In Tudor the emotions are huge but they are often tamped down by period decorum and psychological repression. Hamrick’s movement wasn’t small. If she jumped there was a full expression of the shape and the dimension with, as well, a layer of resistance—a glass ceiling of furtiveness and repression. Irresistible force and immovable object went at it once again.
When she stood with her arms outstretched in something of a second position she was expansive but also vulnerable. These kind of complexities, paradoxes,contradictions give Tudor’s movement its richness.
Hamrick had performed the role with ABT on tour in 2012, which I didn’t see, but you sensed that she was building on a foundation.