The rest of NYCB’s first week concluded without any further impeachable behavior. Oh, there were a few violations, but nothing that we could say warranted bringing the gavel down with an angry bang.
We enjoyed quite a bit of the dancing, although it must be said that Danses Concertantes continued to look like it was intended for a student production. Three trios (two women and one man) with the ladies in fluffy tutus dancing mostly fluff & flooze, strut & twirl, preen & prance quickly became tiresome. Erica Pereira with Harrison Ball and Brittany Pollack with Daniel Applebaum had the misfortune of trying to sell the ballet to the audience which gave it a courteous response at all performances, but nothing more. The costumes and scenery (designed by Eugene Berman) were full of imagination and beauty. The strong plums, reds, blues, and yellow accented with black Grecian-inspired designs seemed a little too rich for the choreography and music. Once we decided that the principal ballerina’s bodice had a sun in the middle of it with black rays streaming outward, we spent most of the time trying to interpret the Grecian designs on the other costumes. And soon it was over and time for intermission nuts and soda.
On Thursday we were treated to Claire Kretzschmer’s extraordinary debut in Stravinsky Violin Concerto. She and Taylor Stanley created a fabulous tension. Her level of kick-ass was affecting everyone, especially Lauren Lovette who gave the most animated performance we've seen from her. At one point there were just five women on stage: Kretzschmar with LaFreniere, Clark, Kikta, and Miriam Miller. They were strictly dangerous and packed with so much attitude that they were instantly dubbed the SVC Gang of Five and added to the NYPD’s Gang Database. Look closely the next time and you may be able to see the SVC5 tattoos on their necks.
Unfortunately, we missed Emilie Gerrity’s early debut in SVC on Sunday. The extra fifteen minutes devoted to the See the Music presentation made it impossible for us to stay for the final ballet. We will catch up with Emilie at Saturday’s matinee and will report back.
The performances of Allegro Brillante led by Erica Pereira with Roman Mejia and Megan Fairchild with Anthony Huxley could only be described as dazzling. The technique, the musicality, the energy, the artistry — all of it bright as the sun. The ballerina role is a perfect fit for the talents of the two women who are vastly different and at different stages of their careers. Erica was light and radiant whereas Megan was vivid and luminous. Erica’s eagerness to shine and Megan’s polished and confident musicality created wonderful individual interpretations of the choreography.
Roman Mejia was going all out with his macho facial expressions. The crowd ate it up. He certainly does have enormous energy but his lines still need to be longer and his feet need to be pointed with more regularity. He danced like he was shot out of a cannon — and that counts for a lot. His male crew of Alberda, Applebaum, Hoxha, and Scordato all had gleaming lines and immaculate form along with great energy. Anthony Huxley had the premiere form in this ballet. He was quietly brilliant, unassuming but commanding nevertheless. He was all business and his business was to get everything right and do it faster and more cleanly than thought humanly possible.
La Source was as enchanting as could be when danced by Erica Pereira and Harrison Ball – another perfect matchup of dancers with the dance. It was a good sign to see that both had the stamina to finish this taxing ballet very strongly. It’s a marathon of allegro: two pas de deux with variations and more variations and more and more. Yet, they did not make it look like a contest or a circus like Ashley Bouder and Joseph Gordon did. It’s possible that we’ve never seen Gordon so rigid in expression as he was when dancing with Bouder who seemed determined to find as many crowd-wowing balances and create as many bravura moments as she could.
All of the La Source soloists made a good effort. We definitely saw them in order of capability: Emma Von Enck, Bailey Jones, Rachel Hutsell, and India Bradley. Von Enck was the whole package: technique, musicality, stage presence, star power. Jones was tidy. As we’ve mentioned before, she physically resembles Janie Taylor, but that is not a reason to push her forward. At this point in time, she is a very one-note performer with tidy technique. Hutsell had a nice projection and a solid technique. She’ll have to work to overcome the shortness of line, but we’re quite interested in following her journey. Bradley's sissonne where the back foot kicked up in attitude close to her head showed flexibility but that was the extent of the pluses of this performance. Her exit of simple saute de basque and coupe jete was pathetically bad. The unpointed feet throughout her variations were also disappointing. Solution: less time on Instagram and more time on the foot stretcher.
Sara Mearns’ debut as Firebird was both captivating and disappointing – captivating because of the imagination that she revealed throughout most of the ballet only to allow herself to devolve into Odette in the final minutes. She was stunning in the costume and makeup and moved more birdlike than we expected. The manege of saute de chat could have been better. She had the right idea of making them grow to an explosive end, but the first jumps simply looked like she was marking saute de chat. The jumps should have started out with fierce full splits that were low to the ground, and then gradually increased in height to show her ascending flight. You know that streaming line of saute de chat that the women do on the diagonal of Lander’s Etudes? They’re very low but very fast. It’s about getting the legs out as quickly as possible as low as possible. Sara was doing smallish saute de chat that were buoyant and hung in the air which made them look like markings. She could have used more flit and flicker in her arms and fast darts of the head to create a difference between her Firebird and Odette. Come on, she had that great red feather on top of her head; she should have used it.
