TSCHAIKOVSKY & BALANCHINE
SUNDAY MATINEE, JANUARY 27, 3:00PM (Conductor: Litton)
SERENADE: Mearns, T. Peck, LeCrone, J. Angle, *Sanz (replaces Chamblee)
MOZARTIANA: Hyltin, Huxley, Schumacher
TSCHAIKOVSKY PIANO CONCERTO NO. 2: Bouder, *Gordon, King, Alberda, *Knight, *Adams, *Woodward
[Solo Piano: Walters]
* First Time in Role on 1/23/19
This program of works choreographed by George Balanchine to the music of Peter Ilyitch Tschaikovsky looked on paper like an extravagant feast of works that span Balanchine's entire career in America.
'Serenade', of course, is the first work that Mr. B created in America. It was choreographed on the students of The School of American Ballet -- which opened on January 2, 1934 -- and famously incorporates incidents that occurred at SAB during its creation. A student arrives late and searches for her place in the ensemble; another student falls; the class size varies from 15 to 17 students. At the ballet's initial performance at the estate of Felix Warburg (his son, Edward Warburg, was a Harvard friend of Lincoln Kirstein) on June 9, 1934, Balanchine used segments of the full score -- Tschaikosky's 'Serenade for Strings in C'. In later years he added additional choreography to the remainder of the score. The ballet that we see today uses the entire score, although the third (Elegy)and fourth (Russian) movements are reversed, allowing the ballet to end on a somber note.
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| Corps in the opening moment of Balanchine's 'Serenade' Photo by Paul Kolnik for New York City Ballet |
Tiler Peck as the "Russian" girl was musical, her swift pirouettes and incisive beats like plunging into a maelstrom; Megan LeCrone was dramatic as the "Dark Angel"; and Aaron Sanz was a strong partner to all three ballerinas (and a few corps women as well).
Karinska's costumes lit by Mark Stanley's lighting design allow the women -- both principals and corps -- to sweep through the choreography on clouds of moonlight.
From a seminar on 'Serenade' the following evening I learned that all of the women's costumes have a slanted waistline -- longer on the right side and shorter on the left. Marc Happel, the Company's current Director of Costumes, feels that this gives the dancers an even greater sense of grace and movement.
Balanchine first choreographed 'Mozartiana' to Tschaikovsky's 'Suite No. 4, Mozartiana' in 1933 for Les Ballets 1933. This version of the work was also performed by students of The School of American Ballet at the Warburg estate in June, 1934 along with 'Serenade'. In 1981 Balanchine returned to this score for a new ballet also titled 'Mozartiana' which had its premiere during the 1981 Tschaikovsky Festival -- it was his penultimate ballet. The original cast in 1981 was Suzanne Farrell, Ib Andersen and Christopher D'Amboise along with four senior corps ballerinas and four students from the School of American Ballet.
Farrell had returned to New York City Ballet in 1975 following the rupture of her relationship with Balanchine in 1969. By 1981 all had been forgiven. 'Mozartiana' was one of the great roles he created for her from 1975 through 1981. The prima ballerina role is filled with Suzanne's mannerisms and characteristic large-scale. The more filigreed style of Ib Andersen's role was tailored for his splendid Royal Danish Ballet technique.
Sterling Hyltin does not have either the technique or stage presence for the ballerina role in 'Mozartiana'. Farrell's mannerisms look applied rather than organic and the scale of her dancing does not fill the stage. Anthony Huxley has the technique for the Andersen role and looked perfectly in it.
Balanchine first used Tschaikovsky's 'Piano Concerto No. 2 in G Major' for a ballet titled 'Ballet Imperial' that he created for an American Ballet Caravan tour of South America in 1941. It used blue and white sets and costumes by Mstislav Dobuzhinsky that recalled czarist St. Petersburg during the Petipa era. It utilized a hierarchical cast -- prima ballerina and cavalier; secondary ballerina; two soloist couples; and a corps of 16 women and 6 men (at times augmented by the two soloist men).
In 1964 'Ballet Imperial' was revived (for Suzanne Farrell) with decor by Rouben Ter-Artunian that recalled the orginal 1941 production. For a 1973 revival Balanchine did away with the decor and renamed the ballet 'Tschaikovsky Piano Concerto No. 2'. It had simple costumes by Karinska and the prima ballerina was Patricia McBride. Over the years there were new costumes by Ben Benson (1979) and Gary Lisz (1990).
