NYCB puts the Art in Smart – 2/12

It was one of those quintessential, Manhattan-cool, this-is-why-we're-the-Dance-Capital-of-the-World evenings.

The first of three 2015 Art Nights at New York City Ballet was an evening of off-the-charts dancing for an audience of laid back, trendy art folks woven in with the equally laid back, trendy ballet folks who after the performance wandered the extraordinary Dustin Yellin art exhibit on the promenade sipping complimentary suds. This was the fermentation of a new audience for ballet – the new combinations program that will brew the expansion of both art forms. Well, yes, the $29 tickets helped.

The performance began with a few tension filled moments, however, that were probably only witnessed from the ring levels. This week, the NYCB Orchestra has experienced something of a lapse in discipline. On Wednesday night, it seemed like they weren’t very interested in playing Aaron Copland’s Rodeo. The brass had a particularly trouble-filled time. Then there was some kind of a lapse of concentration during the Shostakovich piece; it seemed like the pianist might have forgotten to jump in on time in a spot, although we're not sure. Last night, there was an episode of such public recalcitrant, unprofessional insubordination by cellist Eugene Moye that we hope not to see him in the orchestra pit again.

The first ballet on the program was Serenade, a ballet for which the music is particularly dependent on the performance of the cellists. When esteemed Resident Conductor Clotilde Otranto stepped to the podium, she observed that Moye, who was in the first row directly in front of her, was chewing away on a wad of gum like a cow. The vigor with which she shook her baton and ordered him to get rid of it suggested that this was not the first episode of this type. Moye sat motionless, refusing to remove the gum from his mouth. Otranto became furious and ordered him to remove it again. He sat motionless. Finally Otranto put her hands down and refused to start the performance. Moye sheepishly handed his cello to the musician on his left and got up and deposited his chew in the can.

At the conclusion of Serenade, Otranto praised the entire orchestra for its performance with her own applause. A minute or so later, she walked up to Moye and they exchanged words. She left for the intermission and he subsequently casually walked out in a round-about way while seeking recognition from some of his seated colleagues. He returned after the intermission to play without incident. At the end of the second intermission, however, he returned to his chair directly in front of the conductor’s podium where he and the cellist to his right each unwrapped gum and began chewing away as Otranto started the orchestra in the final Bizet for Symphony in C.

The very public disrespect and defiance toward Conductor Otranto which these two cellists flaunted was a disgrace to the entire NYCB organization.

Erica Pereira and Teresa Reichlen were standouts in the Serenade principal cast completed by Sterling Hyltin, Zachary Catazaro and Ask la Cour. From the moment she took her first step in the role of the Russian Girl a few short weeks ago, Erica has ascended to a new level of glorious artistry. Tchaikovsky seems to speak to her most vividly. Her Sugarplum Fairy during the Nutcracker Season embodied the same extraordinary passion and musicality. It would be very easy to envision her as the Waltz Girl in Serenade.

The corps de ballet was exquisite – every member was focused and dancing her heart out – and no one was chewing gum. Zachary Catazaro’s debut was a bit like reading a road map, but this is the type of role that we can expect him to excel in very quickly. We won’t dare miss his next performances.

Agon knocked the socks off the audience. This was an extraordinary performance led by Maria Kowroski and Amar Ramasar who got inside the music to reveal the tensions of a competition playing out between two people who did not want to admit that they were competing. It was like watching a competition about who could be the most brilliantly and uniquely collaborative. Anthony Huxley drew his solo as though he was slashing strokes with the blackest carbon pencil on white artist’s paper. Devin Alberda and Daniel Applebaum completed the men’s cast and danced with the same brilliance. Megan LeCrone ran into a small hazard during the PdT which resulted in a premature descent from releve but otherwise gave a solid performance. We wish that she would vary the level of her gaze out at the audience. It always appeared as though she was addressing the same person in the audience with her dancing. There are people in the ring levels who appreciate her just as much.

Lauren King and Ashley Laracey rounded out the Agon cast with their expansive and precise demi-soloist work. They are two important members of the upcoming generation who make us rush to the theater to witness performances in secondary roles simply because we see the artists' futures and don’t want to miss a moment of their journeys.

Symphony in C received another brilliant performance, although the tempo wasn’t quite at the meteoric rate as earlier in the season. Once again, Ashley Bouder had the audience gasping in disbelief with with her phrasing. No one presses those echappes plies into the Marley softly and articulately and then scoops them to sous-sus with gentle delight the way she does. And if you happened to be standing behind her watching, as Chase Finlay was last night, you couldn't help but be inspired when witnessing her efforts. After encountering significant difficulties earlier in the season, Chase showed that he was definitely back on track, focused, and more prepared. He brought his center with him on stage which enabled a much better turning performance, but still, the feet were not as articulate as they should be. And as young as he is, he should have a 90 degree arabesque. We recognize that there are factors like injuries and fatigue that may affect performances, but, well, this is New York….

Sara Mearns and Jared Angle led the second movement beautifully. We think we spotted the lovely Faye Arthurs as an unannounced substitute in a demi-soloist spot. She is so captivating. We really need to see much more of this artist.

Lauren Lovette and Gonzalo Garcia were buoyant, cheery, and coordinated in the third movement. Brittany Pollack and Adrian Danchig-Waring were superb in the fourth movement and made us wish that this movement had more music to it. Kristen Segin with Troy Schumacher and Alina Dronova with Ralph Ippolito were splendid as the demi-soloists. We can’t keep our eyes off Kristen and
Alina, both of whom seem so full of promise. We do wish, however, that Alina would straighten the right knee when extended in arabesques.

The finale may not have had the race-to-the-checkered-flag drive of previous performances, but we still held our breath while watching this magnificent company close out this masterpiece. What a terrific, exhilarating performance.

It was an exceptional night for art at NYCB, the kind of night that reinforces the importance of living in this city, the kind of night that makes one feel he’s near the center of the Universe.

The HH Pump Bump Award goes to Maria Kowroski whose riveting interpretations of Agon continue to take us in new directions.