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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

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

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