In the second week of its fall season at Lincoln Center, American Ballet Theatre introduced a series of mixed bills that combine new and older works. The elder statesman here is Frederick Ashton. His ballet “The Dream,” from 1964, is a miraculous work that combines the most refined comedic timing—all musically-based—with amazing narrative clarity and gorgeous through-the-body movement that sends shivers through the spine. How did Ashton accomplish something so full in just one act? Aspiring choreographers should be forced to study “The Dream” in school, the way sculptors study statuary.
Calvin Royal III in Christopher Rudd’s “Lifted.” Photograph by Rosalie O’Connor