NYCB Weeks 2&3 - Spectacular, to say the least

        With three quarters down and one to play, we can safely predict that this has been the most winning New York City Ballet fall season in decades. For several years, balletomanes have been issuing two-minute warnings: Put your best stuff out on the field or you’re going to lose. Finally somebody listened. It’s been a season that saw patrons literally buy season tickets and attend every performance. 

 

        The second and third weeks delivered so many spike-the-ball-dance-in-the-endzone touchdowns that balletomanes became giddy drunk on Balanchine. No, no, no, there will be no Sober October while Balanchine is in play. At the end of the night, take away the car keys and push us onto the M11 bus and let us annoy all the passengers with our loud, obnoxious giddy ballet drivel about Mira, Adrian, Isabella, Chan, Kikta, Emma, Davide and Jackie. “Ooooooh, did you see Savannah Durham is back in full flying force? And the beauty of Afanasenkov and Naomi Corti! And the size of those corpsmen - OMG.”  Let the bus reek of ballet breath. 

 

        During Week 2, we celebrated Megan Fairchild’s and Roman Mejia’s Liberty Bell and El Capitan in Stars and Stripes. Did we notice the twinkle in her eyes as she calmly balanced those perfectly formed developpes a la second en pointe? Yep, we surely did. And since when did the orchestra add cannons to the Sousa score — oh wait, that was just Mejia launching himself from one end of the stage to the other in explosion after explosion of flair and firepower. The alternate cast of Mira Nadon and Peter Walker will undoubtedly find their stride in this ballet but appeared to need more rehearsal at their debut performance.

 

        The revival of Bourrée Fantasque with Karinska’s stunning black-tulled tutus was exquisitely danced. Emily Kikta and Roman Mejia in the opening movement played off their height difference brilliantly — here was a future Siren and Prodigal Son. She is simply one of the most commanding ballerinas of our time. Mira Nadon and KJ Takahashi in the same movement during the matinee were less connected but her glamour was all-empowering. Isabella LaFreniere and Chun Wai Chan imbued their Prélude with smooth elegance in the opening cast as did Emilie Gerrity and Gilbert Bolden on a more moderate scale at the matinee. The exuberance in the Fete Polonaise was courtesy of Emma Von Enck & Sebastian Villarini-Velez followed by Alexa Maxwell & David Gabriel in the subsequent performance.

 

        Agon has lost a good amount of its competitiveness this season. Miriam Miller and Unity Phelan were too demure in their opening sequences and didn’t snap their attitudes around their partners (Peter Walker and Adrian Danchig-Waring) as is expected. Isabella LaFreniere and Emilie Gerrity executed their Bransle Gay solos admirably, but the final three counts needed a much stronger statement from each dancer. The Sarabande danced by Jovani Furlan and Taylor Stanley, respectively, lacked an exaggerated sense of self.

 

        Slaughter on Tenth Avenue is still in a transition period. Sara Mearns with Andrew Veyette and Miriam Miller with Tyler Angle gave spirited if somewhat calculated performances. The tap dancing wasn’t always amplified sufficiently which made all the foot shuffling seem like, well, foot shuffling. This ballet needs big, big personalities. Here’s hoping we don’t have to wait too many seasons to see Kikta and LaFreniere added to the contingency of Strippers.

 

        Concerto Barocco looked to be in excellent shape last Saturday evening. Emilie Gerrity and Unity Phelan were perfectly paired in their roles, and Andrew Veyette was an exceptional partner in the PdD with Phelan. Each of these women could dance the opposite's role beautifully. It would be fun to some day see what each dancer could offer in the alternate role if the cast was switched up in the middle of a week. The corps de ballet – a mix of veterans and newer dancers – handled the challenges of Barocco seamlessly, but the eye always went to Jackie Bologna whose back leg in arabesque or a lunge was always just a little more perfectly behind her and just a little more stretched. It has, for a while now, been puzzling why this beautiful dancer has not been given major opportunities.

