Any new dance is a snapshot of a particular moment, but “Pretty Things” distinctively straddles two: Before and after the long stretch of the COVID-19 pandemic lockdown, writes art critic Molly Glentzer.
"Originals," June 2-12;"La Sylphide," June 16-26
As a central figure who slowly comes into being at the beginning and seems to be finding his way in the world, the amiable soloist Ryo Kato sets the tone with a generously open stance and broad, innocent smile. The veteran principal Connor Walsh grounds the ballet as a more introspective, conflicted character. Walsh and the powerful Fernando Martin-Gullans provide needed gravity in a combative, acrobatic duet that suggests an inner struggle more than a man-to-man battle.
While Houston Ballet has turned out a “Nutcracker” season, George Balanchine’s classical “Jewels” and performances at Miller Outdoor Theatre since last September, the delay of “Pretty Things” gave this whole mixed-rep program a special spark. This program, too, is ephemeral. But happily, there’s more coming. Houston Ballet’s “Originals” mixed rep features two new works that also were commissioned before the pandemic but only recently completed: Melody Mennite’s “Floreciente” and Walsh’s “A Joyous Trilogy,” plus Stanton Welch’s “Orange” and “The Young Person’s Guide to the Orchestra.”
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