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.
I’m sure I saw Indiana dance Spring a couple of years ago, I think she debuted then. Apparently Mejia didn’t dance Fancy Free tonight, hopefully he still dances Fall on Friday! He was such a wonder the last time I saw the ballet.
Hope Corti‘s speech is a clue that she’ll be cast in Tall Girl one of these days..
Posted by: Lina | January 24, 2024 at 08:39 PM
Thanks for the correction, Lina! Yes, I see that Indiana did previously dance Spring.
I don't know where they will start Naomi Corti. Dark Angel in Serenade might be good. Or La Valse. Or 1st Movement of Brahms-Schoenberg Quartet which is where we were introduced to Emily Kikta. We'll have to wait and see.
Posted by: Haglund | January 24, 2024 at 10:57 PM