 

        Daniel Ulbricht showed that he is still very much at the top of his game in Prodigal Son. His execution of the iconic aerial position where the right leg extended above hip height and the left leg tucked under him was crystal clear and was held for a good length of time. He conveyed the petulance of a teenager at the beginning followed by wonderment which evolved into alarm upon getting involved with the Siren and Drinking Companions. Finally, his knee-walk with hands clasped behind his back as he begged for forgiveness from the Father was as intensely dramatic as the music. Miriam Miller still has a ways to go in developing the menacing, serpentine-like qualities of the Siren, but she’ll get there. The question is: will she get there before some of the other very tall dancers are more ready to dive into the role.

 

        The season’s first performance of Symphony in C was serviceable. Everyone was nearly ready, but some more than others — most notably Emma Von Enck and Roman Mejia in the Third Movement who clarified that this movement was actually about getting up in the air with the jumps. 

 

        The peaks of these two weeks were Apollo and Tschaikovsky Piano Concerto No. 2 (aka Ballet Imperial) on a program that also included the lesser La Sonnambula. Adrian Danchig-Waring and Chun Wai Chan, who shared the title role of Apollo, both offered brilliant interpretations. Both successfully detailed the development of Apollo from the eager young god into adulthood. Both possessed extraordinary physiques as well as the partnering mastery and strength needed to thrill. Adrian’s skillful character shading was masterful and made us think that there is a lot more in the tap to flow out. Maybe Ratmansky will open the spigot to show us the more dramatic and comedic sides of this artist. It is so much fun to see an artist go to a place where the audience never thought he could go. Similarly with Chan, there is still much theatrical talent to mine. 

 

        Unity Phelan, Emilie Gerrity, and Sara Adams comprised the muses in the Danchig-Waring cast. All three were pleasantly similar physically and temperamentally. Unity’s extraordinary extensions, Emilie’s conquering of the treacherous pique turns with the finger to the lips, Sara Adams’ beautifully shaped feet were all lovely to see. But there was no doubt that the towering trio of Mira Nadon, Emily Kikta, and Isabella LaFreniere opposite Chun Wai Chan’s Apollo was a strikingly dramatic cast that nearly ran away with the performance. Not since Kowroski, Mearns, and Reichlen pounced on Chase Finlay have we seen such a powerful triumvirate of women shape the god Apollo. When Nadon’s Terpsichore occasionally peered under her eyebrows at Apollo there was no question that this was a tutor/student relationship. The innate artistry that abides in her in every role she dances is truly a gift to the audience — a case in point, the exceptional stretch of the neck backwards in the final sunburst pose. Kikta’s Polyhymnia was a captivating, mighty muse. During the first performance, she let the pique turns to arabesque psych her out but recovered most of the control by the next performance. The sequence is always such a challenge to concentration because the dancer may have to launch the second turn after not landing the first arabesque perfectly as a set up for what comes next. Then she has to execute the third pique turn to arabesque after struggling with the second one. Sometimes it’s better to pour love into those turns rather than trying to fight with them. LaFreniere’s Calliope was pitch-perfect. The torso contractions followed by her expansive arabesques made for a stunning contrast. The slow control of the turning releve battements to the side gave the movement a grandness without being showy.

 

        La Sonnambula enjoyed a fine debut by Alexa Maxwell as the Sleepwalker. The urgency of the bourrees on her entrance heightened the drama in the music. Anthony Huxley was still in the process of putting his Poet together at the debut but seemed to be more sure of himself at the second performance. The few highlights of this ballet included the two performances of the Pas de Deux by Jackie Bologna and Davide Riccardo. In contrast to the generic, dull, wishy-washy output of the alternate cast of soloists, these two corps members made their brief pas a major event. It is impossible to understand what is holding Bologna and Riccardo back. Both are sparkling artists who deserve more opportunities than they are presently getting.

