Haglund's Heel

NYCB 1/25 Wheeldon + Martins + Peck

        If NYCB wants to paper the house for Wheeldon's and Peck's dances, it should find people who can behave. It's hard to remember a performance with more obnoxious, orchestrated applause & woo-whoo that disrupted the performance than we saw last evening. Are these people planted because Wheeldon and Peck are afraid of honest audience reactions and are so desperate for audience praise that they are willing to plant it?

        It defies logic why NYCB continues to give away tickets but refuses to re-open memberships to the 4th Ring Society that would allow people to buy two cheap tickets to any performance as far in advance as they wanted. Isn't it better to engage people who are willing to spend $10 to see NYCB rather than people who are not and only come because they get a free ticket? What on earth is wrong with filling up the 4th ring with $10 ticket buyers rather than leaving it empty? Ugh. Wait until the next NYCB survey pops up in Haglund's email in-box. . .

        Last night's program consisted of works by Wheeldon, Martins, and Justin Peck.

        It's completely understandable that some people might be intrigued and intellectually stimulated by Gyorgy Ligeti's compositions. That's why his work shows up at the NY Phil once every 100 blue moons. Last year, they cushioned the program with Brahms to ensure attendance. We know Wheeldon was attracted to the challenges of Ligeti (It "frightened" him, he says.) and that he viewed the creation of Polyphonia to this music as a mathematical problem. We're grateful that as yet, he has not been attracted to the concept of √-1. Actually, Peck has probably already run across that little number and we'll eventually see a sneaker ballet called "i" which was created with AI.

        Complaining aside, the dancers in Wheeldon's Polyphonia were stunning in their Shen Yun splits, contortions, and manipulations. We particularly enjoyed the second of the two pas de deux danced by Unity Phelan & Chun Wai Chan for its inventive geometric shapes and the earlier thoughtful solo by a pensive Sara Mearns. That solo, originally danced by the interestingly unpredictable Alexandra Ansanelli, requires a melancholy that can look very different on different people. Mearns could not be more different than Ansanelli, but she worked the solo well with what seemed to be her own interior story. Polyphonia is "early" Wheeldon, and he has gone on to create much better works for other companies, e.g., A Winter's Tale, DGV, Thirteen Diversions but he also created the much more accessible Mercurial Manoeuvres for NYCB prior to Polyphonia.

        Peter Martins' Barber Violin Concerto received an exceptional performance from Miriam Miller, Alec Knight (subbing for Aaron Sanz), Alexa Maxwell, and Preston Chamblee. The guest conductor, Emmanuel Plasson, elicited a stirring, bold reading of Samuel Barber's work from the NYCB Orchestra and Concertmaster Kurt Nikkanen. Alec Knight danced like the Alec Knight who gave us so much hope over a half dozen years ago -- excellent form, lots of energy, and great rapport with Alexa Maxwell who was the unmanageable modern dancer wrecking havoc with Knight's efforts at classicism. Miriam Miller managed the challenges of the choreography well -- with only a few uncertain moments in the pas de deux with Preston Chamblee. The role exploited her spacious arabesque and expansive port de bras. Chamblee made a good case for being an old school Paul Taylor dancer -- brawny, big chested, and moved like a cat. He was tall enough to provide Miller with the secure partnering that she needed. Here's hoping that he will evolve physically the way Gilbert Bolden has been able to do, because those legs are fairly stocky and struggle to make any type of a balletic line.

        The evening closed with Tharp on Broadway by Peck "The Times They Are a-Changin' " -- oh whoops, we meant to type "The Times Are Racing." Our bad.

        The HH Pump Bump Award is bestowed upon Alec Knight and Alexa Maxwell for their final pas de deux in Barber Violin Concerto which was a mismatch of styles coordinated beautifully.

 

NYCB 1/24 – What a difference a day makes

        Well, well, well – just had to wait 24 hours to get the real opening performance of the Winter Season. What an evening of spectacular dancing!