For the 2019 Winter Season, the costumes have been redesigned by Marc Happel, the Company's Director of Costumes. The women are in steel blue chiffon skirts and brocade bodices worked with thousands of Swarovski crystals -- more for the lead dancers, fewer for the corps. There are also tiaras of various heights for the women. The men are in dark blue tights with brocade vests over steel blue chiffon shirts.
With the rather murky lighting provided by Mark Stanley, the effect of these costumes when the stage is filled with dancers is unfortunately rather like a fleet of battleships on the stormy horizon in an old World War II movie -- not the glittering assemblage of czarist courtiers that I'm sure was envisaged.
The orchestra under Maestro Litton and the piano soloist, Susan Walters, struggled with coordination during the opening movement which only added to the troubles of this performance.
I've always been fascinated by a moment in the ballet where the prima ballerina performs a glittering solo on the right half of the stage while the entire 24 member corps dance on the left half. Here Ashley Bouder struggled to bring this section into focus.
Joseph Gordon as her cavalier was stately and a bit bland. Lauren King brought her usual sunniness -- much needed -- to the second ballerina role.
All-in-all, the arc of the program definitely progressed downward over the course of this performance.
Every winter there is a New Combinations program in honor of Balanchine's birthday (January 22nd). Balanchine said that "there were no new steps, just new combinations". The program always includes new and recent works.
'Herman Schmerman' was created by William Forsythe to a commissioned score by Thom Willems for the first Diamond Project in 1992 when it consisted of a work for five dancers in black costumes with lattice work decolletage by Gianni Versace. The work's title is a meaningless phrase from a Steve Martin movie which speaks to the abstract nature of the piece.
The following year, Forsythe and Willems added a pas de deux performed by two different dancers (from the five in the first part). Since 1994 just the pas de deux had been performed by NYC Ballet until the 2019 Winter season when the two parts were reunited for 'New Combinations'.
During that interim the 'Herman Scherman' pas de deux became closely associated with Wendy Whelan and the late Albert Evans. Albert always seemed to relish the knowing giggle that erupted from the audience at his second entrance -- bare chested wearing Versace's yellow pleated skirt with black stripe -- just like Wendy's. In fact Albert chose it for his farewell performance in June, 2010.
Here the pas de deux was capably danced by Tiler Peck and Tyler Angle. Tyler doesn't quite pull off the tongue-in-cheek humor at his second entrance though.
Karinska's costumes lit by Mark Stanley's lighting design allow the women -- both principals and corps -- to sweep through the choreography on clouds of moonlight.
From a seminar on 'Serenade' the following evening I learned that all of the women's costumes have a slanted waistline -- longer on the right side and shorter on the left. Marc Happel, the Company's current Director of Costumes, feels that this gives the dancers an even greater sense of grace and movement.
Balanchine first choreographed 'Mozartiana' to Tschaikovsky's 'Suite No. 4, Mozartiana' in 1933 for Les Ballets 1933. This version of the work was also performed by students of The School of American Ballet at the Warburg estate in June, 1934 along with 'Serenade'. In 1981 Balanchine returned to this score for a new ballet also titled 'Mozartiana' which had its premiere during the 1981 Tschaikovsky Festival -- it was his penultimate ballet. The original cast in 1981 was Suzanne Farrell, Ib Andersen and Christopher D'Amboise along with four senior corps ballerinas and four students from the School of American Ballet.
Farrell had returned to New York City Ballet in 1975 following the rupture of her relationship with Balanchine in 1969. By 1981 all had been forgiven. 'Mozartiana' was one of the great roles he created for her from 1975 through 1981. The prima ballerina role is filled with Suzanne's mannerisms and characteristic large-scale. The more filigreed style of Ib Andersen's role was tailored for his splendid Royal Danish Ballet technique.
 |
| Sterling Hyltin in the Preghiera movement of Balanchine's 'Mozartiana' Photo by Paul Kolnik for NYC Ballet |
Balanchine first used Tschaikovsky's 'Piano Concerto No. 2 in G Major' for a ballet titled 'Ballet Imperial' that he created for an American Ballet Caravan tour of South America in 1941. It used blue and white sets and costumes by Mstislav Dobuzhinsky that recalled czarist St. Petersburg during the Petipa era. It utilized a hierarchical cast -- prima ballerina and cavalier; secondary ballerina; two soloist couples; and a corps of 16 women and 6 men (at times augmented by the two soloist men).