We thought Silas Farley was marvelous as Prince Ivan. He, too, showed great imagination in his character. He had us convinced that he was living Ivan in every bone and muscle of his being. Megan LeCrone was a sweet and lovely Bride, as was Emilie Gerrity in the earlier cast, who looked gorgeous in her white dress. It was wonderful to see Megan dancing with what appeared to be genuine happiness.
Mira Nadon's debut in Monumentum pro Gesualdo and Movements for Piano and Orchestra kind of confirmed that she's not a tall dancer. As we said previously, she's like a short forward on a basketball team. She didn't stand out like the principal woman should; part of the reason was that the corps in Movements was filled with Sequoias who were grabbing our eyes. Mira showed sufficient composure and coolness and had no trouble with the choreography. Nevertheless, it was not all that interesting to watch. We sure wouldn't mind seeing her in Firebird, though.
Our H.H. Pump Bump, a rose gold stiletto with unusual shine, is bestowed upon Erica Periera for her performances in Allegro Brillante and La Source. Management just needs to pull the trigger and promote her along with Lauren King, Brittany Pollack, and Emilie Gerrity; just let them take over and see what riches it yields. Whatever or whoever is holding this up needs to get out of the way. Balletomanes are already starting to look past this generation of soloists and into the next generation of talent and the one after that. This clog is just ridiculous.
16 responses to “NYCB – first week trials”
I loved your review about Erica and Harrison. I also agree that It has been way to long Erica Pereira should be promoted. I have followed her since she did the SAB workshop. I knew then that she was a special and truly gifted young ballerina . The non promotion to principal is baffling to me. From Romeo and Juliet to Coppellia what ever they ask of Erica she always delivers!!!!!. I read she learned Raymonda in less than 8 hours. I believe she had to replace Bouder who got injured during a rehearsal. Erica looked fantastic along with Da Luz. She is also in my opinion one of the most technically correct Balanchine dancers NYCB has. In closing it baffles me that the critics at The NY Times always have such criticism of this wonderful and talented gift to NYCB. A PROMOTION IS WELL OVER DUE!!!!!!
I loved your review about Erica and Harrison. I also agree that It has been way to long Erica Pereira should be promoted. I have followed her since she did the SAB workshop. I knew then that she was a special and truly gifted young ballerina . The non promotion to principal is baffling to me. From Romeo and Juliet to Coppellia what ever they ask of Erica she always delivers!!!!!. I read she learned Raymonda in less than 8 hours. I believe she had to replace Bouder who got injured during a rehearsal. Erica looked fantastic along with Da Luz. She is also in my opinion one of the most technically correct Balanchine dancers NYCB has. In closing it baffles me that the critics at The NY Times always have such criticism of this wonderful and talented gift to NYCB. A PROMOTION IS WELL OVER DUE!!!!!!
Clogged at the top by Abi Stafford who hasn’t done anything of note in years and doesn’t perform most of the roles she’s cast in….and by Kowroski who can still give us marvelous work but not consistently anymore. I would like to see Bouder and Mearns in less roles as well and start toward retirement. It’s becoming musty up at the principal level.
Clogged at the top by Abi Stafford who hasn’t done anything of note in years and doesn’t perform most of the roles she’s cast in….and by Kowroski who can still give us marvelous work but not consistently anymore. I would like to see Bouder and Mearns in less roles as well and start toward retirement. It’s becoming musty up at the principal level.
Greetings, Haglund–Gerrity was so assured Sunday afternoon in the SVC that it was hard to believe it was a debut. Stanley and Gordon were absolutely smashing in it, and Kurt Nikkanen did a super job as the violin soloist. What an exhilarating ballet and score! ¶Stravinsky’s music for “Movements for Piano and Orchestra” earlier in the program date from his serial period and made me think that there is nothing more old fashioned than yesterday’s most avant avant-garde.
Greetings, Haglund–Gerrity was so assured Sunday afternoon in the SVC that it was hard to believe it was a debut. Stanley and Gordon were absolutely smashing in it, and Kurt Nikkanen did a super job as the violin soloist. What an exhilarating ballet and score! ¶Stravinsky’s music for “Movements for Piano and Orchestra” earlier in the program date from his serial period and made me think that there is nothing more old fashioned than yesterday’s most avant avant-garde.