        Fancy Free was so good Wednesday night that Haglund wanted to hit the re-set button to play it all over again. My goodness, did Jacqueline Bologna ever make her debut as the Passer-by in purple a star turn. She and Harrison Coll had charisma and rapport in spades during their pas de deux. Never did they drop character during their silken treatment of Robbins' inventive choreography. Never did they or any of the other performers drop character while sitting around the side table during the individual solos. Lauren Collett as the Passer-by with the red purse nailed her character as well. She toyed with the sailors and was always in control of the situation. No victim here. Sebastian Villarini-Velez and Daniel Ulbricht (subbing for Roman Mejia) fully depicted their characters with brilliant dancing throughout the ballet. At Tuesday's performance, Haglund thought that Fancy Free was ready for a good, long rest in the repertory. But after Wednesday's performance, he can't wait to see this cast again on Saturday afternoon!

        One thing we forgot to mention in yesterday's review which we were reminded of last night: During the second sailor's variation, he approaches the bar stools, jumps over one, and performs a double tour. Repeat. Seeing the double tours from the back make it painfully clear when the dancer fudges by swiveling the hips a quarter turn (or more) in plie before jumping. It's one of those wince-inducing lapses that no one wants to see.

        In the Night received rich interpretations from all three couples. Indiana Woodward and Joseph Gordon were sublime in the first pas de deux. Their expansiveness yielded a lush musicality. Emilie Gerrity and Tyler Angle (subbing for Aaron Sanz) relayed the emotional comfort of a long, successful relationship. Then came Tiler Peck and Gilbert Bolden III as the explosive, emotionally charged couple. Their performance spanned everything from George & Martha to Romeo & Juliet. So bold and well-played and exceptionally well-danced. In Bolden, Peck has found her dramatic match.

        The Four Seasons had a more even performance than the previous night. The highlight of this performance was Ashley Laracey and Adrian Danchig-Waring in Summer. My goodness, it's hard to think of a more lyrically beautiful dancer than Laracey. Her subtlety spoke volumes about the beauty and value of restraint. Her gorgeous lines in arabesque had the delicacy of a bird. While Danchig-Waring is not a whiz-bang technician, his strength in form and attention to detail, to repeat, illustrate the value of restraint.

        David Gabriel, Erica Pereira, and Andres Zuniga danced the Winter segment. Erica was not in her best form on this night and looked quite tired. Gabriel and Zuniga were a good match technically and clearly were more ready to dance than Erica. Olivia MacKinnon was a surprise success with Jovani Furlan in Spring. Her beautifully shaped leg positions and expansive dancing were immediately likeable. Obviously a very strong technician from the waist down, Olivia only has to educate her upper body and port de bras and bring some personality (beyond a fixed smile) to her performances in order to make herself more ready for principal roles. Unity Phelan and Andrew Veyette were a smoldering Fall in contrast to the razzle dazzle Fall of Tiler Peck and Roman Mejia the evening before. Both interpretations are welcome and immensely enjoyable. Gotta say that Veyette is really hanging on to his technique with the exception of the arabesque. His turns a la seconde were as clean as Mejia's the night before but better shaped with a more strongly pointed foot. He didn't jump the supporting foot up under him like Mejia did, but then Mejia's trick really didn't offer anything other than gymnastic appeal. Cainan Weber as the goatish fawn in Fall was sensational. Those of us who grew up in the 1940s and 1950s can recall Mighty Mouse and his "Here I come to save the day" song/ear worm played by the Mitch Miller Orchestra. Weber has that same appeal with a Mighty Mouse muscular physique of brawny shoulders and tiny waist and a huge, huge technique with which to power himself around the stage. Eagerly looking forward to seeing his Puck one day.

        Our H.H. Pump Bump Award, a stunning Jimmy Choo stiletto with teardrop heel, is bestowed upon Jacqueline Bologna for her huge debut in Fancy Free. It was a long overdue opportunity. Let's hope we see her featured more prominently in the future. The Thursday matinee Emeralds in Saratoga this summer would be nice since Haglund already has his train tickets. Just trying to help out here . . .

