NYCB 4/21 Breakout performances

Several thrilling debuts hit the stage on Thursday night at New York City Ballet. Although this was the same program as opening night, it felt more celebratory, if not victorious. Even the audience was up to the challenge more than on Tuesday. Overheard from two elderly men who were monopolizing the water fountain during intermission: "We have to hydrate for The Goldberg Variations.” Yes, indeed, and isn’t that automatic water fountain at the orchestra level the cat’s whiskers! You just stand in front of it and it squirts into your mouth.

Ashley Hod and Miriam Miller as the Russian Girl and Dark Angel in Serenade, respectively, gave huge “We’ve arrived as new trustees” debuts in Balanchine’s seminal work, arguably, his ballet most recognized and most revered the world over. What a nice change it was to see the Russian Girl performed by a taller dancer who possesses beautiful length and an airy, effortless jump. Both will serve Ashley well when she someday rules the Waltz role. Miriam’s expansive stretch of the legs and lyrical port de bras seemed like her simple but natural response to the music. It was driving her to dance bigger than we’ve ever seen her dance before. Each dancer displayed a perfectly measured emotional response to the music with no artifice or exaggeration.

 

Taylor Stanley’s scrupulous lines and attentiveness were much appreciated in his debut as the cavalier to Sara Mearns’ Waltz Girl. But that aside, there is just something about this performer that draws the eyes to him whenever he is on stage. 

 

A word about the Corps de Ballet — they were lovely as always but need an infusion of taller dancers to replace those who have been promoted. We worry a bit about how the tall end of the line of ladies in white is going to look in Symphony in Three Movements without Miller, LaFreniere, Kikta, Nadon, and Hod. Hopefully there are some new trees growing in SAB who we’ll see soon.

 

It’s easy to understand and appreciate how certain featured corps roles are handed out based on seniority. However, when dancers lose the requisite level of fitness, for whatever reason, they shouldn’t be spotlighted until they recover. There is no such thing as “pleasingly" plump in the NYCB corps de ballet. No amount of hyperextending the elbows or sly side grins can mask when a dancer needs to take steps to regain fitness. Similarly, when principal dancers can no longer meet the allegro requirements of any role or can’t locate their fifth positions, it’s time to find another role to dance. NYCB should not ask the audience to pay money to see Balanchine’s great works danced in a submarginal manner. 

 

A partial cast change helped sustain The Goldberg Variations on Thursday night. Indiana Woodward with Chun Wai Chan, Isabella LaFreniere with Adrian Danchig-Waring, and Sterling Hyltin with Amar Ramasar anchored Part II with a fresh, individual approach. Amar is dancing as well as ever. It’s going to be tough to say farewell next month.

 

One of the biggest differences in the company since the change in directorship has been how superbly prepared debuting dancers have been. Those signs of learning a principal role over lunch to perform it that night seem to have disappeared. New soloists and principals are being developed with great care and attention to detail. They are technically ready for their new roles and possess the self-confidence to imprint them with their individuality. 

 

Our H.H. Pump Bump Award, Tom Ford’s locked-up & holding the key blue stiletto, is bestowed upon Ashley Hod and Miriam Miller for their stunningly successful debuts in Serenade.

 

 

 

 

 

 

 

Comments

[Jeannette]

Loved it! These Balanchine-Robbins programs to beautiful classical music, are returning us to a better world. No sneakers - no rap - no crap. Let’s savor such programs while they’re still available.

[Rachel Perez]

Spot on review, Haglund.

I really enjoyed both the Serenade and Goldberg casts so much that I went back Saturday for the matinee to watch them again.

Miriam Miller was a terrific Dark Angel. The pas de trois between she, Taylor Stanley and Sara Mearns was quite wonderful and maybe more moving than I remember it being in some time.

The Serenade and Goldberg leotard/skirt costumes are indeed not forgiving.......

I thought Indiana Woodward and Chun Wai Chan were outstanding in Goldberg as was the guy who danced in the Olive Green who I apologize for not being able to identify. Really, though I thought the Saturday production of Goldberg was great. I usually feel it gets a bit long in the tooth, but truly it flew by on Saturday. Extra gold stars for Susan Walters and her pink patent leather shoes ;)

[Haglund]

Yes, Susan's fabulous pink shoes made my own toes shimmy.

[Jeannette]

Glad that you mentioned Amar, Haglund. Wow, was he terrific leading the 3rd movement of FOUR Ts last night!!! The audience really gave him the loudest bravos during his bows and during curtain calls with other principals. I loved how he sent the love back to the audience, placing hand to heart.

[Haglund]

ITA, the audience absolutely loves Amar. Loved seeing the "celebrities" in the front row, such as Paloma who has been in town all week and needs something to do these days... How about a ballet school principal job or even AD?

[JCS]

"It’s easy to understand and appreciate how certain featured corps roles are handed out based on seniority. However, when dancers lose the requisite level of fitness, for whatever reason, they shouldn’t be spotlighted until they recover. There is no such thing as “pleasingly" plump in the NYCB corps de ballet."

I was having similar thoughts during the Saturday matinee about a particular member of the corps de ballet who also looked noticeably heavy during the winter season. I understand different body types (and certainly sympathize about how hard it is to say no to fattening food!) but it's not great for them or for us.

[Haglund]

Perhaps contrary to how others may feel about themselves, I certainly do not EVER want to see my thighs and butt "represented" by any dancer on NYCB's stage. I don't want to think for a nanosecond that anyone with a physique similar to my own could ever legitimately be considered an NYCB dancer. The beauty of ballet depends much on the ability to project length and continuous line. Basketball depends on players who are tall. Professional running depends on runners who are narrow and suspiciously lean. There's nothing wrong with this. It doesn't prevent anyone with any type of body from participating in ballet, basketball or running as recreation. Professional level standards are another matter.

[Jeannette]

It’s not just corps. I have similar thoughts about a quickly-rising male soloist with short stubby lines who ruined for me an otherwise marvelous ALLEGRO BRILLANTE last week. I will try to avoid seeing him in princely classical roles in the future, no matter how great he dances. This is an aesthetic art and I vote with my wallet. If one chooses to ignore the unflattering leg lines, then more power to you. I had similar thoughts about Jock Soto years ago; different strokes for different folks.