NYCB - Interplay, Opus 19/The Dreamer, Who Cares? 9/23
Wednesday evening's crowd at NYCB was sparse but enthusiastic and vocal. Wednesdays and Tuesdays are
going to grow more popular as the year progresses. NYCB has re-instituted its early
7:30 curtain but with one intermission per evening. That generally gets you
out of the theater before 9:30 and home before bedtime crankiness sets
The program opened with Robbins'
Interplay led by Joaquin De Luz and
Sterling Hyltin. There really aren't any leaders in this
piece, but when De Luz and Hyltin hit the stage dancing with others or
independently, their movement was noticeably more articulate and invested than everyone else. The men, in particular, tended to look mushy when dancing along
side De Luz whose energy, sharpness, and command of technique breathes 21st
century life into the choreography. True, the other men were corps or soloist,
but they should analyze the extra effort that makes De Luz as great as he is -
and then try to match it.
Robbins' Opus 19/The Dreamer,
conceived for Baryshnikov and McBride in 1979,
was given a different sort of interpretation last night by Wendy
Whelan and Gonzalo Garcia - but no complaints here.
These two dancers match each other in physical leanness and defined muscularity
and that in itself made the piece interesting to watch. Ethereal and elusive
qualities were not on display, but amazing coordination was. Lydia
Hong's violin solo was exceptionally beautiful - and aren't we rich to
have this quality of musician playing in the pit night after night.
Balanchine's Who Cares? was
terrific last night. And chalk one up for the "ordinary guy" who gets to dance
with the glamorous women and truly knows how lucky he is. Ask La
Cour debuted in the male lead; the principal women were Sara
Mearns, Jenifer Ringer, and Teresa Reichlen. It's La
Cour's ordinariness that makes Haglund root for him. He's not handsome but not
homely. He's not brilliant but not awkward. His allegro can sort of sparkle
but his pirouettes are always ineffective, because he insists on bringing his
hands into his chest instead of holding them in a strong first position. But he
tries so hard and is so sincere when dancing with his partners that, well, you
just want to root for him to do better.
Jenifer Ringer and Sara Mearns were especially glamorous
in their solos while Teresa Reichlen had a a shy excitement like she was out on
her first date. The corps and soloists were in top form and danced exuberantly,
particularly Rebecca Krohn, who by the way, debuts in
Serenade next Thursday evening.
Been meaning to mention how nice it is to see Albert Evans listed at the top of the
program as one of the Ballet Masters.
Haglund bestows this Oscar de la Renta Pump Bump Awardon
Joaquin De Luz who always brilliantly manages the style - whatever it is - and truly is an example to be followed by all others: