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Fresh Faces

"Valse-Fantaisie", Kammermusik No. 2", "Union Jack"
New York City Ballet
David H. Koch Theater
Lincoln Center
New York, New York
October 1, 2019

by Mary Cargill
copyright © 2019 by Mary Cargill

This Balanchine triple bill showed a breathtaking variety of styles, as well as an impressive number of fearless, accomplished debuts, especially in the exacting "Union Jack" with its phalanxes of precision marchers.  There was no marching in "Valse-Fantaisie", Balanchine's 1967 spun sugar valentine set to Glinka's lilting, sweeping melodies.  This extended pas de deux, augmented by four elegant sprites (the dancers do have to breathe) is an exercise in delicate allegro, full of little jumps and changes of direction.

New York City Ballet in "Union Jack" photo © Paul Kolnik.

A Tasting Menu

The Bournonville Legacy
"La Sylphide, Act II", "A Bournonville Square: pas de trois from 'The King's Volunteers on Amager', Jockey Dance from 'From Siberia to Moscow', the street singer from 'Napoli', pas de deux from 'Kermesse in Bruges', pas de six and tarantella from 'Napoli'
Members of the Royal Danish Ballet
Joyce Theater
New York, New York
July 9, 2019

by Mary Cargill
copyright © 2019 by Mary Cargill

Ulrik Birkkjaer, formerly with the Royal Danish Ballet and now dancing with the San Francisco Ballet, has put together a group of thirteen dancers (including himself) from the Royal Danish Ballet to perform excerpts from some of August Bournonville's works.  That great nineteenth century choreographer made story ballets with large casts and elaborate settings, so the evening could only hint at the magic of those glorious works, but those hints were imaginatively chosen. Even with recorded music, a bare stage, and no corps, Bournonville's variety and pure joy of movement shown through.

Sorella Englund and Ulrik Brikkjaer in "La Sylphide" photo © Dave Morgan.

Accent on Youth

"The Sleeping Beauty"
American Ballet Theatre
Metropolitan Opera House
Lincoln Center
New York, New York
July 6, 2019, evening

by Mary Cargill
copyright © 2019 by Mary Cargill

ABT's final performance of its spring season starred two of its group of talented soloists, Cassandra Trenary and Joseph Gorak, as Aurora and her prince. The only principal on view that evening was Stella Abrera as the Lilac Fairy; her arch enemy Carabosse was Craig Salstein, a former ABT soloist who left the company a year ago.  The ballet is a cornucopia of small solos, and many corps dancers and soloists had a chance to shine.

ABT in "The Sleeping Beauty" photo © John Grigaitis.

Wide Awake

"The Sleeping Beauty"
American Ballet Theatre
Metropolitan Opera House
Lincoln Center
New York, New York
July 3, 2019, evening

by Mary Cargill
copyright © 2019 by Mary Cargill

Unlike Aurora, Alexei Ratmansky's 2015 production of Petipa's "The Sleeping Beauty" doesn't believe in long naps, and Ratmansky has added and subtracted elements over its brief life.  This scrupulous attention to detail seems to keep the company awake and fresh, and the dancing, highlighted by Hee Seo's lyrical Aurora and Aran Bell's noble prince, was enticing. Ratmansky's version is a more gentle Beauty than the grand "good versus evil" approach of many of the after-Petipa versions, and he, following Petipa, invites Carabosse to the wedding (without her rats).  Love triumphs, but selfishness, greed, and general meanness can still lurk in the background.

ABT dancers in "The Sleeping Beauty" photo © Doug Gifford.

Thanks for the Memories

"Brandenburgs", "Rewilding", "Cascade"
Paul Taylor Dance Company
Neidorff-Karpati Hall
Manhattan School of Music
New York, New York
June 23, 2019, matinee

by Mary Cargill
copyright © 2019 by Mary Cargill

The final performance of the Paul Taylor Company's part of the Orchestra of St. Luke's Bach Festival was a heartfelt farewell for many in the packed audience, as it was their last chance to see so many members of the company Taylor molded by the choreographer -- six members are retiring soon and it will inevitably be a different company.  The audience especially cheered Michael Trusnovec's 22-year career with flowers and tears, as a long-time partner Annamaria Mazzini, a dancer who matched his passionate generosity, presented him with a bouquet and a hug.

Michael Trusnovec in "Brandenburgs" photo © Whitney Browne.

