“Meow. This represents too much sitting.”
Well, yes, perhaps. But in our defense, we did stand up several times to applaud which, according to the fitness app on the Apple Watch, counts as vigorous exercise. And Mr. Kitty, as the song goes, If lovin' this is wrong, I don’t wanna be right.
Sunday’s final matinee was an exclamation point to the declaration New York City Ballet made over the course of its fall season: It is at its strongest ever in its glory-filled history.
Its net assets/fund balances are 600% of ABT’s ($210 mil to $32 mil). Its total revenues are twice that of ABT's ($105 mil to $48 mil). It even has more than 3X the number of volunteers willing to give their time (250 vs 70). (Info taken from the most currently available Form 990s.)
It sources 100% of its artists from its own school.
It does not rely on guest dancers, freelancers, or imports from lesser companies to augment its ranks.
Its dancers are without question the most talented in its history.
Its bench is so deep with talent and accomplishment that it could serve as two other companies.
The Balanchine, Robbins, and Martins repertories are being danced with as much or more verve, pristine technique, and artistry than ever before. Of course, there are a few adjustments that need to be made – most notably in Jewels which we hope by its 50th anniversary celebration will be wiped clean of the swan-y melodramatics that have crept into Sara Mearns’ Diamonds as well as the Siren influence that Ashley Bouder chose for Rubies. We also hope to see Andrew Veyette regularly performing at the high level that he did on Sunday opposite Ashley Bouder in Stars and Stripes. Somehow he rose above the morosity and uncaring that has burdened his dancing in the past to make us admire him once again.
Sunday’s Glass Pieces was a stunner. Rebecca Krohn and Amar Ramasar in the Facades PdD revealed the beauty of the planes and angles of Robbins’ choreography. The Rubric section spotlight fell on Unity Phelan, Emilie Gerrity, Lydia Wellington, Joseph Gordon, Andrew Scordato, and Cameron Dieck, all corps members functioning as principals in caliber and confidence. Emilie’s arabesque had such length and beautiful curve that it snatched our breath away. Andrew Scordato has continued his artistic growth spurt – his grand allegro stretching more than ever before and his partnering acquiring a new elegance and sensitivity.
In Stars and Stripes, Lauren King gave her baton majorette duties an expert twirl and led her regiment vivaciously. Within her First Campaign, Indiana Woodward and Alexa Maxwell marched brightly. In the Rifle Regiment, Megan LeCrone wasn’t as confident as we’ve seen her before but nonetheless striking in her technical abilities. Her Second Campaign included more Stars of Tomorrow than we could count including Ashley Hod, Claire Kretzschmar, Emily Kikta, Unity Phelan, Miriam Miller, and the gorgeous Isabella LaFreniere who we now look for in everything.
Troy Schumacher as the leader of the Thunder and Gladiator Regiment pulled it off in the near vicinity of Daniel Ulbricht and his recruits were a little sharper than in previous performances. We’re always looking for Harrison Coll, Aaron Sanz, Silas Farley, and Harrison Ball – such a diverse group of artists who all coalesce smoothly.
What can one say about Ashley Bouder’s Liberty Bell? Haglund was sitting close enough to the stage that he thought he heard the members of the Thunder and Gladiator Regiment yell at her something like Take us home, Mama! (It could have come from the orchestra pit where Clotilde Otranto was stoking the Sousa to white hot flames.) Bouder blazed through Liberty Bell with a special eagerness and joy, seizing and exploiting pauses in the music to tint her musicality with a bit of extra color. And as is often the case, she brought out the spirit in her partner, Andrew Veyette, who gave perhaps his best performance of the season and one that seemed truthfully joyous.
Peter Martins Thou Swell has really taken on a life of its own with the current cast of Sterling Hyltin, Rebecca Krohn, Sara Mearns, Teresa Reichlen, Robert Fairchild Amar Ramasar, Jared Angle, and Ask la Cour. When it returns at the end of the Winter Season on a program with Wheeldon’s Carousel and Balanchine’s Slaughter on Tenth Avenue, be sure to catch it if this cast holds for the run.
The entire NYCB corps de ballet has danced with gleaming beauty and pride this season. It instills such anticipation for the wonderful things in store for the company’s future. Haglund wants to share that about seven or eight years ago he received an email from a corps dancer’s mother following an NYCB Nutcracker review on H.H. She thanked Haglund for writing about the individual corps dancers and especially her daughter in the review and went on to say “She claims that her father and I are the only ones who ever see her on stage.” [Shaking pointer finger at corps de ballet] Don’t ever think that. Don’t ever think that the audience doesn’t see corps dancers as individuals with unique gifts. And don’t torture your parents with false claims of insignificance because you are dancing in the back of the corps of the New York City Ballet.
