danceviewtimes

Sisterhood

“Swan Lake”
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
March 8, 2025

by Denise Sum
copyright © 2025 by Denise Sum

“Swan Lake” is a measuring stick for any classical company, yet it is surprisingly difficult to find a definitive production without significant flaws. In the years since its 1877 Moscow premiere, different choreographers have changed the setting, cut and added variations and condensed it. It has been done with an all male cast, with and without a jester, with different guises of Rothbart and with both tragic and happy endings. The National Ballet of Canada has gone through multiple wildly different versions from Erik Bruhn’s 1967 production to James Kudelka’s 1999 interpretation to the current production directed and staged by Karen Kain (with choreography credited to Karen Kain, Christopher Stowell, Robert Binet after Erik Bruhn, Lev Ivanov and Marius Petipa). Kain’s “Swan Lake” was to be unveiled in 2020 but the premiere was delayed multiple times due to the pandemic before it finally opened in 2022. This is the first time since then that the NBoC is revisiting this seminal work. The run was completely sold out well in advance of its opening, which shows the power and appeal of “Swan Lake” in the imagination of the general public. 

Genevieve Penn Nabity and Ben Rudisin in “Swan Lake”. Photo by Karolina Kuras.

Signature Style

“The Four Seasons”, “Morpheus’ Dream”, “The Leaves are Fading”
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
Feb. 26, 2025

by Denise Sum
copyright © 2025 by Denise Sum

The National Ballet of Canada’s diverse winter triple bill featured works from two British and one German choreographer that showcased a range of styles and movement vocabularies. The feature of the night was David Dawson’s colorful and modern “The Four Seasons”. Following opening night, the company announced that he will be appointed resident choreographer, marking the beginning of a close partnership between Dawson and the NBoC. The company has not had a resident choreographer since James Kudelka took on that role in 2007. The program also celebrated the 50th anniversary of Antony Tudor’s “The Leaves are Fading”. The romantic and poetic ballet was long overdue for a revisit after being absent from the repertoire since 1995. Lastly, Marco Goecke’s “Morpheus’ Dream” is a dynamic pas de deux that packs a punch in just ten minutes. 

Calley Skalnik and Spencer Hack in The Four Seasons. Photo by Karolina Kuras.

Shallow Waters

"Swan Lake"
New York City Ballet
David H. Koch Theater
Lincoln Center
New York, New York
February 22, 2025 matinee

by Mary Cargill
copyright © 2025 by Mary Cargill

Peter Martins’ unique take on the ever-popular “Swan Lake” returned for a two-week visit, its first since 2020, with all of its peculiarities intact; the day-glow costumes of Act I, the drab scenery, and the general dramatic confusion were all on display.  It also displayed a number of debuts, most notably a new Swan Queen in Mira Nadon, who flew in as if she were dancing in a coherent version.

New York City Ballet dancers in Peter Martins' "Swan Lake" photo © Paul Kolnik

Sublime and Ridiculous

"Divertimento No. 15", "Tschaikovsky Pas de Deux", "Carnival of the Animals"
New York City Ballet
David H. Koch Theater
Lincoln Center
New York, New York
February 14, 2025

by Mary Cargill
copyright © 2025 by Mary Cargill

This evening’s performance began with two of Balanchine’s gloriously classical works, the celestial “Divertimento No. 15” to Mozart and the  whipped cream “Tschaikovsky Pas de Deux” and ended with anthropomorphic animals of Christopher Wheeldon’s “Carnival of the Animals”; both the opening and closing ballets were stuffed with some of NYCB’s most intriguing dancers.  The audience seemed very happy, though some did seem to be confused by the pause between the first two works, and their rushed returns did disturb the opening of the pas de deux.

New York City Ballet in Christopher Wheeldon's "Carnival of the Animals" © Erin Baiano

A Fond Farewell

"Scotch Symphony", "Sylvia: Pas de Deux", "Firebird"
New York City Ballet
David H. Koch Theater
Lincoln Center
New York, New York
February 13, 2025

by Mary Cargill
copyright © 2025 by Mary Cargill

In January 2001, I was at a matinee performance of NYCB, expecting a pleasant afternoon watching the light, spun-sugar of “La Source” when the soloist bounded on with the most exuberant and musically incisive heel-to-the-head leaps I had ever seen.  The entire audience gasped and leant forward as if pulled by a magnetic field; it was Ashley Bouder, and the electricity she generated reverberates to the day.  Though her farewell “Firebird” showed her jumps have lost some of their power, her nuanced and fluid performance was very moving, especially her final exit after the berceuse, where she paused for a moment before her luxurious backbend, as if remembering her time on that stage.

