NYC Ballet 9/21 evening Intelligence For Our Times

        The highlight of Saturday evening was Lar Lubovitch’s Each In Their Own Time, a pas de deux he created for New York City Center’s Fall for Dance Festival in 2021 to Johannes Brahms’ Eight Piano Pieces. Lubovitch was 79 years old when he created this dance to Brahms’ 188-year-old piano cycle using a style of choreography steeped in the classical ballet idiom several hundred years old and reflecting the 20th Century influence of Jose Limon. The end result was a sensitive, universal, timeless portrayal of two human beings connecting through dance, connecting through music, connecting via their educated instruments that allowed them to speak with unusual eloquence.

        Susan Walters beautifully performed the Brahms from her piano positioned up stage and properly amplified while Adrian Danchig-Waring and Taylor Stanley amplified the beauty of Lubovitch’s signature style — oceanic in its flow with swirling undercurrents and waves washing over the music. 

 

        Indiana Woodward and David Gabriel brought imagination to Balanchine's Divertimento from Le Baiser de la Fée and handled the intricate, difficult choreography with ease. Alston Macgill and Mary Elizabeth Sell were lovely demi-soloists, and the corps included newer members and apprentices who at times wore terrified expressions which we assume will subside quickly.

 

        Sara Mearns and Tyler Angle performed Christopher Wheeldon’s This Bitter Earth. It was all competently and smoothly danced, but Wheeldon’s casting of this ballet is curious because the choreography clearly calls for subtle and languid qualities such as those found in Wendy Whelan, Ashley Laracey, and Yuan Yuan Tan of San Francisco Ballet. The dancers managed all the positions and partnering, but to what end, we’re not sure.

 

        Jerome Robbins' The Four Seasons included standout performances by Olivia MacKinnon in Spring and Ashley Laracey in Summer. The sweeping romantic pas de deux showed MacKinnon at her best and gave her ample opportunity to show us that she could inhabit a role with style, particularly when partnered by the skilled Chun Wai Chan. Ashley Laracey’s engaging mysterious quality was perfect for the sultry Summer section. Her partner, Davide Riccardo, responded with his own sensual, alluring style. Summer never felt so hot.

 

        Erica Pereira, Devin Alberda, and Andres Zuniga skated through the Winter section in a lively manner. The fabulous Fall section was led by Unity Phelan and Andrew Veyette with KJ Takahashi as the little goat. No complaints at all about Unity’s output; she was gorgeous and danced impeccably. Veyette — what can we say — he held nothing back. He simply would not let go of any turns and pushed his grand allegro to its maximum. He was at times thrilling because the viewer had no idea if he was going to survive what he set out to do.

 

        The H.H. Pump Bump Award, A Jimmy Choo blue-green sea sandal, is bestowed upon Adrian Danchig-Waring and Taylor Stanley for their moving interpretation of Lubovitch’s thoughtful and highly crafted ballet.

 

 

 

Comments

[Heather]

The Soloist rank is swollen, especially among women, but I'd love to see Alston Macgill promoted soon. Stafford seems to like her and is giving her a lot of opportunities. I think she is a special talent, and is really learning to come alive on stage. Let me know your thoughts, Haglund!

[Haglund]

ITA, Heather. There are several petit allegro specialists in the corps who seem ready to go forward. Alston and Olivia Bell constantly draw the eye when they are on stage and do really seem beyond ready to be featured more prominently than just as Nutcracker Dolls. Alston's exceptional soloist work in Scotch Symphony showed that she was definitely able to hold the audience's attention. I keep wondering when we're going to see a prominent Balanchine role for Lauren Collett whose corps work is the most squeaky-clean and high energy I've seen in a long time.