Haglund keeps hearing murmurings and guessing about when Martins will step down (or aside) for a successor. This talk never coincides with any complaints about the company or yearnings for a change in direction of its artistry. Admiration for Martins’ accomplishments has never been higher, and it is well-earned. The successor-talk all stems from his age (69 turning 70 next week) and his longevity (30+ years) as director. It seems that those big numbers are automatically a cause for concern for some younger people who have no other basis for concern or older people who have stopped thriving in their golden years. It is ageism, plain and simply. We are at a clear-thinking point in history where we are about to on-board a 69-year-old New Hire as the Leader of the Free World. She has 30+ years of public service, too. So long as Martins’ love for his job and his health hold out, we hope that he’ll stick it out for at least another two terms of office and pave the way for a much smoother succession than he experienced.
In celebration of this past season’s strengths, we bestow the H.H. Pump Bump Award, an Alexander McQueen design that features a collection of paths to form its beauty, on Peter Martins because in addition to his unqualified deserving of it – we just like to be controversial.
30 responses to “NYCB – Gleaming sums it up”
It will be a sad, sad day in the ballet world if/when Martins decides to retire. Frankly, I don’t see why he couldn’t run the company for 20 more years if he so desired. I think Balanchine would be incredibly proud at the state of his company today.
It will be a sad, sad day in the ballet world if/when Martins decides to retire. Frankly, I don’t see why he couldn’t run the company for 20 more years if he so desired. I think Balanchine would be incredibly proud at the state of his company today.
Hi Gerry. I agree that Balanchine would be proud, very proud. When he senses that it is time, Martins can tie up his extraordinary tenure with a neat bow by pursuing a multi-year transition that feeds the eventual successor(s) with experiences that will strengthen them when the time comes to lead. The appointment of a Deputy Ballet Master in Chief would be a good way to proceed. My clear choice would be Jon Stafford. I would be so disappointed to see the NYCB board reach outside of the current in-house talent for leadership and would withdraw my support in total if it ever came to pass that a certain Frenchman and his fluffy actress wife tried to swoop in to glam things up.
Hi Gerry. I agree that Balanchine would be proud, very proud. When he senses that it is time, Martins can tie up his extraordinary tenure with a neat bow by pursuing a multi-year transition that feeds the eventual successor(s) with experiences that will strengthen them when the time comes to lead. The appointment of a Deputy Ballet Master in Chief would be a good way to proceed. My clear choice would be Jon Stafford. I would be so disappointed to see the NYCB board reach outside of the current in-house talent for leadership and would withdraw my support in total if it ever came to pass that a certain Frenchman and his fluffy actress wife tried to swoop in to glam things up.
I think the POB experiment told us and the NYCB board everything we needed to know about who not to tap as Martins’ successor. Kudos to the board for letting Martins run NYCB in the way he sees fit and for not interfering and having pet projects/favorites like the board at ABT (we know how successful that is turning out to be).
I think the POB experiment told us and the NYCB board everything we needed to know about who not to tap as Martins’ successor. Kudos to the board for letting Martins run NYCB in the way he sees fit and for not interfering and having pet projects/favorites like the board at ABT (we know how successful that is turning out to be).
Could not agree with SM more and couldn’t have said it better myself! Martins is the perfect example of good leadership. Seems PA Ballet is on the right track too, best wishes to Angel and maybe he will grow his company to give us two worthy north east companies 🙂
Could not agree with SM more and couldn’t have said it better myself! Martins is the perfect example of good leadership. Seems PA Ballet is on the right track too, best wishes to Angel and maybe he will grow his company to give us two worthy north east companies 🙂
I agree, HF, but Martins had a very difficult first decade and a half while trying to prove himself to the remaining dancers who were Balanchine’s hires––an all but impossible task given Balanchine’s incomparable talents. Some of the dancers were brutally disrespectful to Martins behind his back – I remember hearing the moaning and groaning from them when they would come over to David Howard’s studio to take class in the morning. It wasn’t until Martins was able to re-align the company with his own hires that things started to smooth out. Some of those former Balanchine hires are still dissing him. That’s why it’s so important for him to pursue a multi-year transition strategy from within. It would not be in the best interests of the institution to go through such turmoil again.
I agree, HF, but Martins had a very difficult first decade and a half while trying to prove himself to the remaining dancers who were Balanchine’s hires––an all but impossible task given Balanchine’s incomparable talents. Some of the dancers were brutally disrespectful to Martins behind his back – I remember hearing the moaning and groaning from them when they would come over to David Howard’s studio to take class in the morning. It wasn’t until Martins was able to re-align the company with his own hires that things started to smooth out. Some of those former Balanchine hires are still dissing him. That’s why it’s so important for him to pursue a multi-year transition strategy from within. It would not be in the best interests of the institution to go through such turmoil again.
