In case some of you titology-oriented H.H. readers were theorizing about the paratextual elements in Justin Peck’s new ballet The Wind-Up and whether the title could possibly refer to Peck “winding up” his tenure at NYCB, well, keep hoping. More likely, the title referenced Peck winding up the dancers and cutting them loose. Pick popular classical music; then pick popular classical dancers; nothing else matters. Except that it does.
The Wind-Up is the latest formulaic trope-llet in a long line of them that Peck has made for NYCB. Soul Cycle onesie costumes for the men, GAP-wear for the women, and choreography that looks like Peck said “Show me the steps you like to do and I’ll make something up.” Here he has conflated Dig the Say with Partita to make a diggita that looks like it came out of digital software. We want to remind everyone that NYCB pays this guy more than $378K — for what? The company could give each dancer a $3000 raise instead, and it would be money better spent. Much better spent.
It was truly wonderful to hear the New York City Ballet Orchestra belt out the First Movement of Beethoven’s Eroica so beautifully. We didn’t mind at all the additional shivers and goosebumps the music gave us on this very cold night. But we wish we’d closed our eyes to the choreography. Peck raced everyone around in circles like scurrying rats. Tiler Peck’s surprise changes in direction and speed are now easily anticipated in Justin Peck’s works. The choreography for everybody else in the cast emulated them. Instead of having Tiler doing fouettes, Peck had Daniel Ulbricht spinning a la seconde turns — winding up for the next Justin Peck diggita. Corps dancer Mia Williams was thrown into the mix of seasoned principals and did not seem particularly comfortable. It’s as though Peck intended to take this lovely classical dancer and roll her in the dirt a little. So she rolled and rolled on the floor while Daniel Ulbricht leaped over her. Mira Nadon was lifted by Chun Wai Chan into sensational arabesques, because, well, you know she looks pretty darn sensational in the air.
To sum this up, we’ll say to NYCB that it’s time to cut ties with Justin Peck. As we eagerly await Ratmansky’s premiere, The Naked King, next week, we can’t help but think of Peck as The Naked Choreographer.
The evening opened with Walpurgisnacht Ballet with Miriam Miller subbing for Sara Mearns. We saw Miller in the pas de deux with Owen Flacke on Monday night at the Inside NYCB program in advance of their scheduled debut together. Flacke was ready but didn’t get to share the stage with Miller on Thursday. Tyler Angle kept his slot and was a distraction from Miller’s beauty. Last night, however, Miller and Flacke scored well with only a few awkward moments. It’s thrilling when we can witness a partnership like this first come out of the incubator. Flacke’s dedication to precision is admirable and he is making great strides in opening up his personality and communicating warmth out to the audience. This is a pair of diamonds, if ever we saw one. Olivia MacKinnon and Sara Adams danced the soloist role on Thursday and Friday. Adams’ dancing had a silky texture and flow to it whereas MacKinnon’s exhibited some frantic movements where she looked under pressure. And what exactly is that we-don’t-give-a-shit position of the arms in the glissades?
Isabella LaFreniere and Ryan Tomash found good chemistry to go with their no-fakes-here fifth positions in Bournonville’s Flower Festival in Genzano PdD on Thursday. Ashley Hod and David Gabriel did the same last night. Both pairs were able to quickly grab the audience with their little story of quaint flirting amid technical virtuosity. We thought that we’d seen the Danes exploit those arabesques that turn to second and turn back to arabesque with a little more adventure. But we enjoyed both performances immensely and plan to go back to see both again.
Opus 19/The Dreamer got a rough start on Thursday night with Alexa Maxwell and Anthony Huxley who was subbing for Joseph Gordon. One would have expected that David Gabriel or Davide Riccardo might have been prepared to dance the man’s very interesting role. Huxley was too light weight for it although all the dancing was clear, complete and executed with commitment. Maxwell’s solo dancing was gorgeous but the matchup with Huxley had difficulties. On Friday night, the pairing of Tiler Peck with a debuting Roman Mejia was more successful. We loved seeing Mejia in a more serious role and cannot wait for Sunday’s ticket-of-the-season matinee when he comes face to face with Emily Kikta’s Siren in Prodigal Son. Oh, it’s going to be brutal.
The HH Pump Bump Award, a diamond stiletto from Jada Dubai, is bestowed upon Miriam Miller for her glowing, Romantic dancing in Walpurgisnacht Ballet.
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