 

 

NYCB Winter Season opens without the seasoning

        It was a rather flat start to New York City Ballet's Winter Season with an all-Robbins evening that was extended by a half hour due to the presentation of the Janice Levin Award and the See the Music presentation. 

        It was great to see Naomi Corti chosen for the Levin honor. Our eyes have followed her all over the stage for the last few years hoping to see her get thrown a significant Balanchine opportunity. That she was bestowed the honor without yet having been featured in any Balanchine ballet may be unusual, but hopefully it is a sure sign of good things to come and not a further diminishing of Balanchine's importance. Her acceptance speech included an anecdote which described her lack of optimism about ever being able to dance on the NYCB stage (she didn’t explain why) and the revelation that occurred within her when she witnessed Emily Kikta's debut as the Tall Girl in Rubies. (Note: Most all of Emily Kikta’s debuts have been revelations. She just comes out and does it — commands our attention whether she’s dancing Rubies Tall Girl or in the back row of DGV...)

 

        Naomi wore a stylish black dress to accept the honor from her overly casually dressed boss. Okay, so the AD wants to look like a working stiff. Got it. But when coming out to the stage to address an audience filled with nicely pressed patrons who still hold onto the old idea that one should clean up a little to go to the theater, it’s best to try a bit harder. And there was way too little prep for the AD’s and Music Director Litton’s presentations both of which were read in bored tones. Of course, it bored the audience. These presentations need a lot more polish.

 

        Fancy Free opened the evening. It looked under-rehearsed in places, particularly in the comedic timing where sometimes the reaction of one dancer occurred before the trigger from the other dancer. Daniel Ulbricht has always been extraordinary in this work and was so last night. He lives the part as a scrappy sailor, not a dancer. Not so for Joseph Gordon and Jovani Furlan who seemed to be over-working the gum chewing, shoulder shrugs, and sailor stereotypes. However, Gordon’s pas de deux with the ingenue passerby Alexa Maxwell had the glamour of a bygone era. Maxwell and Mary Thomas MacKinnon were wonderfully coordinated in their mime and dancing.

 

        Unity Phelan and Andrew Veyette carried the next ballet In the Night with their volatile and passionate pas de deux. Phelan’s characterization was beautifully developed with drama-filled movement and bold acting. A couple of her looks at her partner would have shriveled even the tallest man. All of her extensions and battements spoke for her through their beauty and fullness. Olivia MacKinnon and Alec Knight as the first couple were nice. However, we’re not sure that nice is what was called for. MacKinnon projected little although her dancing was clean. Knight looked strong, confident, and, damn, those leg lines were beautiful. Sara Mearns and Tyler Angle, as the second couple, conveyed that there was nothing left in their relationship but the comfort of mundane ordinariness. We’re not sure that’s what they were supposed to convey, but that’s what came across. 

 

        The Four Seasons opened with a flat, uninteresting group of gods and goddesses who looked like they had one rehearsal before showtime. True, these are just walk-on character roles BUT where were the characters?! Thank goodness the dancing that followed was gorgeous.

 

        Emma Von Enck, Sebastian Villarini-Velez and Devin Alberda zip-skated through Winter with fiery allegro. The shivering snowflakes amused with their antics and sharp dancing. Even squished within a mass of quivering snowflakes, Zoe Bliss Magnussen stood out for her, ahem, bliss, beautiful lines, and warmth. If she’s back in 100% form, we need to see more of her quickly. Side note:  Haglund has wondered for quite a while if the Bliss relates to another ballet Bliss — Sally Brayley and Anthony Bliss. Maybe some ballet gumshoe out there can get on the case and report back.

