NYCB got off to a somewhat insignificant start to its Winter Season. There was no anthematic Serenade to open the gates of Balanchine. Rather, there was a mostly forgotten, mostly unimportant but for its rich production designs, mostly low energy Danses Concertantes that was supposed to welcome the masses home. How does one make a tiny glissade, tiny assemble with tiny beat followed by tiny pique attitude not look like a 4:30 p.m. classroom combination at Steps? It’s up to the artists to figure that out. They were still working on it opening night. Maybe tonight will be better or at least good enough to talk about later.
Movements for Piano and Orchestra was in top form with Teresa Reichlen and Ask la Cour supported by Marika Anderson, Ashley Hod, Emily Kikta, Isabella LaFreniere, Miriam Miller, and Gretchen Smith. This was an extraordinary display of kinetic geometry. Powerful forces of energy, impactful attitudes, razor sharp accuracy of positions all combined to make this performance memorable. Such a great job from everyone. Monumentum pro Gesualdo faired less well. A strange and unattractive combination of corps physiques led to audience wincing. But Teresa Reichlen and Ask la Cour made the short piece watchable.
Stravinsky Violin Concerto suffered similarly in the corps; there were some wide torsos that the lighting spread across the stage. However, it was an absolute thrill to see Adrian Danchig-Waring dancing his best, his most powerful, his most joyful, and showing his leadership skills. This was the level of dancing one hopes to see every night at NYCB. His partner, Sara Mearns, was confident and capable but there wasn’t that mesmerizing rapport that we saw when Sara danced this ballet opposite Taylor Stanley a while back. We really want to see those two tangle or tango in some tangy duet again soon.
Lauren Lovette and Joseph Gordon are each growing as principals. Their limbs looked lovely together in Stravinsky Violin Concerto, and they both had the same level of youthful energy. Again, it’s a question of the dancers being able to figure out how to add depth and texture to the dancing (without relying on the eyebrows) to bring the most power to the choreography. If a dancer isn’t born with the ability, he or she has to figure it out. We can feel it emerging from these two dancers which makes us keen to buy more tickets.
Wednesday evening’s Allegro Brillante was led by Tiler Peck and Tyler Angle and a superb corps. Tiler’s tempo seemed to be a notch down from her most exciting performances of the past, but she in no way disappointed. She can tear through a diagonal of chaines like no one else and can stop them on a dime with a mischievous smile. In some respect, we wish Allegro Brilliante was scheduled for the latter part of the season, because Tiler is just revving up the steam after being out for so long with injury. However, Tyler Angle no longer fills the demands of Allegro Brillante. Yes, he is a reliable partner, which is incredibly important and valuable, but the form and technique for the rest of the ballet simply are not there.
The lovely surprise of the the night was La Source performed by Megan Fairchild and Gonzalo Garcia along with Emma Von Enck in a debut that we just cannot stop celebrating. Now there is someone with innate stage power. Emma already has enormous style that adds even more light to the brilliance of Balanchine’s choreography. Ravishing Megan and elegant Gonzalo seem to be reaching their pinnacles of artistry at precisely the same time. What a stunning performance they gave us! Karinska’s pink tutu for the lead ballerina – one of her best – made Megan look divine. They don’t come any more beautiful or perfectly matched to a ballerina’s physique and temperament. Megan’s leg lines are at their longest ever and fully stretched without being hard-looking. Each step was articulated not with a show-offy “See what I can do” but with a love of the music and choreography. Gonzalo’s allegro was crisp and clear as could be, and he had fine control of his turns. This was such a delightful ballet that, yes, we bought more tickets.
Firebird received a good performance from Ashley Bouder, Andrew Veyette, and Emilie Gerrity. We’ve seen Ashley dance the Firebird for many years and are familiar with what she does with it. It doesn’t seem to be a role that enables a dancer to develop much beyond the steps; so, repeated audience captivation comes from seeing what dancers’ different physical properties bring to the ballet. We look forward to seeing Sara Mearns’ debut and wish we were also seeing Isabella LaFreniere’s delayed debut as well.
For whatever reasons, our enthusiasm after the first two nights of the Winter Season is not as high as it usually is. The season should always start with a bang, not a whimper. What’s coming for the rest of the Winter Season may not lift our spirits much. We’ll just have to wait and see.
Our H.H. Pump Bump Award, designed by Nicholas Kirkwood, is bestowed upon Megan Fairchild, Gonzalo Garcia, and Emma Von Enck for their glistening performance of La Source.
6 responses to “1/21 & 1/22
NYCB opens with a whimper, not a bang”
I attended the Friday evening performance and also loved La Source. The soloist in this cast impressed: Baily Jones. I was not familiar with her previously.
Will you make it to City Center for Mathew Bourne’s Swan Lake? I saw it in DC earlier this week and LOVED it. It was thrilling to see an ensemble dance to what is usually the Black swan pas de deux coda (fouette music). Stretches your mind and imagination a bit to see an unexpected choice work so well in the context.
I attended the Friday evening performance and also loved La Source. The soloist in this cast impressed: Baily Jones. I was not familiar with her previously.
Will you make it to City Center for Mathew Bourne’s Swan Lake? I saw it in DC earlier this week and LOVED it. It was thrilling to see an ensemble dance to what is usually the Black swan pas de deux coda (fouette music). Stretches your mind and imagination a bit to see an unexpected choice work so well in the context.
Hi, Jennifer.
I’m going to miss Bourne’s Swan Lake at City Center. I saw it many years ago so am familiar with its concepts.
Unfortunately I have to say that I wasn’t impressed by the soloist in La Source. It may be because I saw tiny Emma Von Enck knock it out of the park a couple of days prior. I think we have a situation here where Wendy is pushing Baily because she has a physical resemblance to Janie Taylor. Both Janie’s and Wendy’s time on the NYCB stage is over. Management should stop trying to bring back what they think is the magic of former performers/friends/colleagues. There are unique and brilliant dancers in the corps who have individual voices who should be seen for what they can offer, not for who they resemble. Bailey had clean feet and lovely narrow limbs on Friday night but I didn’t think that her dancing was very impactful.
Hi, Jennifer.
I’m going to miss Bourne’s Swan Lake at City Center. I saw it many years ago so am familiar with its concepts.
Unfortunately I have to say that I wasn’t impressed by the soloist in La Source. It may be because I saw tiny Emma Von Enck knock it out of the park a couple of days prior. I think we have a situation here where Wendy is pushing Baily because she has a physical resemblance to Janie Taylor. Both Janie’s and Wendy’s time on the NYCB stage is over. Management should stop trying to bring back what they think is the magic of former performers/friends/colleagues. There are unique and brilliant dancers in the corps who have individual voices who should be seen for what they can offer, not for who they resemble. Bailey had clean feet and lovely narrow limbs on Friday night but I didn’t think that her dancing was very impactful.
Checking ticket availability for NYCB I see that they’ve closed both 3rd and 4th rings – but still there are hundreds of available tickets.
It’s a good idea to secure the new audience before you alienate the old one.
Checking ticket availability for NYCB I see that they’ve closed both 3rd and 4th rings – but still there are hundreds of available tickets.
It’s a good idea to secure the new audience before you alienate the old one.