Review of Kansas City Ballet's Spring performance by Paul Horsely
Some dancers just dance. Others absorb movement into their bodies in ways that allow them later to create their own coherent dance.
Robert Hill is a choreographer of the latter sort. The impact of his “Piano Concerto No. 2” at the Kansas City Ballet's program Thursday derived partly from his imaginative use of what he learned as a principal dancer with the American Ballet Theatre.
This engaging four-section piece, in its world premiere, had the passion of Russian ballet, the deft clarity of Balanchine and a loose, fresh, modern quality.