The Pirate King

"Le Corsaire"
American Ballet Theatre
Metropolitan Opera House
Lincoln Center
New York, New York
June 12, 2019 matinee

by Mary Cargill
copyright © 2019 by Mary Cargill

ABT's version of "Le Corsaire" is loosely based on Petipa's revisions to the 1856 French ballet by Joseph Mazilier, which was even more loosely based on the 1814 poem by Byron.  This season, ABT has included a somewhat apologetic note in the program explaining that in 1814 "pirates, pashas, and damsels in distress" were commonplace.  In fact, Byron's poem has Medora, already married to Conrad, stay home because she disagreed with his decision to go out pirating, and Gulnare, the pasha's slave, stabs the pasha herself after Conrad chivalrously refused to kill someone in cold blood; these women were not shrinking violets.  Nor can it really be said that "slavery and polygamy were driving forces of the economic and social landscape" since Great Britain had abolished the slave trade in its territories in 1807.  Sociology and ballet are uneasy companions and "Le Corsaire", though it is one of the few nineteenth century ballets where the hero has any visible means of support, is really about the dancing.

Devon Teuscher and Brooklyn Mack in "Le Corsaire" photo © Gene Schiavone.

Bach to Bach

"Junction", "all at once", "Promethean Fire"
Paul Taylor Dance Company
Neidorff-Karpati Hall
Manhattan School of Music
New York, New York
June 7, 2019

by Mary Cargill
copyright © 2019 by Mary Cargill

The Orchestra of St. Luke's is presenting a three-week festival of Bach's music in various New York City venues, including the elegantly restored theater at the Manhattan School of Music where the Paul Taylor Dance Company is performing all six of Taylor's works set to the composer.  The company's first night included the first ("Junction" from 1961) and the last ("Promethean Fire" from 2002) as well as the premiere of Pam Tanowitz's "all at once".

Paul Taylor Dance Company in "Promethean Fire" photo © Paul B. Goode.

Community Values

"Clearing", "Trio Sonatas", "Nights and Dreams", "Undercurrent"
Lydia Johnson Dance
The Alvin Ailey Citigroup Theater
New York, New York
June 6, 2019

by Mary Cargill
copyright © 2019 by Mary Cargill

The small company (thirteen dancers plus a guest appearance by former New York City Ballet dancer Craig Hall) presented four works by Lydia Johnson, one premiere ("Clearing") and three older pieces.  Johnson has a wide-ranging taste in music and the evening had works set to Handel ("Trio Sonatas", Schubert ("Nights and Dreams"), Henryk Górecki ("Undercurrents"), and Philip Glass ("Clearing").  The budget, of course, does not allow for live musicians but the choreographer's respect for the music is clear and, unlike most programs, the company lists the titles of the individual pieces, the names of the musicians, and the details of the recordings.  

Lydia Johnson Dance in "Undercurrents" photo © Dmitry Beryozkin.

Fun in the Forest

"A Midsummer Night's Dream"
New York City Ballet
David H. Koch Theater
Lincoln Center
New York, New York
May 30, 2019

by Mary Cargill
copyright © 2019 by Mary Cargill

As is semi-traditional, the New York City Ballet is ending its Spring season with a flourish of Balanchine, Shakespeare, and Mendelssohn with refreshed costumes, looking much brighter (though in an odd oversight, some of the men's bloomers in the second act divertissement were missing their red ribbons). The end of the season also saw a number of debuts, an emphatic statement about the depth of the company, as well as a preview of coming attractions.  Roman Mejia's Puck was much more than a preview as that phenomenally talented young dancer flew through the role, but the other debutants (Unity Phelan, Emilie Gerrity, Andrew Scordato, and Alex Knight as the confused lovers, and Lars Nelson as the very confused Bottom) reveled in the comedy.

Teresa Reichlen in "A Midsummer Night's Dream" photo © Paul Kolnik.

 

Creme Fraiche

"Whipped Cream"
American Ballet Theatre
Metropolitan Opera House
Lincoln Center
New York, New York
May 27, 2019

by Mary Cargill
copyright © 2019 by Mary Cargill

Alexei Ratmansky's "Whipped Cream" is a multi-layer confection, full of surprising treats, among them the opportunity Ratmansky gives to some of ABT's explosion of young talent. This performance highlighted this, with one principal (Devon Teuscher as Princess Tea Flower), two soloists (Cassandra Trenary as Princess Praline and Thomas Forster as Prince Coffee) and a corps dancer as the Boy (Jonathan Klein, making his New York debut in the role).  Klein, who joined ABT in 2013, with his teen hearth throb good looks could more properly be called the Youth, and there was a hint of romantic possibility between Klein the Trenary's sweet-natured, charming, and very feminine Princess Praline.

ABT in "Whipped Cream" photo © Gene Schiavone.