It feels right to pair Ratmansky with Morris because although you would not mistake one for the other (unless you freeze-framed on one slumped-over pose that appears in both works), their dances share a remarkable, rigorous charm. If Concerto DSCH is described as one of Ratmansky’s “abstract” works, you should know that it’s not Mercer Cunningham abstraction. It reminds me more of what Brian Wilson was trying to accomplish with Pet Sounds’ emotional tone poems–a distillation of feeling. Continue reading PNB’s ‘Contemporary 4’ is Bullish on Ballet’s Future (Review)