In 1964 'Ballet Imperial' was revived (for Suzanne Farrell) with decor by Rouben Ter-Artunian that recalled the orginal 1941 production. For a 1973 revival Balanchine did away with the decor and renamed the ballet 'Tschaikovsky Piano Concerto No. 2'. It had simple costumes by Karinska and the prima ballerina was Patricia McBride. Over the years there were new costumes by Ben Benson (1979) and Gary Lisz (1990).
 |
| Anna Light of NYCB's costume shop fitting the bodice of Marc Happel's new costume on Teresa Reichlen Photo by Aja Skye Bivens |
With the rather murky lighting provided by Mark Stanley, the effect of these costumes when the stage is filled with dancers is unfortunately rather like a fleet of battleships on the stormy horizon in an old World War II movie -- not the glittering assemblage of czarist courtiers that I'm sure was envisaged.
The orchestra under Maestro Litton and the piano soloist, Susan Walters, struggled with coordination during the opening movement which only added to the troubles of this performance.
I've always been fascinated by a moment in the ballet where the prima ballerina performs a glittering solo on the right half of the stage while the entire 24 member corps dance on the left half. Here Ashley Bouder struggled to bring this section into focus.
 |
| Joseph Gordon and Ashley Bouder in Balanchine's 'Tschaikovsky Piano Concerto No. 2' Photo by Paul Kolnik for NYC Ballet |
All-in-all, the arc of the program definitely progressed downward over the course of this performance.
NEW COMBINATIONS
SUNDAY MATINEE, FEBRUARY 3, 3:00PM
SUNDAY MATINEE, FEBRUARY 3, 3:00PM
HERMAN SCHMERMAN: Corti* (replaces Hyltin), Mearns, T. Peck, Phelan, T.Angle, Ball, Gordon
PRINCIPIA: Kretzschmar, T. Peck, Pollack, Applebaum, Stanley, Fahoury (replaces Coll), Conductor: Capps; Piano Soloist: Craig Baldwin
THE RUNAWAY: Bouder, Grant, Hoxha, Mearns, Mejia, Pazcoguin, Stanley, Walker
* Role debut and Apprentice
* Role debut and Apprentice
Every winter there is a New Combinations program in honor of Balanchine's birthday (January 22nd). Balanchine said that "there were no new steps, just new combinations". The program always includes new and recent works.
'Herman Schmerman' was created by William Forsythe to a commissioned score by Thom Willems for the first Diamond Project in 1992 when it consisted of a work for five dancers in black costumes with lattice work decolletage by Gianni Versace. The work's title is a meaningless phrase from a Steve Martin movie which speaks to the abstract nature of the piece.
 |
| Harrison Ball with the three women in the first section of William Forsythe's 'Herman Schmerman' Photo by Paul Kolnik for NYC Ballet |
The following year, Forsythe and Willems added a pas de deux performed by two different dancers (from the five in the first part). Since 1994 just the pas de deux had been performed by NYC Ballet until the 2019 Winter season when the two parts were reunited for 'New Combinations'.
During that interim the 'Herman Scherman' pas de deux became closely associated with Wendy Whelan and the late Albert Evans. Albert always seemed to relish the knowing giggle that erupted from the audience at his second entrance -- bare chested wearing Versace's yellow pleated skirt with black stripe -- just like Wendy's. In fact Albert chose it for his farewell performance in June, 2010.
 |
| Albert Evans in the 'Herman Schmerman' pas de deux Photo by Paul Kolnik for NYC Ballet |
While it's nice to see the two parts reunited for this program, with their completely separate casts they could still easily stand alone again in the future.
Justin Peck's 'Principia' to a commissioned score by Sufjan Stevens by that name was first performed on the previous Thursday evening, January 31st. The 'Principia' is Isaac Newton's three-volume treatise on the laws of motion -- you'll probably remember "every action has an equal and opposite reaction" from your high school physics. It is a work for 24 dancers, and as Justin frequently does, he has mixed principals, soloists and corps members with little regard for status or sex. They are costumed by Peck's frequent collaborators, Reid Bartelme and Harriet Jung in gauzy layered dance wear and beautifully lit by Jennifer Tipton.
