NYCB opens with good dancing on a ho-hum program

The movers lost an entire crate of Haglund’s most prized shoes. This world being what it is these days, we’re positive they were stolen. If anyone sees the Bang-up Job Moveristas pedaling their rose-colored carts along Hell’s Kitchen’s sidewalks wearing size 12 Louboutins, please contact Haglund immediately. 

Speaking of rose-colored attire, New York City Ballet opened its Fall 2025 season dancing Donizetti Variations in Karinska’s luxurious costumes. Megan Fairchild possessed the spiritous enthusiasm that has marked her entire career, now in its final year. Swift and exacting pointes marked her elocution like sharp consonants while her musicality flowed with joy. Joseph Gordon danced with such a high personal standard that he, as Daniel Ulbricht has done for so many years, stands apart from the other men in the company by dedicating his performances to raising the bar each time. He may have inspired the other three men in the cast — Kennard Henson, Charlie Klesa, and Mckenzie Bernardino Soares — because they came ready with the energy, crisp clear feet, confident partnering, and showmanship that helped make this a first-rate performance. The ladies were also raring to go, particularly Claire Von Enck and Ava Sautter.

We don’t recall having seen Balanchine’s Ballade but Mira Nadon made us want to see it again. Mira + Fauré = immediate intoxication. Obviously, much care was taken to get her ready for this role that was originally made for Merrill Ashley, but unfortunately, it didn’t seem like much attention was given to her partner, Peter Walker. His partnering was responsible and caring, but his solo dancing looked like it needed several more rehearsals. The corps of short women really didn’t add anything to the ballet and looked odd dancing behind the two very tall principals. Odder still was the arched back with ribs pushed forward like a gymnast that we observed from one of the women.

Whenever we see the beginning of Balanchine’s heartless, soulless adaptation of the classic Swan Lake with the hanging icicles and the line of swans “swimming” through the obviously unfrozen lake, we think that Balanchine may have choreographed a scene for an episode of Lucille Ball and her friend Ethel. What follows is so bad that it almost has to be comical. We can’t think of any other Balanchine choreography that is more unmusical, more lacking in story, more ridiculously staged with huntsmen who appear out of nowhere to fumble around frenetically before disappearing into the night. Isabella LaFreniere would make a gorgeous Odette in a Swan Lake. Here, in the more traditional moments that resembled Ivanov’s choreography, she was lovely. She had no problem effectively dispatching the choreography and communicating with the mime, but to what end? Chun Wai Chan is capable of portraying a full and captivating Siegfried. We saw it opposite Yuriko Kajiya at Houston Ballet. But here, it felt like we were observers passing by Siegfried’s crisis without knowing the reason for it. Could someone please explain why this production is worthwhile?

The evening’s programing should have been stronger for an opening night, and it isn’t strong enough to be repeated as many times as it is this fall. Clearly, NYCB has for quite some time been cutting back on the amount of repertory it presents each season and cutting back even more on Balanchine’s masterpieces in favor of presenting his less than top drawer choreography. It’s not a good strategy. We’re not going to sit through this program again. Our H.H. Pump Bump Award is bestowed upon Joseph Gordon for constantly reaching for something more within his performances.