While watching the strange little promo of Justin Peck’s new dance which was running on the screens in the theater lobby, we were reminded how his sloppy hunched-over shoulders, shuffling feet, and hanging-open mouth endeared him to us when he was dancing Balanchine works. The promo featured Peck dancing while wearing his “Think of me as the composite Steven Spielberg/Jerry Robbins” baseball cap instead of featuring the NYCB dancers dancing his choreography. The promo didn’t promote the dance or the dancers; it only promoted the already over-hyped Peck. So we sat down and opened the Playbill to see that being listed as the choreographer in the credits apparently was not enough for Peck; he needed to feature himself as part of the dance’s official title: Mystic Familiar, A BALLET BY JUSTIN PECK. In all caps. Why this? And why is Peck’s salary MORE than the artistic director’s and the associate artistic director's by large sums? Why does NYCB pay this guy $371,755 plus $54,223 in benefits? What benefit does the company get for nearly a half million dollars?
The choreography of Mystic Familiar was Peck’s repetitive, desperate effort to look cool & hip and ended up looking as stale as the words cool & hip are. We’ve already seen Peck capitalizing on the work of Agnes de Mille. Now we have a piece where he borrows Twyla Tharp for his own use. Maybe the section of Dan Deacon’s score that imitated Philip Glass’s minimalist brilliance sent Peck in the direction of Tharp. We sense that Peck knew how empty his own effort was going to be which is why there was such a heavy reliance on scenery and costumes—to look cool & hip. Bopping around — which aptly describes Peck’s style — in billowing white sleeves, green boxer shorts & undershirt, cropped athletic wear, and white overalls, the dancers did their best to sell Peck’s shallow ideas. It makes us think about inviting DOGE into the house to help cut the waste — make that DOBE Department of Ballet Efficiency. Peck would be out the door before a hinge squeak.
Which leads us into our review of the highlight of the evening, Balanchine’s Variations Pour Une Porte et Un Soupir… This avant-garde piece from 1974 utilizes Pierre Henry’s sonority as its score. No music per se, just creaking hinges, spooky sighs, and other noir effects with lighting that make this a one-of-a-kind Balanchine work whose only possible resemblance to his body of work is the black & white theme. Miriam Miller, debuting as the Door, was more alluring than dangerous. The prior interpretations by Maria Kowroski and Sara Mearns were quite a bit more aggressive and always conveyed a “Be careful what you ask for, little Sigh” message within their outsized glamour. Our sense was that Miriam should strive to add exclamation points to her phrases. But it was a very successful debut if a bit careful.
Daniel Ulbricht as the Sigh — oh lord — does he ever have this one down. The small Sigh was so hell-bent on getting through the Door that he failed to consider what might be on the other side. He was in a painful gymnastic panic from the first second to his last. A huge theatrical physical performance by Ulbricht who has come to specialize in them. Haglund would gladly sit through this performance again and again were it not sandwiched between such stale bread.
Opening the program was Wheeldon’s From You Within Me which is set to Schoenberg’s Verklarte Nacht, the music Antony Tudor used for his masterpiece Pillar of Fire. Unfortunately, Wheeldon’s piece just made us wish we were watching a few of the dancers in Pillar of Fire: Mearns as Hagar, Furlan as the Man in the House Opposite, Chan as The Friend, Fairchild as the Youngest Sister. What a cast that would be! Just think about it!
Schoenberg’s inspiration for his music was Richard Demel’s poem of the same title:
Two people walk through a bare, cold grove;
The moon races along with them, they look into it.
The moon races over tall oaks,
No cloud obscures the light from the sky,
Into which the black points of the boughs reach.
A woman’s voice speaks:
The moon races along with them, they look into it.
The moon races over tall oaks,
No cloud obscures the light from the sky,
Into which the black points of the boughs reach.
A woman’s voice speaks:
I’m carrying a child, and not yours,
And so it goes… The poem ends with the man and the woman walking off together. Wheeldon’s ballet ended with a woman exiting alone. Unfortunately, the ballet didn’t rise to the dramatic level of the music, the poem, or the memory of Tudor’s masterpiece. It was very similar to choreography of Wheeldon's we’d seen before — like fillers in a sentence when the speaker didn't know what to say. “Like.” Tudor was proud to say that while he may not have made a lot ballets, he never repeated himself. Of course these days, choreographically repeating oneself over and over again seems to pay the bills.
Indiana Woodward made the most of her opportunities with her innate ability to make any choreography look natural on herself. There was something about the way her face caught the light right at the perfect moment that made what she was doing interesting and watchable. Very much looking forward to seeing Indiana in Paquita next week. In fact, we’re looking forward to seeing everyone and everything about Paquita next week. Save us a Paquita Margarita at the bar!