Thank you for this insightful history as always 🙂 I can imagine the difficulty in transition for those you mentioned in the company, and how it must feel having a “new boss”, in any organization, after all the years, but good for Martins to stand strong to pursue his strategy.
Thank you for this insightful history as always 🙂 I can imagine the difficulty in transition for those you mentioned in the company, and how it must feel having a “new boss”, in any organization, after all the years, but good for Martins to stand strong to pursue his strategy.
I think the company is in a good place now and Martins has led it very well.
However there are many iconic ballets that have lost their edge now because they aren’t being properly coached by the original interpreters. Diamonds is in a very sorry state as well as most of Jewels. There are other ballets too that show up less than stellar.
Time is of the essence because all of Balanchine’s former dancers are getting on in years. The time to coach extensively and vastly is now. Instead all the original dancers are coaching OTHER companies to success. There is no reason why PNB should be dancing Jewels better than the company Balanchine built himself.
I think the company is in a good place now and Martins has led it very well.
However there are many iconic ballets that have lost their edge now because they aren’t being properly coached by the original interpreters. Diamonds is in a very sorry state as well as most of Jewels. There are other ballets too that show up less than stellar.
Time is of the essence because all of Balanchine’s former dancers are getting on in years. The time to coach extensively and vastly is now. Instead all the original dancers are coaching OTHER companies to success. There is no reason why PNB should be dancing Jewels better than the company Balanchine built himself.
Diamonds is not a problem for everyone at NYCB. Tess and Maria are sublime interpreters and many of us cannot wait for Rebecca Krohn and Ashley Laracey to get a chance in the role.
I have yet to see PNB dance anything better than NYCB regardless of what Alastair Irrelevant claims. PNB is still very much a mid quality regional company no where near NYCB – or SF Ballet, Houston, Miami, or PA Ballet. They certainly strive hard but the gifted direction and talent just isn’t there.
Diamonds is not a problem for everyone at NYCB. Tess and Maria are sublime interpreters and many of us cannot wait for Rebecca Krohn and Ashley Laracey to get a chance in the role.
I have yet to see PNB dance anything better than NYCB regardless of what Alastair Irrelevant claims. PNB is still very much a mid quality regional company no where near NYCB – or SF Ballet, Houston, Miami, or PA Ballet. They certainly strive hard but the gifted direction and talent just isn’t there.
I don’t read the NY Times critic. I only go by what I’ve seen. PNB impressed me the last time they were in NY. Its true they aren’t a big company nor have the back log of talent that NYCB does. But NYCB is the biggest company in the US. That isn’t in doubt.
But I have seen PNB do a better Diamonds. I’ve even seen Miami Ballet do it better. Why? Because both D’Amboise and Farrell have coached dancers in both companies. If they were coaching NYCB, I highly doubt Mearns would be emoting like a Russian Diva nor would Reichlen be adding Swan Queen touches. Also Rubies would be a lot cleaner if Villella had more input in coaching as well. He would certainly clean up the overly fast tempo that doesn’t give the dancers time to breath.
But I want to know why they aren’t coaching NYCB’s current and worthy talent. Why is the company letting its premiere ballet lose some of its style. It can’t only be sour grapes on their side.
Heck, I realize that Balanchine let Farrell have her own way for years and years. But their partnership created the style of the company. That shouldn’t be lost due to former jealousy beefs.
I don’t read the NY Times critic. I only go by what I’ve seen. PNB impressed me the last time they were in NY. Its true they aren’t a big company nor have the back log of talent that NYCB does. But NYCB is the biggest company in the US. That isn’t in doubt.
But I have seen PNB do a better Diamonds. I’ve even seen Miami Ballet do it better. Why? Because both D’Amboise and Farrell have coached dancers in both companies. If they were coaching NYCB, I highly doubt Mearns would be emoting like a Russian Diva nor would Reichlen be adding Swan Queen touches. Also Rubies would be a lot cleaner if Villella had more input in coaching as well. He would certainly clean up the overly fast tempo that doesn’t give the dancers time to breath.
But I want to know why they aren’t coaching NYCB’s current and worthy talent. Why is the company letting its premiere ballet lose some of its style. It can’t only be sour grapes on their side.
Heck, I realize that Balanchine let Farrell have her own way for years and years. But their partnership created the style of the company. That shouldn’t be lost due to former jealousy beefs.
I completely missed any Swan Queen touches in Tess’ Diamonds, but I’ll watch more closely next time. All casts of Rubies don’t have problems either. The Fairchild/De Luz cast I would match up against McBride/Villella any day. Can’t recall any too fast tempi either although Andrew Veyette showed strain trying to keep up at times – a trait not limited to Rubies. Nor would I call Jewels the company’s “premiere” ballet. A half dozen years or so ago, I saw the Diamonds PdD danced by Farrell’s own company. It was mostly okay but didn’t hold a candle to NYCB’s Diamonds – including the overblown cast.