 

        The unquestionable highlight of the past two weeks was Tiler Peck’s treatment of Tschaikovsky Piano Concerto No. 2. Oh my goodness, it was such a privilege and unforgettable experience to witness the masterful musicality and absolute command of the language in her two performances. Never have we seen articulation of this ballet like we did this week. Particularly on Sunday while sitting in the third ring, Haglund kept thinking “my god, I’ve never really noticed that step before and it is sooooo beautiful.” Joseph Gordon was also outstanding in everything that he danced, but Tiler was just on another level — a level that had us holding our breath and refusing to blink so as not to miss anything that she did. In the alternate cast, Emily Kikta turned the soloist role into a major principal exhibit. Not only were there megawatts of energy, but there was glamour, clarity in port de bras, and a reaching out to the audience that was all captivating.

 

        Our H.H. Pump Bump Award, diamonds atop a towering stiletto which we found on our spring trip to Harrods, is bestowed upon Tiler Peck for her astonishing performances in Tschaikovsky Piano Concerto No. 2.

 

 

 

 

 

 

 

Comments

[Vannie]

We saw Sara Mearns on 10/4, and our whole family was left silent. My son said he will never forget that performance. He's 14 and only moderately interested in going to the ballet (prefers opera), but he said it changed his life. We saw her a few days earlier at the Fall for Dance Festival, and it really highlighted how incredibly versatile she is to see those two performances just days apart. She commanded the stage in both places with an unforgiving power.

Watching her makes you wonder if she's now at the peak of her career. That confidence and time have left you thinking she's going to go into her late 30s and early 40s blowing away the younger dancers with something you can't quite name.

[Rachel Perez]

Echo so many of your sentiments, Haglund - and thanks for this review. Let me not start on the fact that the NYTimes basically doesn't cover ABT and NYC Ballet seasons anymore......

Added to the "magic" that was Tiler on Sunday is that she did this performance knowing that she was going to literally race out of the theater to visit her very ill father in hospital. She notes on IG that she was dancing for her dad, but I applaud not only her immense artistry, but her force of will in being able to dance like that with something like a father's health weight on her.

I was blown away by the whole Apollo cast of Chan, Nadon, Kikta and LaFreniere - I couldn't believe (even if I knew it to be true) that they all made their debuts in those roles two nights earlier. Chan has such a beautiful classic line and face - to me he was perhaps the most Greek-statue looking Apollo since Martins.

Thought Alexa Maxwell as the sleepwalker was great - she was a woman/spirit on a mission during her entrance. The corps man that danced the Jester/Harlequin(?) was also a standout to me from that cast. I've only seen La Sonambula a few times - is there a reason the divertissment women have their hair down when they come out when the Poet is killed?

[Rachel Perez]

Very much echo your wonderful review, Haglund! And it's all the more appreciated given the paper of record seems to have little interest in reviewing NYCB's and ABT's seasons.

Tiler was a marvel in PC2, and her performance is all the more impressive given PC2 was moved up in the performance order so that she could rush to make a cross country plane to be with her father in hospital. She dedicated her 2 PC2 performances to her father. It's a testament to her formidable artistry and will power that she was able to perform at that level under that level of stress.

The Chan, Nadon, Kikta, LaFreniere Apollo cast was dynamite - so hard to believe they all debuted in those roles 2 days prior. Chan looks like a statue carved out of marble - maybe the most classic looking Apollo since Peter Martins.

I also agree with you about Alexa Maxwell's debut as the sleepwalker. She really darted out of the tower with her bourrees and commanded the attention of the poet (not to mention the audience). The male dancer that did the Harlequin/Jester was also a standout. Random question - why do the divertissment ladies take their hair down before coming out to witness the Poet's death?

I look forward to your reviews of this last and final week of the Fall 2023 season. There's a lot of great ballet left to see and we're only a third of the way through the season!

[Haglund]

Hi, Rachel.

The Harlequin in La Sonnambula was the young corpsman Cainan Weber. Incredibly talented.

