The Rite of Spring

Joffrey Ballet's reconstruction of the 1913 Nijinsky ballet gave audiences a frame of reference for dance history

Death and the maiden: Joffrey Ballet's <i>The Rite of Spring</i>
Death and the maiden: Joffrey Ballet's The Rite of Spring (Courtesy of Herbert Migdoll)

The Rite of Spring

Bass Concert Hall, 2350 Robert Dedman Dr.
March 5

These days, I try to stay in on school nights, but when a ballet company the caliber of the Joffrey Ballet beckons, I am powerless to resist. The company, founded by Robert Joffrey with the choreographer Gerald Arpino in New York City in 1956, has existed in almost continuous iterations, building a reputation as a truly American, bootstrap ballet company that is as invested in remounting historical works, like The Rite of Spring, as in commissioning avant-garde ballets set to rock music.

Rite, the third work in Tuesday's triple-bill program, is a 1987 reconstruction by historians Millicent Hodson and Kenneth Archer of the 1913 Nijinsky ballet whose premiere was met with an audience riot and which closed after only nine performances. Many scholars would prefer that I put "reconstruction" in quotation marks. Reconstructing choreography is impossible! they say. Memories are faulty! Renderings are incomplete! The music was performed differently! Stravinsky's intentions did not match Nijinsky's! There were only nine performances! Regardless of the reconstructed ballet's likeness to the original, though, its effect, I believe, has been restored, only faded by the passage of time. The ballet scenario – a maiden sacrifice in a primitive, unyielding society – danced by flat-footed villagers whose relentlessly constrained and repetitive movements and costuming seem, at times, as clownlike as they are primitive, is a downer. In the words of French critic Jacques Rivière, writing in 1913, "It is a wreckage of the past, crawling with and eaten away by familiar and monstrous forms of life."

Nevertheless, it is requisite stuff, and every member of the packed house now has a better frame of reference for dance history as well as the groundbreaking score, thanks to the dynamism and rawness imbued by the University of Texas Symphony Orchestra, conducted by Scott Speck.

I was thankful that Rite was preceded by two contemporary ballets, which showcased the company's style: simple, solid technique, yet breaking the line at the hands and feet, like pronounced serifs, for a melting effect. Stanton Welch's 2012 Son of Chamber Symphony, a three-part work for 16 dancers to John Adams' composition of the same name (recorded music was used), was a cool, athletic mash-up of images from classical ballets and neoclassical movement.

Christopher Wheeldon's 2005 After the Rain, second on the program, is an oft-performed two-part work to music by Arvo Pärt. In the first section, three couples in gradient-blue leotards and tights dance furiously. I enjoyed Yumelia Garcia's richness of mood; she allowed herself to smile, as though she knew "the rain" was catharsis, also a part of life to marvel at. The second section, the "after," is a lovely duet for one of the couples. Danced by the lithe, supple Victoria Jaiani and stately-yet-attentive Fabrice Calmels, it was the kind of thing that makes you soften your gaze and lean forward in your seat. In barely-there costumes and soft ballet slippers, under warm peach lighting, their tender duet was both sweetly ideal and human. In many ways, it was the opposite of Rite of Spring.

A note to readers: Bold and uncensored, The Austin Chronicle has been Austin’s independent news source for over 36 years, expressing the community’s political and environmental concerns and supporting its active cultural scene. Now more than ever, we need your support to continue supplying Austin with independent, free press. If real news is important to you, please consider making a donation of $5, $10 or whatever you can afford, to help keep our journalism on stands.

Support the Chronicle  

More The Rite of Spring
The Rite of Spring
Ballet Austin's triple bill melded classicism, romance, and biology to striking effect

Jonelle Seitz, Feb. 22, 2013

More Arts Reviews
Generic Ensemble Company's <i>Carmen</i>
Generic Ensemble Company's Carmen
This devised work shares the name of Bizet's opera, but it has its own story to tell, one that's modern, irreverent and funny

Robert Faires, May 25, 2018

Capital T Theatre's <i>Small Mouth Sounds</i>
Capital T Theatre's Small Mouth Sounds
This hilarious and moving production reveals near deafening truths with barely a sound

T. Lynn Mikeska, May 25, 2018

More by Jonelle Seitz
Fusebox Festival Review: (Re)current Unrest
Fusebox Festival Review: (Re)current Unrest
This dance grapples with cultural appropriation and racism

April 24, 2018

Fusebox Festival Review: <i>Water and Tears</i>
Fusebox Festival Review: Water and Tears
A butoh-inspired dance for two bodies existing as one

April 22, 2018


The Rite of Spring, Joffrey Ballet, Texas Performing Arts, UT Symphony Orchestra, Scott Speck, Yumelia Garcia, Victoria Jaiani, Fabrice Calmels

AC Daily, Events and Promotions, Luvdoc Answers

Breaking news, recommended events, and more

Official Chronicle events, promotions, and giveaways

Updates for SXSW 2018

All questions answered (satisfaction not guaranteed)

Information is power. Support the free press, so we can support Austin.   Support the Chronicle