I completely missed any Swan Queen touches in Tess’ Diamonds, but I’ll watch more closely next time. All casts of Rubies don’t have problems either. The Fairchild/De Luz cast I would match up against McBride/Villella any day. Can’t recall any too fast tempi either although Andrew Veyette showed strain trying to keep up at times – a trait not limited to Rubies. Nor would I call Jewels the company’s “premiere” ballet. A half dozen years or so ago, I saw the Diamonds PdD danced by Farrell’s own company. It was mostly okay but didn’t hold a candle to NYCB’s Diamonds – including the overblown cast.
Agree with Haglund. The premiere NYCB ballet is Serenade. I would also throw The Nutcracker in there because let’s face it, Balanchine’s Nutcracker was the one that started it all.
But, that is a good question that melponeme raised. I remember reading that article about Merrill Ashley and her beef with NYCB’s current dancers. Surely she was one of the moaners and groaners back in David Howard’s class? Gosh Haglund, you’ve lived a cool life! Did you ever take class with Gelsey? Forever and always my favorite ballerina.
Agree with Haglund. The premiere NYCB ballet is Serenade. I would also throw The Nutcracker in there because let’s face it, Balanchine’s Nutcracker was the one that started it all.
But, that is a good question that melponeme raised. I remember reading that article about Merrill Ashley and her beef with NYCB’s current dancers. Surely she was one of the moaners and groaners back in David Howard’s class? Gosh Haglund, you’ve lived a cool life! Did you ever take class with Gelsey? Forever and always my favorite ballerina.
Not to be nitpicky but I believe that Gonzalo Garcia did not train at SAB? I’m still glad that he’s at NYCB but he would keep the roster from being 100% SAB.
Not to be nitpicky but I believe that Gonzalo Garcia did not train at SAB? I’m still glad that he’s at NYCB but he would keep the roster from being 100% SAB.
True E. Nor did Sofiane Sylve or Nikolaj Hubbe or Nilas Martins or Joaquin De Luz. I really should have qualified that 100%. Thanks.
True E. Nor did Sofiane Sylve or Nikolaj Hubbe or Nilas Martins or Joaquin De Luz. I really should have qualified that 100%. Thanks.
Agreed, Rose. Gelsey will always be my favourite. I am so genuinely thrilled to see what she is doing with her school and company, and that her gifts are being used to the benefit of the next generation of dancers. I am a ballet teacher and I have students who have attended her summer intensive and been invited to the professional program. I love what I see from GKA — thoughtful, inspired coaching that teaches young dancers to respect their bodies, develop authentic artistry and become informed interpreters of the classical canon. Students are transformed by her generosity, and she is a gracious, funny and kind presence in the classroom.
Agreed, Rose. Gelsey will always be my favourite. I am so genuinely thrilled to see what she is doing with her school and company, and that her gifts are being used to the benefit of the next generation of dancers. I am a ballet teacher and I have students who have attended her summer intensive and been invited to the professional program. I love what I see from GKA — thoughtful, inspired coaching that teaches young dancers to respect their bodies, develop authentic artistry and become informed interpreters of the classical canon. Students are transformed by her generosity, and she is a gracious, funny and kind presence in the classroom.
Melponeme-who were the principals in this Diamonds that you saw that was better than NYCB? Because if it was say Carla Korbes and Seth Orza, that chalks up another in NYCB tally rather than take away from it since they trained and began their promotions at City Ballet.
Maybe this is because I came to ballet after Balanchine’s death, but what is the obsession with original interpreters? To me, Balanchine’s parts are designed to have multiple interpretations (think of all the different Apollos or for women, PC2 which was danced by everyone from the goddess, Farrell, to Violette Verdy [RIP]). Could Melissa Hayden honestly teach the Tiler Pecks, Megan Fairchilds, and Ashley Bouders anything more? They are technically just as sound, probably better….
Melponeme-who were the principals in this Diamonds that you saw that was better than NYCB? Because if it was say Carla Korbes and Seth Orza, that chalks up another in NYCB tally rather than take away from it since they trained and began their promotions at City Ballet.
Maybe this is because I came to ballet after Balanchine’s death, but what is the obsession with original interpreters? To me, Balanchine’s parts are designed to have multiple interpretations (think of all the different Apollos or for women, PC2 which was danced by everyone from the goddess, Farrell, to Violette Verdy [RIP]). Could Melissa Hayden honestly teach the Tiler Pecks, Megan Fairchilds, and Ashley Bouders anything more? They are technically just as sound, probably better….