Ashley Bouder as the soloist in "La Source" photo © Paul Kolnik

Another Trip to Spain

"Paquita", "In the Night", "Symphony in Three Movements"
New York City Ballet
David H. Koch Theater
Lincoln Center
New York, New York
February 7, 2025

by Mary Cargill
copyright © 2025 by Mary Cargill

The New York City Ballet fielded a completely new cast of Ratmansky’s new version of Petipa’s “Paquita”, showing yet again, how rich the company currently is.  It was followed by Robbins’ “In the Night” with yet more debuts, and closed with Balanchine’s majestic “Symphony in Three Movements”.  

Tiler Peck, Roman Mejia and NYCB corps in "Paquita" photo © Erin Baiano

In with the Old

"Paquita", "In the Night", "Symphony in Three Movements"
New York City Ballet
David H. Koch Theater
Lincoln Center
New York, New York
February 6, 2025

by Mary Cargill
copyright © 2025 by Mary Cargill

 "Paquita", Alexei Ratmansky's new ballet, was to have been danced as the middle ballet, but, due to an injury, this evening’s program had been rearranged, and the program opened with the main attraction.  Unity Phelan, who was already dancing in the first two ballets, had to replace Ashley Laracey in “Symphony in Three Movements” and perhaps she needed a bit of a rest after “Paquita".  A marathon evening for her, with the exalted classicism of “Paquita”, the romantic swooning of Robbins' “In the Night”, and the acerbic modernism of Balanchine's “Symphony in Three Movements”; her performances were all different, all nuanced, and all richly detailed. 

Sara Mearns, Chun Wai Chan, and NYCB dancers in "Paquita" photo © Erin Baiano

For Maria

"Scotch Symphony", "Sylvia: Pas de Deux", "Firebird"
New York City Ballet
David H. Koch Theater
Lincoln Center
New York, New York
February 5, 2025

by Mary Cargill
copyright © 2025 by Mary Cargill

In her gracious introductory speech to the evening’s program, Wendy Whelan honored Maria Tallchief, born 100 years ago.  Balanchine choreographed the three ballets performed, “Scotch Symphony”, “ “Sylvia Pas de Deux”, and “Firebird”, for her.  These works showed her impressive range,  from the lyrical “Scotch Symphony”, the rigorously classical “Sylvia”, to the dramatic “Firebird” and all three received magnificent performances.  Both “Scotch Symphony” and “Firebird” are rooted in earlier ballets, and, to be honest, have somewhat muddied story telling, unlike the originals.  “Scotch Symphony” is a meditation on the Romantic tradition, especially Bournonville’s “La Sylphide”, which was also set in the exotic Highlands. Balanchine’s sylph seems to wander between misty unavailability and bourgeois happiness, between being threatened or being protected by the ominous Highlanders.  The Mendelssohn music (the last three movements of his “Scottish Symphony”) and the sets and costumes evoke a definite place, and this specificity, for me, calls for characters telling a story, while “Scotch Symphony” ricochets between moods at the drop of a tartan. The ballet works best, I think, if watched as if it were a dream, with a dream’s lack of logic; just enjoy the luscious choreography.

Ashley Hod in "Firebird" photo © Erin Baiano

Reprise and Repeat, If Not Reimagine

“From You Within Me,” “Variations Pour Une Porte et Un Soupir,” “Mystic Familiar”
New York City Ballet
David H. Koch Theater
New York, NY
January 29, 2025

by Marianne Adams
copyright © 2025 by Marianne Adams

New York City Ballet's "New Combinations" program proved that while anything old can feel new again, the new can just as easily feel like a rehashing of the old. Along with Christopher Wheeldon’s dreary 2023 ballet “From You Within Me” and George Balanchine’s experimental 1974 work “Variations Pour Une Porte et Un Soupir,” the main event was the world premiere of Justin Peck’s "Mystic Familiar." That ballet – a product of a reunion of the creative team behind the wildly successful "The Times Are Racing" – showed that even with the right constellation of elements, artistic magic is elusive.

Photo of Emily Kikta and Naomi Corti in Justin Peck’s "Mystic Familiar." Photo © Erin Baiano

Stravinsky Times Four

"Dances Concertantes", "The Cage", "Concertino", "Stravinsky Violin Concerto"
New York City Ballet
David H. Koch Theater
Lincoln Center
New York, New York
January 24, 2025

by Mary Cargill
copyright © 2025 by Mary Cargill

The evening featured four ballets set to Stravinsky, two by Balanchine (“Dances Concertantes” and “Stravinsky Violin Concerto”) and two by Robbins (“The Cage” and “Concertino”).  Though they shared the same composer, the ballets were all different, and it made for a varied evening.  