Roman’s interpretation of Allegro Brilliante felt a bit too much Basilio from DonQ. Not my favorite approach for the role, but you can’t deny the wow factor.
I would love to see his Oberon.
Roman’s interpretation of Allegro Brilliante felt a bit too much Basilio from DonQ. Not my favorite approach for the role, but you can’t deny the wow factor.
I would love to see his Oberon.
True, Yukionna. Actually, I would love to see his Basilio.
True, Yukionna. Actually, I would love to see his Basilio.
Not only clogged at the top, but it feels like both the former interim team and the new AD are determined to change directions away from anything Martins – which means moving away from the dancers that were in motion by Martins – which is a mistake IMHO. Not just King and Pereira but a few generations below. Yes, we see Woodward, Phelen in most things, as well, but how about the stagnation of Bologna and Laine Habony? Habony is not a corps dancer and is being wasted in the corps. And to skip Mejia or Farley for the Levin award for Bailey Jones was, well, disturbing.
Not only clogged at the top, but it feels like both the former interim team and the new AD are determined to change directions away from anything Martins – which means moving away from the dancers that were in motion by Martins – which is a mistake IMHO. Not just King and Pereira but a few generations below. Yes, we see Woodward, Phelen in most things, as well, but how about the stagnation of Bologna and Laine Habony? Habony is not a corps dancer and is being wasted in the corps. And to skip Mejia or Farley for the Levin award for Bailey Jones was, well, disturbing.
I wouldn’t say that the artistic management is moving away from King or Pereira or anyone else. Nor would I say that either Bologna or Habony were on track for advancement. Unfortunately, but actually fortunately, NYCB’s corps is loaded with so much talent that not everyone can rise above the corps level. Wonderfully capable dancers such as Lydia Wellington and Faye Arthurs were often featured but remained in the corps during their entire NYCB careers.
I agree with all the eyebrow-raising in response to this year’s Janice Levin Award. But don’t feel sorry for Mejia — he picked up the year’s Princess Grace statue which is a little more recognizable around the dance globe. Farley has been out a lot with injury, and we’re just now beginning to see him in significant roles.
I wouldn’t say that the artistic management is moving away from King or Pereira or anyone else. Nor would I say that either Bologna or Habony were on track for advancement. Unfortunately, but actually fortunately, NYCB’s corps is loaded with so much talent that not everyone can rise above the corps level. Wonderfully capable dancers such as Lydia Wellington and Faye Arthurs were often featured but remained in the corps during their entire NYCB careers.
I agree with all the eyebrow-raising in response to this year’s Janice Levin Award. But don’t feel sorry for Mejia — he picked up the year’s Princess Grace statue which is a little more recognizable around the dance globe. Farley has been out a lot with injury, and we’re just now beginning to see him in significant roles.
Great point about Mejia – I had forgotten about that award. And yes, incomparable.
As for Habony, I disagree on her trajectory based on media usage of her, the featured roles, the corps roles and understudy work during Martin’s tenure. Not that she isnt on stage every night in the corps, still. From IG, we know she had been rehearsing Sugar Plum during Martin’s last year and once he was out, things changed. Its obvious she is capable of much more and had an amazing start as a young dancer (SAB full merit, YAGP winner, SAB favorite). I have spent many summer at The Chautauqua Institute with Patti McBride and John-Pierre Bonnefoux. Habony spent two summers there as one of their favorites, performing with the Charlotte Ballet, performing Russian Girl in Serenade and the lead in Donizetti Variations as a teenager. There is still a true ballerina buried in there.
Regardless, I agree with you on your opinions – there is some talent in the younger dancers . But even with a full roster, I hate to see management looking past a wealth of amazing, mature soloist and corps dancers while pushing those babies.
Keep up the great reviews!
Great point about Mejia – I had forgotten about that award. And yes, incomparable.
As for Habony, I disagree on her trajectory based on media usage of her, the featured roles, the corps roles and understudy work during Martin’s tenure. Not that she isnt on stage every night in the corps, still. From IG, we know she had been rehearsing Sugar Plum during Martin’s last year and once he was out, things changed. Its obvious she is capable of much more and had an amazing start as a young dancer (SAB full merit, YAGP winner, SAB favorite). I have spent many summer at The Chautauqua Institute with Patti McBride and John-Pierre Bonnefoux. Habony spent two summers there as one of their favorites, performing with the Charlotte Ballet, performing Russian Girl in Serenade and the lead in Donizetti Variations as a teenager. There is still a true ballerina buried in there.
Regardless, I agree with you on your opinions – there is some talent in the younger dancers . But even with a full roster, I hate to see management looking past a wealth of amazing, mature soloist and corps dancers while pushing those babies.
Keep up the great reviews!