NYCB 2/5 – Cussed by beauty

Oh, wait. That should probably have been kissed by beauty. Please forgive the error, but yesterday was a day of nonstop cussing. Every time the CNN webpage updated, it caused more cussing. Cussing, cussing, cussing – all day long. By 4PM, Haglund didn’t think he had any cuss words left. He took a couple of swigs of ginger kombucha and found the strength to keep cussing. By 6PM, he was plumb wore out, and his lips were blue. He had cussed the day away and didn’t have anything left. It was time to go to the ballet to try to restore balance to life.

Haglund arrived at the ballet and found his comfy orchestra seat. It had been a fulfilling day of cussing and he was ready to relax. All of a sudden the hair on the back of his neck stood up and goose pimples erupted down the length of both arms. Standing in the next row and arranging himself in preparation to sit down was none other than Mayor Rahm Emanuel, the most famous reformed potty mouth of our generation. He claims that he now abstains from all cussing, but we bet that he fell off the wagon yesterday. Haglund had to restrain himself from leaning over to ask the mayor to share some of his choice stuff which was, in the good ole days, quite colorful and original. We’re happy to report that the mayor certainly seemed to enjoy what he saw on stage – just like the rest of us did.

 

Oh, that Brahms-Schoenberg Quartet by Balanchine was a beauty. The star of the night was Emily Kikta in the first movement Allegro. We think we’ve seen every one of her performances in this ballet including her debut years ago when she rocketed to our attention. Last night she burned bright as a Saturn V, full of that special balletic un je ne sai quoi that takes your breath away. Whenever Miss Emily arrived on stage, everyone else seemed to disappear; our eyes were glued to her. The broad sweep of her port de bras and the strength of statement in her arabesques were astonishing. Expansive just doesn’t get any more expansive than what we saw last night. 

 

Lauren Lovette and Ask la Cour plumbed the romance fully from the more moody Intermezzo. Lauren is dancing especially lovely this season and with great confidence. Ask’s performances this season have been a true joy to watch and this Intermezzo was no exception. Megan Fairchild and Gonzalo Garcia danced the Andante in an accomplished fashion. However, something was missing, but we’re not sure what – maybe color and tone. Teresa Reichlen and Adrian Danchig-Waring whipped the ribbons off the Rondo alla Zingarese. Terrific energy, smoldering rapport, and blast after blast of powerful dancing brought this ballet to a fitting climax. We’re surprised that the PC police haven’t yet slung their scorn at this and other ballets that feature gypsy themes and stereotypes; after all, the gypsies were persecuted ethnic itinerants. Just wait, it’s coming: “Cut the gypsy ribbons out of ballet!” “We’re so uncomfortable dancing those roles."

 

Also on the evening’s bill were two pieces by Justin Peck. The first, Belles-Lettres, which was created in 2014, is Peck’s most classical, balletic, and musical dance he has yet produced. The second, In Creases, which was created in 2012, shows his immaturity and proclivity for derivative movement. But then, Philip Glass, whose score Peck used for In Creases, derived many of his musical ideas for Four Movements for Two Pianos from his early works that comprised In The Upper Room. Maybe that’s why the choreography had a Tharp flavor to it. These days it is probably very difficult for any choreographer to listen to Glass’s compositions without wondering what Twyla would do with the music. 

 

Belles-Lettres will stand the test of time. Peck's musical and choreographic choices are married as in no other work that he’s made. Cesar Franck’s composition for piano and accompaniment is a lush, romantic score that makes the heart swell with joy. Last night the dancers worked seamlessly as an ensemble but managed to shine individually as well. Lauren Lovette regaled the audience with her luxuriant musicality and sheer joy of dancing. She was light as a piece of paper in Gilbert Bolden’s hands and clearly enjoyed the heights to which he lifted her. We thought that those two made a very attractive couple whose harmonies were both joyful and mature. Adrian Danchig-Waring & Indiana Woodward, Andrew Scordato & Unity Phelan, Brittany Pollack & Victor Abreu completed the couples with Anthony Huxley offering a dazzling and lyrical display of artistry as the sole man out, so to speak.

 

We need to mention that last week included superb performances from Emilie Gerrity in Stravinsky Violin Concerto. This masterpiece is in fine, solid shape for the coming years with Gerrity and Claire Kretzschmar leading the charge.

 

Once again last night, before the start of the performance and partially through the first ballet, the smell of burning weed and cigarettes wafted through the ventilation in the right side of the orchestra sickening patrons. Wherever it’s coming from – the side of the building, the roof, the basement, someone’s dressing room – needs to be addressed and snuffed permanently.

 

Our H.H. Pump Bump Award is bestowed upon Emily Kikta for her exquisite dancing in Brahms-Schoenberg Quartet. 

 

 

 

 

 

 

Comments

[Georgiann]

Hagland, What a fabulous post! It is a vicarious delight reading about the ballets and these dancers. I'm glad that you had a great experience last night.

Rahm Emanuel is a dance fan, as you may know, and took classes in his young days. No doubt he needed to see some electrifying ballet last night! I had seen him at one of the Chicago Dance Festivals about 9 years ago when as Mayor, he introduced the performers.

[Haglund]

Thanks, Georgiann. I've also run into the Mayor at the Joffrey, and managed to brush elbows at the Nutcracker premiere years ago. It was nice to see him in New York.