Ashley Laracey and Joseph Gordon in Balanchine's "Stravinsky Violin Concerto" photo © Erin Baiano

Color Coded

"Concerto Barocco", "Allegro Brillante", "Brahms-Schoenberg Quartet"
New York City Ballet
David H. Koch Theater
Lincoln Center
New York, New York
January 23, 2025

by Mary Cargill
copyright © 2025 by Mary Cargill

This all-Balanchine evening showed off three ballets, each with its own distinctive flavor; “Concerto Barocco” has a luminous white and black simplicity, “Allegro Brillante” is a bright and golden celebration of classical technique, and “Brahms-Schoenberg Quartet” with its haunted-ballroom mauve setting, is an elegiac valentine to a lost (and somewhat imaginary) world.  There were two debuts, Miriam Miller, commanding as the second violin in “Concerto Barocco”, and Alec Knight, a stalwart partner in the Intermezzo of “Brahms-Schoenberg Quartet”.  It was also a demonstration of Balanchine’s love of geometry, as the well-rehearsed corps formations wove through intricate, ever-shifting waves of patterns.

New York City Ballet dancers in "Brahms-Schoenberg Quartet" photo © Erin Baiano

Keeping it Simple

"The Nutcracker"
New York City Ballet
David H. Koch Theater
Lincoln Center
New York, New York
November 29, 2024

by Mary Cargill
copyright © 2024 by Mary Cargill

New York City Ballet’s version of “The Nutcracker” is a straightforward, uncomplicated story which eschews any subtext about good and evil; it is a timeless and magical recreation of the childhood most of us dreamed about having, with parties, presents, and good cheer.  And of course, good dancing, especially in the second act, and the opening night was no exception.  Megan Fairchild was a sparkling Sugar Plum Fairy, supported by Joseph Gordon in his welcome return from an injury.  But it is Act I, with its warmth, exuberant children, and magical stage effects, that give this version its power.

New York City Ballet dancers in "The Nutcracker" photo © Paul Kolnik

The Power of Love

“Giselle”
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
Nov. 20, 2024

by Denise Sum
copyright © 2024 by Denise Sum

The story of “Giselle” hasn’t changed since its premiere in 1841. Today, “Giselle” is all about the performances. There is a reason this romantic era ballet has endured as long as it has. No other work so perfectly embodies romantic values – idealism, emotion, the supernatural and the irrational. The National Ballet of Canada has been performing Sir Peter Wright’s version since 1970. As the saying goes, if it ain’t broke… 

Svetlana Lunkina with Artists of the Ballet in "Giselle". Photo by Aleksandar Antonijevic.

Taylor Cubed

"Arden Court", "The Word", "Syzygy"
Paul Taylor Dance Company
David H. Koch Theater
New York, New York
November 21, 2024

by Mary Cargill
copyright © 2024 by Mary Cargill

This all-Taylor program included works showing some of Taylor’s frequent  themes, from the bright, cheerful “Arden Court”, through the dark and somber “The Word”, and finishing with the bursting energy of “Syzygy”, all danced with an impressive power.  The works, for all their differences, had Taylor’s confident and imaginative use of structure to reinforce the various moods.  His distinctive vocabulary, so full of stag leaps, bouncy jumps, sudden pauses, and creative lifts is a choreographic language of apparently infinite accents. The dancers all moved with a powerful commitment, but the veteran Madelyn Ho got an especially vigorous workout, as she was featured an all three works, an astounding achievement.

Paul Taylor dancers in "Syzygy" photo © Whitney Browne

Bodies in Motion

"Body of Work", "Rhapsody", "Silent Screen"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
Nov. 9, 2024

by Denise Sum
copyright © 2024 by Denise Sum

The National Ballet of Canada returned home looking energized after touring in London and Paris last month. They opened their Toronto season with a mixed program designed to attract classical and contemporary ballet fans alike. No classicist could resist Sir Frederick Ashton’s “Rhapsody”, a dazzling exemplar of bravura technique. Created for the legendary Mikhail Baryshnikov, it remains one of the most stunning (and challenging) ballets in any company’s repertoire. “Rhapsody” was paired with “Silent Screen”, the first work from prolific choreographic duo Sol León and Paul Lightfoot acquired by the NBoC. “Silent Screen” marries film and dance, blurring the lines between them and showcasing León and Lightfoot’s unique contemporary style. Rounding out the program was a solo choreographed and performed by principal dancer Guillaume Côté, “Body of Work”, as part of his farewell season (he will retire in June 2025 at the end of the 2024-2025 season). 

Guillaume Côté in "Body of Work". Photo by Bruce Zinger.