 

        Indiana Woodward and Anthony Huxley were a breezy Spring pair. This was Indiana’s debut, so we’ll cut her some slack if it wasn’t danced as spaciously as it could have been. Spring is bright and filled with blossoms, but it is also a sumptuous, fertile time — think “kitten season”. Both Woodward and Huxley danced beautifully, as did the corps of four men: Christopher Grant, Spartak Hoxha, Alec Knight, and Davide Riccardo. The tossing of Miss Spring among the two men will need work before it can resemble Kyra Nichols in that dreamy flying arabesque.

 

        Emilie Gerrity and Adrian Danchig-Waring conveyed the golden warmth of Summer. Her sophisticated beauty and his nobility underscored the elegance of Robbins pas de deux.

 

        Then along came the burning Fall with Tiler Peck and Roman Mejia who wasn’t shy about seasoning his part with the flavor of Ali from Le Corsaire. Dash - yes. Flash - yes. Line - not quite. Tiler on the other hand blazed through this section with impeccable form. The supported pirouettes opened perfectly to arabesque and acted like an exclamation point for the music. We are so happy and grateful to see Tiler dancing in such high form.

 

        Our H.H. Pump Bump Award, a stylish Dior stiletto, is bestowed upon Unity Phelan whose artistry seems to be growing exponentially before our eyes.

 

 

observations 1/21

The full length Jewels and "scenes from" Coppelia will be presented as part of the New York City Ballet SPAC summer season. That is grrreat news as we look forward to the announcement of the 2024 - 2025 home season in the coming months. Jewels: July 10 & 11.  Coppelia: 12 & 13.

https://www.timesunion.com/theater/article/75-new-york-city-ballet-returning-spac-varied-18614906.php

Looking forward to Tuesday night's opening of the Winter Season. Just wish we didn't have to wait for two weeks to see Balanchine. Leeching the life-blood from the company for two weeks is not a good idea.

 

observations 1/10

        NYCB's Winter Season is several steps down from its extraordinary Fall Season, but nevertheless, there are some things to look forward to judging from the first week's casting and a few hints gleaned from Instagram.

        Robbins' In the Night will see a number of interesting debuts. Unity Phelan and Andrew Veyette will take on the "can't live with you, can't live without you" third PdD for the first time. It depicts what the internet therapists would call a toxic relationship. Sometimes the ballerina's melodrama seems to suggest bipolar disorder. That said, it's still total fun to watch and includes some of Robbins' most inventive language.

        Also in that cast, Olivia MacKinnon and Alec Knight debut as the first couple, young and in passionate love, and Tyler Angle dances the second PdD for the first time opposite Sara Mearns. In the subsequent cast, Emilie Gerrity and Aaron Sanz debut in the second PdD and Gilbert Bolden may well be able to match Tiler Peck's theatrics in his debut in the third PdD.

        What we're really excited about, however, is seeing Jackie Bologna's debut as the principal passerby in purple in Fancy Free on Wednesday night. Opportunities for this beautiful dancer are long past due. Additionally, Miriam Miller debuts in Martins' Barber Violin Concerto and Alexa Maxwell debuts in the Wendy Whelan role in Wheeldon's Polyphonia. There are many other debuts throughout the week which make multiple viewings of programs worthwhile.

        While sniffing around Instagram, we stumbled over a startling surprise involving ABT corps member Virginia Lensi. She's starting her seventh year at ABT, but you might not be aware of her because apparently McKenzie wasn't either. Virginia just completed a multi-performance stint as Odette/Odile in the International Festival Ballet's full length Swan Lake. Her Siegfried was Ukranian Mikhail Tkachuk who was schooled at the Kiev State Choreographic Institute and has performed with a number of companies including St. Petersburg Ballet.

        My goodness, Ms. Virginia has herself a technically polished, dramatically interesting Odette/Odile in her pocket. We have no idea how this opportunity or her blossoming evolved (we can guess, however), but oh my goodness, people, look at her Instagram clips and the beauty of her shaping! Her YouTube channel has the full White Swan PdD video.