[GETTING] The Balanchine Core

Balanchine in the flow

That little transition from standstill to motion always carries something of the drama of the moment when the sculptor Pygmalion's statue Galatea comes to life.

Though almost 30 years have passed since he died, he's still the Pygmalion for whom dancers the world over keep bursting into pulsating life.

In many of his ballets the color, decoration and formal style of the costumes give the flavor of the drama that's to follow.

During Balanchine's lifetime a particular sense of adventure attached to several of these ballets, because their music was still modern and difficult.

The choreography served as a guide, lighting up the music's structure and drama from within so that they became encompassing and absorbing.

This music still isn't easy listening, and the nature of the poetic drama in each piece remains arresting and highly ambiguous.

The female and male principals --- Megan Fairchild and Anthony Huxley on Tuesday --- keep introducing steps that are promptly taken up by the intimate corps de ballet.

When the ballet was new, it had a square-dance caller onstage ("See those feet go wickety-whack!"), offsetting the European music with American tradition.

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To go in depth, see: Stripped Down to Black and White, Revealing Balanchine at His Core