I honestly don't know why the divertissment ladies take their hair down before coming out to witness the Poet's death. Hopefully, some readers out there have an idea or two about that.

[Rachel Perez]

And apologies to all here for the duplicate comment!

[Haglund]

No problem. Sometimes it takes me a few hours to get to them.

[Haglund]

Vannie,

Just wow! So happy to hear that your young son was thrilled by the ballet. Music to our ears. And for someone so young to also appreciate opera -- well, he must have blue ribbon parents.

[Zachary]

I have attended a total of six shows this season (thank you 30f30) and it has been an extraordinary experience. I'm glad to hear about Mearns on 10/4 because unfortunately on 10/6 she appeared a bit out of control onstage. A little more restraint would have served the performance better for myself. I would have liked to see Ms. Peck in the role, and I think her professionalism in the face of personal tragedy should serve as a role model to her peers. She is a generous artist and person.

Unity as Terpsichore was extraordinary. I had the good fortune of being seated on the sides of ring and the way she effortlessly would bend into her penches (with both legs perfectly turned out) was beautiful to behold from that angle. Also, in my opinion, Unity was quite good in the 10/1 Agon.

I had never seen Stars and Stripes but it was so much fun. Megan Fairchild deserved all the applause for her balances.

Also, I missed the mark not commenting on the last post - but how fun would it be for Mira Nadon to tackle all three Jewels roles in one performance? She conquered Rubies and Emeralds and she will certainly excel in Diamonds. Ekaterina Kondaurova performed all three roles in a 2013 performance to celebrate her promotion to prima at the Mariinsky. Hopefully a similar celebration could occur for Ms. Nadon!

Last: shoutout to the wonderful audiences at most performances this season. We've had some dancers come out for three curtain calls because of the enthusiasm. At the 10/6 show, it was lovely to see so many dancers from ABT (Calvin R, James W, and Christine S among the principals there) presumably studying PC2 for their run of Ballet Imperial as well as Houston Ballet's Yuriko Kajiya in the front row.

[Haglund]

Zachary, it would be awesome to see a one-off performance where Mira Nadon or another capable ballerina danced in all three Jewels. Not sure who else besides Mira could do that -- perhaps Isabella LaFreniere. And in the foreseeable future perhaps Alexa Maxwell and Ashley Hod, if we can keep them healthy. We haven't even begun to see what A&A have to offer.

[Jeannette]

I can’t agree with you more, Haglund! I traveled from my home in San Juan, Puerto Rico, just to regale in Balanchine and these fabulous dancers since Thursday’s Fall Fashion Gala…culminating in tonight’s 75th Anniversary! RAH, RAH, RAH, NYCB and Mr B!!!

[Haglund]

Hi, Jeannette! Glad you could make it!

Last night there were a lot more variations in Theme & Variations than there should have been (corps women running into one another, mis-timed or missed badly or just plain quit on the double tours by some of the men, demi pairs out of sync, glowering, laughing at mistakes, unpointed feet in the men's white shoes). Oy, time for a re-set. Call in Coach Hackett to do something with the offensive lines.

Serenade was lovely. Very impressed with Miriam Miller's growth in her Dark Angel role. Davide Riccardo was superb in his debut but for a slight difficulty maneuvering three partners at a time. Indiana was delightful and a joy to watch. Sara offered big drama with little attention to upper body form. Her match up with Taylor Stanley works well in Stravinsky VC, but not in Serenade.

Orpheus was a snooze except for when two or three guys got caught on stage when they shouldn't have been there after Ashley Laracey got dragged under the curtain--she was absolutely lovely but her talent wasted in this Balanchine effort to mimic Martha Graham. Thank goodness Miss Graham never tried to mimic Balanchine!

Let's wait and see what happens this week and hope for the best.

[Haglund]

Just want to add to the above comment that Savannah Durham was on fire in Serenade. This woman is dancing at an all time high after struggling so long with injury. She would be extraordinary as the Waltz Girl or Russian Angel. Hers is a thrilling comeback, to put it mildly.