When I was younger, I dreamt of joining a prestigious theater ensemble, where roles and stature would blossom with my talents. To my dismay, I was never able to find that ensemble in the theater. But, to my delight, I discovered that it thrives at the Atlanta Ballet.
I have no illusions of ever joining the Atlanta Ballet’s company. Dance was never my bailiwick. In fact, the year that I finally was accepted into an apprentice dance troupe, I was given a song to sing while everyone else danced. Perhaps that is why it’s so easy for me to love the Atlanta Ballet — I can’t be jealous of the work they do, I can only enjoy it and be inspired by it.
A couple of weeks ago, I attended their performance of Don Quixote. I went expecting a Man of La Mancha-type focus on the old man’s noble but futile quest. Instead, I found that he mainly served as a narrative frame for a story that was really about young love and joie de vivre. To tell the truth, I was relieved; there’s only so much despair I can stand these days. But the show was fun, and took its time with huge ensemble numbers that shone a spotlight on what makes each dancer such an asset to the company.
It was a special treat, because after writing stories about the dancers for Encore Atlanta and seeing their shows, I feel like I know them. From workshops of Swan Lake, I know that frequent leading dancers Christine Winkler and husband John Welcher have an intense chemistry, one that I also saw heartbreakingly displayed in Romeo & Juliet. I also know that Christian Clark, who played Winkler’s lover in Don Quixote the night I saw it, is revered by the Nutcracker boys for the many times he’s able to pirouette without stopping.
Don Quixote gave me the chance to see Clark pirouette until I lost count. It allowed me to discover that Winkler is an excellent comedienne, something I wouldn’t have guessed from her other roles. I also was treated to seeing the bawdy, earthy side of Tara Lee, and the brilliant buffoonery of Jonah Hooper. I was equally happy to see new sides of company members, such as sisters Courtney and Kristine Necessary, and Brian Wallenberg. And it was thrilling to be introduced to a new generation of Atlanta Ballet dancers like Yoomi Kim, and students from the new Kennesaw State University Program in Dance, all of whom I look forward to following in the future.
For these delights, I have to thank the ballet’s Artistic Director John McFall. His non-competitive approach to ensemble building makes it possible for first-year company members to have just as much stage time as its senior members; if a choreographer wants to spotlight a dancer, it’s solely based on their merits. The seasons he picks are a blend of classical and contemporary shows, and every few years, there’s a truly inspired world premiere collaboration, like big or Shed Your Skin, that really stretches the boundaries of what ballet can be.
For this and many other reasons, I felt compelled to write them a love letter after leaving the theater. So, thank you Atlanta Ballet, for restoring my faith in artistic ensembles. I can’t wait to see what you and your stellar company do next.