Unusually in Wheeldon’s works, the costumes were a complete miss. Red unitards of flimsy, transparent fabric that bagged in the knees and legs and unattractively emphasized the cracks in the dancers’ butts. They flattered no one. The skyscape scenery by Kylie Manning was pleasant and worked with the music and the poem but tended to overwhelm what was going on choreographically.
Our HH Pump Bump Award from Manolo Blahnik is bestowed upon Daniel Ulbricht for his diamond-encrusted performance as the Sigh in Variations Pour Une Porte et Un Soupir.
24 responses to “NYCB 1/29
New Combinations program not very new at all”
I could have sworn I was watching “In the Upper Room” with a new backdrop.
I could have sworn I was watching “In the Upper Room” with a new backdrop.
Solor, did you see McNeal at Lincoln Center Theater? The main character entered works by Shakespeare, Virginia Woolf, and other great writers into his AI software along with examples of his own work and told the software to come up with a new novel that he could pass off as having been written by McNeal, himself. He won a Pulitzer — in the play, without getting caught. We may see that sooner in ballet than we expect.
Solor, did you see McNeal at Lincoln Center Theater? The main character entered works by Shakespeare, Virginia Woolf, and other great writers into his AI software along with examples of his own work and told the software to come up with a new novel that he could pass off as having been written by McNeal, himself. He won a Pulitzer — in the play, without getting caught. We may see that sooner in ballet than we expect.
I would really like to see “Variations Pour Une Porte et Un Soupir” at some point, but I cannot justify the expense with this program. One ballet for the price of three. I’ll pass. Appreciate the review as always.
I would really like to see “Variations Pour Une Porte et Un Soupir” at some point, but I cannot justify the expense with this program. One ballet for the price of three. I’ll pass. Appreciate the review as always.
Haglund, I completely agree and echo your review of Variations Pour Une Porte et Un Soupir… I had never seen it (I suspect that is true of many of the “younger” members of the audience). You are so correct in calling Daniel’s performance “gymnastic.” He was incredible. I thought Miriam was wonderful as well (as many have noted previously it was following this performance that she was promoted), and am curious to see her develop in this role if the ballet comes back with the aggression you mention seeing in other interpreters.
As an aside, I swear Jordan Peele must have somehow seen this ballet prior to making “Nope” as the shape the door made when Miriam disappeared into its folds looked just like the creature from the movie 😉
May I ask why they needed a full intermission between the Wheeldon piece and Variations Pour Une Porte et Un Soupir…? The latter is to recorded music, so the orchestra musicians didn’t need a break. Is it just to extend the length of the evening so patrons feel like they are getting their money’s worth? NYCB isn’t so bad about this as other companies (the Royal Ballet gives a full 30 minute interval and often two of them a show), but I find some of them unnecessary.
Haglund, I completely agree and echo your review of Variations Pour Une Porte et Un Soupir… I had never seen it (I suspect that is true of many of the “younger” members of the audience). You are so correct in calling Daniel’s performance “gymnastic.” He was incredible. I thought Miriam was wonderful as well (as many have noted previously it was following this performance that she was promoted), and am curious to see her develop in this role if the ballet comes back with the aggression you mention seeing in other interpreters.
As an aside, I swear Jordan Peele must have somehow seen this ballet prior to making “Nope” as the shape the door made when Miriam disappeared into its folds looked just like the creature from the movie 😉
May I ask why they needed a full intermission between the Wheeldon piece and Variations Pour Une Porte et Un Soupir…? The latter is to recorded music, so the orchestra musicians didn’t need a break. Is it just to extend the length of the evening so patrons feel like they are getting their money’s worth? NYCB isn’t so bad about this as other companies (the Royal Ballet gives a full 30 minute interval and often two of them a show), but I find some of them unnecessary.
Yukionna,
I agree that paying such a high price to see one worthwhile piece out of three, honestly, is not justifiable. I didn’t check this time to see if the program was on TDF. I see that the upcoming program of Divertimento No 15, Tschai PdD, and Carnival of the Animals is on TDF for $53. (Also on TDF is Herman Cornejo’s Anima Animal at the Joyce Theater beginning on 2/20 for $31. It runs 60 minutes.)
Yukionna,
I agree that paying such a high price to see one worthwhile piece out of three, honestly, is not justifiable. I didn’t check this time to see if the program was on TDF. I see that the upcoming program of Divertimento No 15, Tschai PdD, and Carnival of the Animals is on TDF for $53. (Also on TDF is Herman Cornejo’s Anima Animal at the Joyce Theater beginning on 2/20 for $31. It runs 60 minutes.)
