Over on Vanity Fair, James Wolcott has nothing but praises for Angelin Preljocaj's Spectral Evidence at New York City Ballet:
"Spectral Evidence," choreographed Angelin Preljocaj to music from John Cage--I can recommend not only as a phenomenal piece of theater but as a vitamin b shot for the winter doldrums, its eroticism ice-melting and insurrectionary.
Fairchild's solo was the best thing I've ever seen him do at NYCB--dark masculine mastery done with scything arms and a Michael Fassbender severity of iron brow.
Almost needless to say, the professional dance critics were complete dopes about the Preljocaj, with Alastair Macaulay in the Times calling it "creepy, grim, and tedious"--words more applicable to Macaulay's critical tenure--and his colleague Brian Seibert leaning on snideness, the default mode of the idle critical bystander unable to engage with what's in front of him.
Tonight is the year's final performance of this work unless it gets substituted for that Dalbavie/Martins creation that has been postponed twice already but is scheduled again for the spring. Let us pray.
Spectral Evidence, which premiered at NYCB's Fall Gala last September, should appeal to the widest ranging audience that one sees at Lincoln Center's various music, dance, and theater venues. Haglund hopes that Mr. Taylor has had a chance to see it, because it would be right up his alley. His company opens its 60th Anniversary Season on March 11th at Lincoln Center. Lots of great works are in store for us: Piazzolla Caldera, Black Tuesday, Cloven Kingdom, Gossamer Gallants, and new works as well. Tiler Peck and Robert Fairchild will dance an excerpt from Airs at the PTDC Gala on March 13th.