically and artistically challenging piece proved that such an ideal does not exist.

It was refreshing.

On the opening evening, the Waltz Lady was performed by Carolyn Judson whose delightful effervescence and theatrics quickly captivated the audience. There is no story in Serenade, yet somehow the audience cannot help but empathize for the dancer who has fallen and disrupted the careful patterns.

As “Sontina” ends, the other dancers purposefully walk off stage and abandon the Waltz Lady to perform the following movement alone. That is until she is met by the Waltz Man of the evening Carl Coomer.

Immediately, I was struck by the juxtaposition between Judson’s vivacity and Coomer’s more mature sense of being grounded. Together, they dance a relatively simple waltz. There is an ebb and flow as the other dancers rejoin the couple and depart the stage. Eventually, the music signals a shift from the second movement.

Now, the Russian Lady becomes the central figure.

The Russian Lady is performed by Nicole Van Enck whose dynamism is a beautiful blend of the neo-classical and Russian characters of dance. She, along with four other women, perform an intimate circular series of steps by which they appear to flow as one body.

This phrase is swiftly contrasted by the quickening beat of Tchaikovsky’s score that calls the other dancers to return to the stage for a sequence of spirited choreography that devours the space. There is much momentum as the dancers briefly revisit their opening positions followed by a sharp break as Judson – aggressively attempting to tear the pins from her tidied hair – falls to the floor, left alone once again.

The final movement, “Elegy,” has begun.

As Judson is lying crumpled in the corner of stage right, the Dark Angel, performed by Samantha Pille, and the Elegy Man, performed by Alexander Kotelenets, emerge from the wings upstage left.

With her arms draped intimately around Kotelenets from behind and one hand covering his eyes, Pille guides her Elegy Man across the stage on a long diagonal toward Judson. They move as one. With Pille still wrapped around him, Kotelenets now stands ominously over the Waltz Lady who has been revived. She rises, and they begin to dance together.

Pille’s movement is authoritative, enabling a beat between each calculated arabesque and pose.

The women are the central subjects of Serenade, so it is difficult to attest to anything but Kotelenets’ mere presence on stage and his ability to support the three women – Judson, Van Enck, and Pille – who passionately and repeatedly fling themselves at him. To this, I can say he is unshaken.

At the end of “Elegy,” Pille and Kotelenets disappear from the stage as they entered and leave the Waltz Lady on the floor once more. The other dancers return to the stage, though Judson remains the principal figure.

Those in the audience hold their breath as Judson is effortlessly lifted by her feet to float through a sea of blue. Once she is carried offstage, the remaining women adopt the iconic image of arms opened and chests raised toward the sky. With that, the curtain closes.

ADVERTISEMENT

After a brief intermission, the curtains reopen to reveal a star-studded backdrop. The world premiere of Ben Stevenson’s Star-Crossed has begun.

Andre Silva enters as Romeo and immediately brings a boyish charm to his mature movements that have a fierce command of the stage. Eventually, Romeo is met by his Juliet, performed by Judson who only moments before traversed the stage as Waltz Lady in Serenade.

If her theatrics were amusing then, they were nothing compared to the juvenile gaiety and innocence she brings to the role of Juliet. By her energetic steps, one could never have perceived she had just performed in a thirty-minute piece.

Though there were some overtly academic phrases, Stevenson’s choreography was less controlled, as if alluding to the irregularity of a young romance.

By the widespread understanding of the star-crossed lovers’ unfortunate fate, the choreographer could afford to experiment with symbolic representations of the plot. This is seen early in Romeo and Juliet’s encounter when, on their knees, they bring their hands together as if in a prayer position to convey the severity of their situation.

The use of props was incongruously inconsistent. At one moment, Romeo mimes drawing a sword or dagger from his hip, though there is nothing there. At another, he appeared with a scabbard and small dagger.

However, Silva and Judson’s pas de deux is performed with such animation and fervor that the story comes across just fine. It was as if it was choreographed with them in mind. The perceived chemistry between the pair is one that can only suggest their rankings as seasoned performers. Much like in Serenade, the difference in height between the two did not hinder the portrayal but broke down another classical convention.

The roughly twenty-minute piece culminates in a heart-wrenching moment of agony to which Silva and Judson brought such substance. This was the true elegy of the evening.

ADVERTISEMENT

Texas Ballet Theater Performances ⤞

O’Keefe’s Violin Concerto in D closed the production. Contrasting the unconventional costuming and choreography of the two preceding pieces, O’Keefe’s features classical white platter tutus, tiaras, and traditional steps.

Alexandra Farber and Brett Young commanded the first movement. Farber possessed a rich mastery of the music and bore an easy expression as if conversing with the audience.

The second movement was heralded by Paige Nyman and Kotelenets who could prove his artistry far more than in Serenade. The extraordinary control made this pas de deux particularly suspenseful, though the apparent connection between the dancers kept it vigorous.

The third and final movement was led by Van Enck and Silva, both of whom danced with unmatched precision. As in Star-Crossed, Silva had the audience spellbound by his ability to consume such a large space despite his stature.

Also deserving of attention is a surprising stand-out of the corps, Rieko Hatato, whose flamboyant steps and radiant smile drew my eye.

Toward the end of the piece, the buoyancy of the younger men in the back proposed a promising future for the company. By the disparity between the movement quality of the younger men and some of the more seasoned, perhaps O’Keefe should have considered some of them for his leads for a stronger show.

During the performance, I had the pleasure of sitting near some of the artistic staff and faculty, including Ben Stevenson and Tim O’Keefe themselves, and heard both involuntarily gasp suggesting someone faltered, as well as soft utterances of delight when one of their dancers did well. For me, I was simply impressed at the quality of the overall performance.

Featured Photo for this Texas Ballet Theater Tchaikovsky Evening review of Alexandra Farber. Photo by Steven Visneau.

Tags: Ben StevensonGeorge BalanchineSerenadeTexas Ballet TheaterTim O’Keefe
Jillian Verzwyvelt

Jillian Verzwyvelt

Jillian Verzwyvelt is a freelance writer who focuses on arts, culture, and travel. Originally from Lafayette, Louisiana, she trained at Lafayette Ballet Theatre before moving to Fort Worth, Texas to pursue bachelor’s degrees in economics and communication studies from Texas Christian University. Here, she discovered how to translate her passion for the stage to the page. Jillian is now working toward a dual master’s degree in global media and communications from the London School of Economics and Political Science and the University of Southern California.

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

Receive a roundup of ballet news & performances direct to your inbox.

The most interesting ballet news and stories of the week.

You may also be interested in...

The Best Nutcracker Performances in 2025

The Best Nutcracker Performances in 2025

July 1, 2025
La Scala Theatre Ballet Paquita Review 2025

La Scala Theatre Ballet Paquita Review: Radiating Joy and Technical Prowess

June 28, 2025
PNB Director’s Choice Review 2025

Pacific Northwest Ballet Director’s Choice Review: Pushing to the Extremes

June 17, 2025
Gonzalo Garcia Appointed Next Artistic Director at Miami City Ballet

Gonzalo Garcia Appointed Next Artistic Director at Miami City Ballet

June 16, 2025
Dance Jobs

Dance Jobs

June 12, 2025
The Ballet Herald®

SECTIONS

  • Dance Performance Reviews
  • Interviews with Ballet Professionals
  • Feature Ballet Stories
  • The Latest Ballet News
  • Ballet Schools & Training
  • Opinions

FAMOUS BALLETS

  • A Midsummer Night’s Dream

MORE

  • Ballet Performances
  • Ballet Companies
  • Ballet Summer Intensives
  • Dance Jobs

COMPANY

  • About
  • Contact
  • Support
  • Advertisement & Paid Content Opportunities

© 2025 The Ballet Herald™ by BalletNomad, LLC®

Receive a roundup of ballet news & performances direct to your inbox.

The most interesting ballet news and stories of the week.

No Result
View All Result
  • Home Page
  • Ballet Performance Calendar
  • Ballet Magazine
    • Ballet, Contemporary, and Modern Dance Performance Reviews
    • Interviews with Ballet Professionals
    • The Latest Ballet News
    • Feature Ballet Stories
    • Ballet Schools & Training
    • On This Day in Ballet History
    • Opinions
    • Ballet Meets the Mainstream
  • Ballet Shows In…
    • Ballet Shows in Australia
    • Ballet Shows in Chicago
    • Ballet Shows in London
    • Ballet Shows in Los Angeles
    • Ballet Shows in New York City
    • Ballet Shows in Paris
    • Ballet Shows in Toronto
    • Ballet Shows in Washington, D.C.
  • Famous Ballets
    • A Midsummer Night’s Dream
    • Cinderella
    • Coppélia
    • Don Quixote
    • Giselle
    • La Bayadère
    • La Sylphide
    • Romeo and Juliet
    • Swan Lake
    • The Nutcracker
    • The Sleeping Beauty
  • List of Ballet Companies
  • 2025 Ballet Summer Intensives
  • Dance Jobs
  • ⊙ About
  • ⊙ Contact
  • ⊙ Advertisement & Paid Content Opportunities
  • ⊙ Privacy Policy
  • ☕ Buy us a coffee!

© 2025 The Ballet Herald™ by BalletNomad, LLC®

Receive a roundup of ballet news & performances direct to your inbox.

The most interesting ballet news and stories of the week.

No Result
View All Result
  • Home Page
  • Ballet Performance Calendar
  • Ballet Magazine
    • Ballet, Contemporary, and Modern Dance Performance Reviews
    • Interviews with Ballet Professionals
    • The Latest Ballet News
    • Feature Ballet Stories
    • Ballet Schools & Training
    • On This Day in Ballet History
    • Opinions
    • Ballet Meets the Mainstream
  • Ballet Shows In…
    • Ballet Shows in Australia
    • Ballet Shows in Chicago
    • Ballet Shows in London
    • Ballet Shows in Los Angeles
    • Ballet Shows in New York City
    • Ballet Shows in Paris
    • Ballet Shows in Toronto
    • Ballet Shows in Washington, D.C.
  • Famous Ballets
    • A Midsummer Night’s Dream
    • Cinderella
    • Coppélia
    • Don Quixote
    • Giselle
    • La Bayadère
    • La Sylphide
    • Romeo and Juliet
    • Swan Lake
    • The Nutcracker
    • The Sleeping Beauty
  • List of Ballet Companies
  • 2025 Ballet Summer Intensives
  • Dance Jobs
  • ⊙ About
  • ⊙ Contact
  • ⊙ Advertisement & Paid Content Opportunities
  • ⊙ Privacy Policy
  • ☕ Buy us a coffee!

© 2025 The Ballet Herald™ by BalletNomad, LLC®