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Symphonic Variations

"Symphony in C", "Symphony in Three Movements", and "Western Symphony"
New York City Ballet
New York State Theater
New York, NY
May 3, 2008, matinee

by Mary Cargill
copyright 2008 by Mary Cargill

One of the few-all Balanchine programs in this Robbins-fest season was also an all symphonic program, an immersion into Balanchine's astounding variety; three completely different responses to three different symphonies, all developed from the majestic geometry of the Russian classical ballet in which he grew up.  "Symphony in C" and "Western Symphony" both, in their different ways, acknowledge "Swan Lake", and "Symphony in C" had an eloquent evocation of the tragic atmosphere in the second movement's dancers, Sara Mearns and Charles Askegard.  They avoided the trick of over-dramatizing the steps (the final pose in the pas de deux was a simple, musical, pause in the movement, not the final flutterings of "The Dying, Gasping, Eventually Expiring Swan".  Mearns is a lush dancer, with a subtle sense of phrasing, and there were many simply glorious moments; one of my favorites was the series of grand battements, where she paused slightly with her leg up and leaned back onto the waiting Askegard, a sublime moment of perfect trust.

Miami High

Miami City Ballet
"Raymonda Variations", "Sonatine", "Tarantella", and "In the Upper Room"
Tilles Center for the Performing Arts
Long Island University, New York
April 25, 2008

by Mary Cargill
copyright 2008 by Mary Cargill

The Miami City Ballet made one of its too rare and too brief visits to the New York vicinity, appearing for two days in the spacious and well-designed Tilles Center of Long Island University; the company has yet to appear in Manhattan.  This visit confirmed the virtues seen in earlier performances, and showed a well-rehearsed, well-trained company with a fine sense of style.  Of course, dancing only a comparatively few ballets a season allows for more intensive rehearsal, and so it isn't really surprising that Miami's "Raymonda Variations" showed more cohesion and more detail than the recent NYCB version, performed as one of several dozen ballets, but audiences do not watch excuses and explanations, they watch performances, and Miami's version was pure joy.  Well, not pure, perhaps, because financial constraints forced them to dance to taped music, so the lush Glazounov score sounded a bit tinny.

Happy Birthday

"Suite from Mazurkas", "Jardin aux Lilas", "Little Improvisations", Pas de Deux from Romeo & Juliet", "Judgment of Paris"
New York Theatre Ballet
Florence Gould Hall
New York, NY
April 4, 2008

by Mary Cargill
copyright 2008 by Mary Cargill

The enterprising New York Theatre Ballet celebrated two 100-year anniversaries in their recent performance of works by Jose Limon and Antony Tudor.  The company has long been known for its dignified revivals of Tudor works (Sallie Wilson, the famous Tudor dancer, has worked extensively with the company), but any excuse to see anything by this great choreographer is welcome. 

Half a Loaf

"Raymonda, Act 3", "Paquita, Grand Pas", La Bayadere, Act 3"
Kirov Ballet
New York City Center
New York, NY
April 1, 2008

by Mary Cargill
copyright 2008 by Mary Cargill

A reduced contingent of the Kirov danced on the inconvenient and unfamiliar City Center stage offering  outtakes of three of Petipa's wonderful ballets; not the ideal way to judge a company's artistic strength.
But the opening scence of "Raymonda", with the magnificent Vladimir Ponomarev summoning the dancers with a majectic sweep of his arm, promised much.  And how wonderful it was to see the Kirov walk, as only they can, in their heeled boots, and dance their mazurka and their czardas with a melodic flair and confident grace.  Alisa Sokolova, with Andrey Yakovlev, leading the czardas, especially, were a reminder of how a great choreographer can develop and embellish simple steps into an increacingly exciting climax.  The conviction, and unfamiliar, to Western eyes, epaulment of the corps guaranteed after the first 10 minutes that whatever happened, the visit would be an artistic joy.

Tragic Valentines

"Matters of the Heart"
"Raymonda Variations", "The Steadfast Tin Soldier", "The Nightingale and the Rose", "Robert Schumann's 'Davidsbundlertanze' "
New York City Ballet
New York State Theater
New York, NY
February 14, 2008

By Mary Cargill
Copyright 2008 by Mary Cargill

Pity the poor marketing person who thought this program was a celebration of love--the audience saw tragedy, insanity, indifference, abandonment, and death.  The opening ballet, "Raymonda Variations", however, was more like it, a Valentine by Balanchine to the luscious Gazounov music.  Ashley Bouder danced with Andrew Veyette, substituting for Benjamin Millepied.  Bouder's performance was, on a technical level, simply astounding, without being purely technical.  She can play with rhythm and phrasing, and hold her poses seemingly at will, without distorting the music; she makes the steps sing.  But for me, as yet, she doesn't have the ability to make the steps speak.  She seemed to be more aware of the audience than of her partner, and the pas de deux, which can seem to be a hushed and transcendent conversation, was a series of brilliant, beautiful monologues.

