Word: tetley
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...into a company of world rank with his ballets on great classical themes: Romeo and Juliet, Eugene Onegin, The Taming of the Shrew. Cranko's traditional style stressed drama and athleticism. Ballet audiences were therefore stunned when, after Cranko's sudden death in 1973, American Choreographer Glen Tetley was appointed his successor. An iconoclast of the dance, Tetley, 49, raises conservative eyebrows high with his infusion of modern dance idioms into ballet. Again, unlike Cranko, he has always been known for relatively small dance pieces that concentrate on pure movement. He had never created an evening...
With mixed expectations, then, New Yorkers turned out at the Metropolitan Opera House last week for Balletdirektor Tetley's debut visit with the Stuttgart and his first full-scale work, Daphnis and Chloë. The choice was an odd one. Daphnis and Chloë has not been a lucky ballet. The 1912 Paris première by Diaghilev's Ballet Russe suffered from underrehearsal and, according to Michel Fokine, who choreographed the work, indifferent dancing by Karsavina and Nijinsky. No one faulted the dancing of Margot Fonteyn and Michael Somes in the 1951 Sadler's Wells revival...
Stripping the shepherd's tale of its garlands and Hellenistic pageantry, Tetley retains only the theme of the legend to provide a scaffolding over which he has draped an elaborate visceral poem. In the Chagall-blue-and-aqua forest of Costume and Scenery Designer Willa Kim, Daphnis and Chloë, two innocents danced by Richard Cragun and Marcia Hay dee, are instructed in the art of love-making by Egon Madsen's lithe and sinuous...
Outer Limits. Tetley's vision is not literary but psychological, vital and sexual. Absent is the usual dance contest between Daphnis and the cowherd Dorkon, danced by Reid Anderson, for the reward of Chloë's kiss. The veil dance of Lykanion, the Grecian Salome, is gone too. Instead, German-born Ballerina Birgit Keil slithers into a hot pas de deux with Cragun, whose ardent body is counterpointed by his gentle face. Through her mellifluous movement, Haydée conveys a Chloë too ripe to be altogether innocent...
STUTTGART BALLET. This is the group's first U.S. appearance since the death of principal Architect-Director John Cranko in 1973. American Choreographer Glen Tetley, a former A.B.T. and Martha Graham dancer, was the company's unanimous choice to succeed Cranko. But whereas Cranko's story ballets and acrobatic choreography strengthened the theatrical aspect of Stuttgart, Tetley's blend of classical and modern dance vocabulary may add more plasticity of movement. His Voluntaries and his new Daphnis and Chloé will be given U.S. premieres during May-July visits to New York's Metropolitan Opera...