Hobbit Ballerina,
It might take more than 5 minutes to hang the Door’s huge, complicated cape, attach it to the dancer, and make sure that the stage folks who manipulate it are ready to go. Running a 32 minute piece with a 23 piece and a pause might be too much to put the audience through — of course, it depends on the pieces. 😉
Hobbit Ballerina,
It might take more than 5 minutes to hang the Door’s huge, complicated cape, attach it to the dancer, and make sure that the stage folks who manipulate it are ready to go. Running a 32 minute piece with a 23 piece and a pause might be too much to put the audience through — of course, it depends on the pieces. 😉
Touche!
Touche!
To say I agree with your assessment of Justin Peck is a massive understatement. Why oh why has he been placed on this pedestal? Sneaker ballet after sneaker ballet, a red ball bouncing around on stage, and a blob of dancers running in and out of a big circle is what comes to mind when I think of Peck. I mean, almost every single ballet of his literally has a cluster of dancers in a circle at some point.
Glad to see Ulbricht get a shout out. In my 20+ years of going to NYCB, I have never known Daniel to be anything other than classy and kind. And he’s one hell of a dancer.
To say I agree with your assessment of Justin Peck is a massive understatement. Why oh why has he been placed on this pedestal? Sneaker ballet after sneaker ballet, a red ball bouncing around on stage, and a blob of dancers running in and out of a big circle is what comes to mind when I think of Peck. I mean, almost every single ballet of his literally has a cluster of dancers in a circle at some point.
Glad to see Ulbricht get a shout out. In my 20+ years of going to NYCB, I have never known Daniel to be anything other than classy and kind. And he’s one hell of a dancer.
Max, it’s past time to cut Peck loose or at least reduce his profile. Quite simply, too much money is spent on him. His role as an “advisor” has always been questionable, if not comical given the quality of what he did as a dancer.
Max, it’s past time to cut Peck loose or at least reduce his profile. Quite simply, too much money is spent on him. His role as an “advisor” has always been questionable, if not comical given the quality of what he did as a dancer.
It’s beyond the scope of this post, but Tiler Peck was replaced by Megan Fairchild in Allegro Brillante last week. The thing that annoys me is, why are Emma Von Enck or Indiana Woodward not in the lineup for this ballet? It’s management’s responsibility to have up and comers in the wings, ready to “go on” with very little notice. Peter Martins did it all the time. I adore Megan as both a person and a dancer, and she gives a perfectly acceptable performance even at 41. But I frankly would have rather seen a Corps member stumble through Allegro Brilliante than yet another Megan Fairchild show. Or just give it to Emma or Indiana and watch them crush it. Either way, the audience deserves better.
It’s beyond the scope of this post, but Tiler Peck was replaced by Megan Fairchild in Allegro Brillante last week. The thing that annoys me is, why are Emma Von Enck or Indiana Woodward not in the lineup for this ballet? It’s management’s responsibility to have up and comers in the wings, ready to “go on” with very little notice. Peter Martins did it all the time. I adore Megan as both a person and a dancer, and she gives a perfectly acceptable performance even at 41. But I frankly would have rather seen a Corps member stumble through Allegro Brilliante than yet another Megan Fairchild show. Or just give it to Emma or Indiana and watch them crush it. Either way, the audience deserves better.
I totally agree Liz. Both Emma and Indiana would have been more than adequate and would have created instant excitement and conversation. And then there is the issue of Tiler integrating outside gigs into a very busy taxing NYCB season. Once again she was dancing at NYPhil and a few days later she had to cancel an NYCB performance of one of her signature roles. If Tiler cannot dedicate herself 100% to NYCB during the season, then management should know not to cast her for anything important in the weeks following her outside gigs.
I totally agree Liz. Both Emma and Indiana would have been more than adequate and would have created instant excitement and conversation. And then there is the issue of Tiler integrating outside gigs into a very busy taxing NYCB season. Once again she was dancing at NYPhil and a few days later she had to cancel an NYCB performance of one of her signature roles. If Tiler cannot dedicate herself 100% to NYCB during the season, then management should know not to cast her for anything important in the weeks following her outside gigs.
Yeah, I don’t think Tiler realizes dancers didn’t used to cancel shows like this unless they were truly injured. Every show was a blessing. If she’s so busy that she’s not able to perform 100% at NYCB when NYCB is in season, she needs to stop being so busy. Or management should start giving Emma and Indiana some of her rep. They deserve it.
Yeah, I don’t think Tiler realizes dancers didn’t used to cancel shows like this unless they were truly injured. Every show was a blessing. If she’s so busy that she’s not able to perform 100% at NYCB when NYCB is in season, she needs to stop being so busy. Or management should start giving Emma and Indiana some of her rep. They deserve it.