NYCB 2/2 - A brilliant reminder of what is really brilliant

Punxsutawney Phil seems to disappoint us in more years than not, doesn't he? No matter. We know that the first sign of spring around here is when the darned circus finally packs up to leave town and returns Damrosch Park to the citizenry. After a day of wearing around a hangdog expression from the groundhog's betrayal of spring, we slushed our way up to New York City Ballet at Lincoln Center and noticed the circus dis-assemblage operation in full swing at Damrosch Park. What a mood lifter! We hope the circus folks leave our place broom-swept clean.

It was another fabulous night of Balanchine programing with new casts and important debuts in a bill that included Mozartiana, Rubies, and La Valse.

We never cease to be amazed when we see Russell Janzen move those mile-long legs of his at high speed. In Mozartiana, his batterie appeared effortless and squeaky clean -- all of it absolutely gorgeous. He did those quick degages en cloche that switch direction marvelously. Have his legs grown even longer?

Sara Mearns was lovely. We've never been a fan of her gothic makeup and black-like lipstick, but there was much to be admired foot- and leg-wise. We noticed her feet were particularly soft and supple. When they came together on pointe, they were cleanly side-against-side that revealed a lovely arching of the soles. We rather liked her change in moods during each section of the ballet, too. At times, however, we did ask ourselves "Was that arabesque or grand battement?"

Daniel Ulbricht delivered another brilliant Gigue. We always make a little bet with ourselves over whether he'll get the series of swivel turns perfect. They always look like Xerox copies of one another. His attentive Menuet Muses were Marika Anderson, Christina Clark, Meaghan Dutton-O'Hara, and Emily Kikta.

Were we ever happy to see our favorite Clotilde Otranto climb up on the podium to conduct Stravinsky's Capriccio for Balanchine's Rubies! She and pianist Stephen Gosling made this ballet zip along with great speed and energy.

Of course, this night we were treated to two important debuts. Isabella LaFreniere as the Tall Girl and Tiler Peck who danced opposite Anthony Huxley. LaFreniere blasted onto the stage with the pyrotechnic charge of Roman candles on the Fourth of July. So secure, so excited, so ready to give us everything that she could give. Just an amazing, amazing debut.

Tiler Peck's debut in Rubies was fine. Of course, she killed the steps and turns wondrously. But the role didn't suit her as well as we had hoped it would - at least not yet. We found the costume very unflattering to her thigh lines and waistline. And we didn't find anything harmonizing in her pairing with Huxley. This might have been a fabulous role for Tiler ten years ago, but perhaps that opportunity has passed. Huxley was brilliant but we think that a ballerina who possesses quiet tease would be a better match and partner for him in this particular ballet.

La Valse received a thrilling performance from Sterling Hyltin and Taylor Stanley. Boy, did he ever set her off theatrically. She just let go like we can't ever recall seeing before. It was an inspiring, highly dramatic and forcefully danced performance from both artists.

The duos were also particularly fine: Megan LeCrone with Peter Walker, Mimi Staker with Kennard Henson, and Olivia MacKinnon with Alec Knight. Knight seems to have transformed his deportment into one that demands to be noticed. He was sharp, elegant, confident, and when dancing really stole more of our glances than perhaps was fair to everyone else.

We're not going to pass up any of these Balanchine programs. They are too valuable a life experience to miss.

Our H.H. Pump Bump Award, flames of heiress, is bestowed upon Isabella LaFreniere for her blistering hot debut as the Tall Girl in Rubies.

Comments

[Aneva Stout]

Just my opinion, there are so many beautiful dancers at NYCB, in every rank, but when I read disparaging comments about Ashley Bouder, I think, 'does this person or people know anything about ballet? Her Tchaikovsky Pas, Rubies, Stars and Stripes, Dewdrop are unmatched by anyone. Her technique and mastery and just plain ease with the most difficult elements is a spinetingling joy. No one dances like her. She's a jewel among the riches at NYCB.

[Zachary]

Hey Haglund,

Based on your review I went to the show last night and loved it. Maybe I have a less trained eye, but during this show Sara took care to sustain every pique into arabesque; the balances en pointe were really very impressive. After watching the Bolshoi's Jewels, I had a preconceived notion of what I thought Rubies might/should look like, but I was blown away. Tiler's family was apparently in the audience, and she really turned on the charm for us. Every pique was a triple.

I saw La Valse in the fall, and Sterling was beautiful as were the soloists and corps. However, this is not the ballet for me. I don't understand why Diamonds was cut, presumably due to large numbers of dancers onstage, when La Valse and Rubies appear to command a large cast?

Regardless, it was a beautiful evening!

[Haglund]

Zachary, I was there too and definitely noticed Sara was taking more care to distinguish between arabesque and grand battement. The Rubies performance from Tiler and Anthony was much better, but Isabella LaFreniere's Tall Girl was a jaw-dropper. I don't know if I've ever before seen a Tall Girl nearly knock her own tiara off with a battement attitude foot. She was a 5-alarm fire!

[yukionna]

I'm unfortunately going to be out of town this week and missing so many shows I want to see, including Teresa Reichlen's last Slaughter on 10th Ave. I'm counting on your reviews!

[Haglund]

Yukionna, I'm trying to get to everything, but life is getting in the way.