The final performance of the Masters at Work series included successful debuts for Unity Phelan, Peter Walker and Miriam Miller in Tschaikovsky Piano Concerto No. 2. All three clearly had decided beforehand that any errors were going to come from giving too much, not too little. Not only was Unity competent and beautiful, but she was able to add elements that none of the other current interpreters could — such as an arabesque that rose above 90° and a breathtaking and beautifully placed a la second extension that was exclaimed by a magnificently arched foot. Her joy came across as authentic. Her energy was not compromised in any way. Her turns and grand allegro were on the money. This was a very, very good debut performance with the promise of future spectacular ones. We’re not sure why at times Unity seemed rushed — perhaps from trying to make every movement as large as possible or perhaps from her realization that this was a one & done performance that she wanted to make the most of. We wish after the first dismal performance by Sara Mearns, management would have made a complete substitution with Unity.
Peter Walker’s debut began with almost overpowering force — like he was trying to be someone else. Peter Walker is good enough to dance this ballet as Peter Walker. He doesn’t need to be anyone else. When he finally settled down, we were able to appreciate his beautiful lines and blazing batterie. His deportment in the central portion of the ballet clearly conveyed his sincerity and the feeling of loss. The few awkward partnering moments with Unity seemed born from over-excitement by both dancers. All of these nerves would have subsided at a second performance if only they had been given one.
Miriam Miller in the soloist role had high energy and danced beautifully but did not have the confidence to try to steal the show. We needed something in between Serenade and Slaughter from her. If only there had been a second performance . . .
While we understand that these days featured corps roles tend to be handed out based on seniority, neither Kristen Segin nor India Bradley captured the elegance of the two women who performed forward-pitched arabesques with the male principal during the center section of the ballet. Both seemed quite awkwardly and uncomfortably perched during each instance. The corps de ballet as a whole danced splendidly in each performance of this ballet.
This evening included repeats of Duo Concertant with Megan Fairchild and Anthony Huxley, and Glass Pieces with Unity Phelan and Adrian Danchig-Waring. All gave strong, satisfying performances. The Corps de Ballet rocked Glass Pieces, as they tend to do.
Our H.H. Pump Bump Award, a Jimmy Choo jeweled sandal, is bestowed upon Unity Phelan for her promising debut in Tschaikovsky Piano Concerto No. 2.
Haglund, thoughts on Miriam Miller's progression? She was favored by Martins, but with tall dancers LaFreniere and Nadon promoted above her, and another tall blond Afanakensov coming up, does Stafford have room for her?
Posted by: Coffee Crisp | September 29, 2024 at 09:13 PM
I believe so. She has made steady progress and has artistic qualities that make her unique and interesting to watch. She can be seemingly subtle and then instantly blow out immense grand allegro in which she flies. We knew from the beginning that we would need to be patient and that Miriam was going to take some time to grow into her legs and develop. But it's happening at a steady pace and is very enjoyable to watch -- IMO.
Posted by: Haglund | September 29, 2024 at 09:29 PM
Haglund, did you see Sara Mearns and Peter Walker in last night's Mozartiana? Would love to hear your thought. My takeaway is that it was a bit disappointing.
Posted by: Mark Roth | October 02, 2024 at 01:38 PM
Yes, I saw it. I thought that it was a mismatch of principals -- physically and artistically. No rapport between the two. When Walker flubbed the ending on the phrase-finishing turn, there was no way to ameliorate it. His legs are just too long to hide what was happening. He exited and when he returned, he appeared to have shaken it off, was more relaxed, and even smiled.
I've never been able to figure out what Martins was thinking by casting Sara in Mozartiana. No wit. No brightness. Nothing resembling classical port de bras, especially in the inelegant way in which she throws the arms overhead to fifth with shoulders raised. The massive hairpiece of curls makes her head appear larger and her neck shorter.
I left after Mozartiana because I was so depressed.
The SAB students in Serenade were much, much better than they were during their student showcase several months ago. However in a year in which this masterpiece, sadly, is nowhere on the NYCB schedule, it felt like the company was giving Serenade and the loyal audience the short-shrift.
Posted by: Haglund | October 02, 2024 at 03:43 PM
Hi Haglund,
I couldn't agree with you more about the Mearns-Walker Mozartiana performance on Tuesday night. "A bit disappointing" is charitable. I thought Mearns was just not right for this role, and her technique has diminished since I saw her last year. I have never been thrilled by Peter Walker's dancing and thought he was overparted in Mozartiana. Unbelievably, I had never seen Mozartiana in the theater, although I've always loved the video of Farrell shown on TV back in the day. Comparison with Farrell is not fair, so I'll just wait for a different cast, Tiler Peck or Mira Nadon.
Posted by: Marta | October 03, 2024 at 12:32 AM
Marta, I think your picks for "different casts" are good choices. Mozartiana would have been a good role for Emilie Gerrity who apparently is out for the season. And in the soloist ranks, Laracey and Hod could have brought the sparkle back to this ballet. I suppose eventually we will see Unity Phelan in Mozartiana. Despite all of her beautiful qualities, she often makes the same arm/shoulder mistakes as Mearns, though -- shoulders raised and arms too close to the head.
Posted by: Haglund | October 03, 2024 at 08:04 AM
Haglund, curious if you saw Mira Nadon's debut in Mozartiana last night? I was there and would love to hear your thoughts. She had a fall, but was still sublime!
Posted by: Laura | October 09, 2024 at 09:30 AM
Great to hear that she was sublime. I wasn't there, but will see the Thurs performance.
Posted by: Haglund | October 09, 2024 at 09:32 AM
Can’t wait for your write up on Thursday’s show! I was there and have lots of thoughts but want to read your column first!
Posted by: Daniel | October 11, 2024 at 03:43 PM
There ya go!
Posted by: Haglund | October 12, 2024 at 05:53 PM