After getting a shot in the arm for flu season on Wednesday afternoon, Haglund proceeded to ensconce himself in a plush seat at New York City Ballet in the evening for what turned out to be another shot in the arm that further invigorated his experience of watching the hyper-energized, mega-vitalized, gloriously dancing NYCB in its fall season.
Maria Kowroski and Tyler Angle led a wondrous performance of Balanchine’s Chaconne that made the audience fizzy-giddy with joy. Maria’s long, tapered limbs and perfectly tapered feet were like smooth candles with graceful wick flames at the end. No bumpy, protruding calf or thigh muscles interrupted the balletic line. No exaggerated indentation of the knees through excessive, intentional hyper-extension marred the shapes of the legs. Perfect narrow ballet body, perfect legs and feet – all seemingly effortlessly coordinated as she wove her movement through the architecture of the music in a way that made the viewer all the more sensitive to Gluck’s flute notes.
Watching Maria’s legs maneuver through the devilish series of supported finger turns that went double en dehors, double en dedans, double en dehors in quick succession was like watching her hand out little gifts to the audience. The grace and modesty of it all delivered the audience right into her palm. Of course, Tyler’s expert partnering had more than a little to do with it. The communication and coordination between the two was persuasive. Tyler’s allegro variations, while perhaps not as accented or dynamic as the boss’ own work back in the 1970s and ‘80s, were executed with crystal clarity and high energy.
The demi-soloists, Erica Pereira and Antonio Carmena, made a good start but then got tangled up in the PdD. Antonio made a quick effort to save an awkward moment, but somehow Erica ended up airborne and then nearly prone to the floor. It seemed to be just one of those things that happens.
Alina Dronova got an opportunity to display her vibrance and beautiful dancing. She was stunning in this ballet as she has been in all of her other demi-soloist opportunities such as in Serenade along with the exquisite Faye Arthurs. Whatever is holding these two ladies back isn’t visible from the audience. Megan Johnson, who a few years ago got a big push forward into Concerto Barocco before she was ready, seems to have matured and is dancing with a nice ease and control along with a lovely presence.
The evening’s program included a super excited cast of Robbins' Interplay. If at times, we missed the energy that Daniel Ulbricht always brings to it, that was compensated swiftly by Sebastian Villarini-Velez’s awesome series of four double tours in rapid succession. It was his debut. He killed it. Lauren Lovette and Chase Finlay danced an inspired PdD. Kristen Segin who seems to be maturing along with Megan Johnson was a breath of fresh air and is starting to draw the eye more and more.
Wheeldon's After the Rain and Peck's Everywhere We Go completed the program. The comfort and familiarity of Wendy Whelan and Craig Hall in the first seemed to be quietly savored by the audience. In the second, the audience began applauding at a point long into this long piece when it appeared to be over but then had to curb the rustling of coats and packages when the dancers appeared back on stage for another long ten minutes. Maybe it wasn’t that bad. Ashly Isaccs, Rebecca Krohn, Taylor Stanley and Adrian Danchig-Waring gave a distinctive pulse to a piece that otherwise lacked a reason to live due in part to the tedious score by Sufjan Stevens.
The H.H. Pump Bump Award, an elegant golden Louboutin with distinctive red sole, is bestowed upon Maria Kowroski who wears what she’s got with style, modesty, and extreme beauty, and makes it all work like the highest fashion.