Hübbe's Farewell

"Apollo", "Flower Festival in Genzano", "Zakouski", "Cool", "Western Symphony"
New York City Ballet
New York State Theater
New York, NY
February 10, 2008

By Mary Cargill
Copyright Mary Cargill

New York The packed and appreciative audience said goodbye to Nikolaj Hübbe in a cowboy hat, flirting with Maria Kowroski, while being saluted by his colleagues—the applause backstage could still be heard as the audience was leaving. This cheerful and cheeky final farewell was some compensation for the loss of that great artist. Loss for the New York audience, that is, since he is taking over his original company, the Royal Danish Ballet. Possibly as a farewell gift, two young dancers, Kathryn Morgan and David Prottas, danced Bournonville’s “The Flower Festival Pas de Deux”, which Hübbe staged. Prottas had clear, sharp, beats, but I was more impressed by the demeanor of Morgan, no slouch herself in the technique department. Innocence and young love are so hard to convey without descending into simpering, grinning, or mugging, especially with Bournonville’s fondness for blowing kisses to the audience, so at odds with the contemporary postmodern attitude, but Morgan was natural, sweet, and lovely. This theatrical commitment was a hallmark of Hübbe’s career, and that, more than his fine technique, gave him a unique place in the company.

Details, Details

"Traditions"
"Square Dance", "Prodigal Son", "The Four Seasons"
New York City Ballet
New York State Theater
New York, NY
January 29, 2008

By Mary Cargill
Copyright 2008 by Mary Cargill

The marketing department has apparently decided there is more than one Tradition to be celebrated in the Balanchine and Robbins program, but the tradition of great choreography coherently danced is the most important tradition of all, and fortunately this program had that to offer. The inevitable tradition of dancers retiring was also, quietly, celebrated, as Nikolaj Hübbe gave his final performance in “Square Dance”, proving yet again that dancing is not just about bounding high and leaping energetically. There are many dancers, some in the corps, who can jump higher and land cleaner than Hübbe at this stage, but no one can run on to a stage and generate such excitement just by looking at his partner and offering her his hand.

Jewels Debuts

"Jewels"
New York City Ballet
New York State Theater
New York, NY
January 11, 2008

by Mary Cargill
copyright 2008 by Mary Cargill

Each jewel on Friday night had a new facet, some glowing more than others. “Emeralds” saw Abi Stafford’s debut in the Mimi Paul role, a somewhat unexpected piece of casting, since she is a compact and rather un-lyrical dancer. She may improve with experience, but so far, she seemed to concentrate on the steps, with some rather deliberate arms (which while there were lovely moments, tended to stiffen up); there was little perfume or sense of mystery. The moment when the dancer mimes tears—why and over what?—was given the same metronomic emphasis as the other steps. This was a deliberate performance, rather than an understanding one.

Different Worlds

“Jewels”

New York City Ballet

New York State Theater

New York, NY

January 2, 2008

by Mary Cargill

copyright 2008 by Mary Cargill

The evergreen Nutcracker was finally put to rest for another year, as NYCB opened the dance part of the Winter season with the even more evergreen Jewels. Green is the operative work for “Emeralds”, in the redesign (or re-redesign) by Peter Harvey; the slightly oppressive mass of green with its strings of gaudy baubles gives the impression that the miraculous choreography is taking place in some aquatic bead store’s bargain basement. But the choreography, with its sense of melancholy urgency and courtly mystery, would probably cast its spell set in a parking lot.

A New Company

Riedel Dance Theater

“A Journey of Redemption”

Joyce Soho

New York, NY

December 13, 2007

by Mary Cargill

copyright 2007 by Mary Cargill

Riedel Dance Theater "A Journey of Redemption" Joyce Soho New York, NY December 13, 2007 Jonathan Riedel, who danced with the Limón Company from 1996-2006, has set up his own company with some very fine dancers affiliated with Limón, Bill T. Jones, and other companies. His earlier choreography, danced both by Limón, and his own small group, was notable for its interest in characterization, mordant humor, and an unusual interest in the themes of repentance, salvation, and grace. Riedel’s new dances performed at the Joyce Soho, “Inferno”, “Out of the Silent Planet”, and “The Four Loves”, have developed the more philosophical angle, while, in these three works at least, moving away from the specific characterization that made his Edward Gorey-based dances so witty.