The work begins with all of the dancers crouched in a pool of golden light at the center of the staged with arms raised up and behind them hands clasped. First Taylor Stanley pops up from the thicket of arms and hands perhaps searching the horizon -- he retreats and Tiler Peck pops up -- then Clair Kretzschmar -- then I lost track.
The ballet continues to the sometimes twinkling sections of Stevens' score for piano and orchestra. Groups and individual pairs come together and separate. Taylor Stanley and Tiler Peck have a lovely duet at one point and then walk off stage hand-in-hand. At another point, Harrison Coll and Daniel Applebaum are attracted to each other from across the stage , dance together briefly, but then wistfully separate.
At one point groups of dancers form pods around the stage -- each in a pool of golden light. Another dancer, Miriam Miller I think, touch each pod which unfolds to disclose another dancer within -- rather like lily buds that open when they are reached by sunlight.
Here's a link to the NYCB web site where there are three short videos of 'Principia':
https://www.nycballet.com/ballets/p/principia-new-peck-1.aspx
'Principia' is wonderful -- a complex work that will reveal even more on subsequent encounters.
Kyle Abraham's 'The Runaway' had it's premiere at the Company's 2018 Fall Fashion Gala. The very weird costumes are by Giles Deacon, the British fashion designer, and the effective lighting is by Dan Scully.
'The Runaway' is choreographed to a collage score that includes music by Nico Muhly, Kanye West, Jay-Z and James Blake -- interesting choices in a broad range of musical styles.
Much of the piece seems insignificant -- I didn't even realize that Sara Mearns and Ashley Bouder were in it until I reread the program later.
The most important thing about 'The Runaway' are the two solos that Abraham created for Taylor Stanley that open and close the work. Mr. Stanley may be the 'runaway' of the title -- it is certainly a 'runaway' success for him.
Here is a link to a video where Taylor talks about these solos while you watch parts of them:
https://ballethub.com/ballet-video/anatomy-of-a-dance-taylor-stanley-on-the-runaway/
There is no question that this work has given Taylor Stanley a starring role that is tailor-made for his unique abilities.
THE SLEEPING BEAUTY
SUNDAY MATINEE, FEBRUARY 17, 1:00PM
Princess Aurora: Tiler Peck
Prince Desire: Tyler Angle
The Lilac Fairy: Ashley Laracey
The Fairy Carabosse: Sara Mearns
Conductor: Daniel Capps
As we left the theater following this performance of 'The Sleeping Beauty' I wrote ''FLAT" on my ticket stub. The orchestra played Tschaikovsky's beautiful score as if they were collectively recovering from an all-night bender and any loud noises or fast movements couldn't be tolerated. This lack of musical support left the dancers to fend for themselves. Maybe the black cloth that covers the orchestra pit does muffle the sound (it makes the projections easier to see on the front scrim) but certainly their conductors must know how to make up for most of that.
This is a particularly extravagant production with gorgeous sets designed by David Mitchell and sumptuous costumes created by Patricia Zipprodt and executed by Barbara Matera. It is a real shame that the lovely projections that lead us into the castle during the overture; indicate the passage of time between scenes; and accompany Prince Desire on his journey to find Princess Aurora were short-changed by their wan orchestral accompaniment.
The program credits for 'The Sleeping Beauty' say "Choreography by Peter Martins [after Marius Petipa] with ["Garland Dance" by George Balanchine]".
There is no question that Balanchine's Garland Dance, which he created for the Company's Tschaikovsky Festival in 1981, is one of the choreographic highlights of this production. Balanchine uses 56 dancers: 32 villagers, 8 maids of honor, and 16 children (students from The School of American Ballet). They form kaleidoscopic patterns that break apart and come together with each entrance of more dancers. The villagers hold arches of pastel flowers that are manipulated to form virtual arcades and arbors; carousels and gazebos. It is all wondrous and ingenious.
Tiler Peck and Tyler Angle are old hands at this choreography (Tyler danced Prince Desire with Ana Sophia Scheller as Aurora and Sara Mearns as the Lilac Fairy at their SAB workshop in 2003). They did their best to infuse some excitement into the Vision scene and the Wedding pas de deux, but they were undermined by the orchestra's plodding tempi and inadequate contrasts.
The battle between good and evil that runs throughout 'The Sleeping Beauty'-- personified by Ashley Laracey as the benevolent Lilac Fairy and Sara Mearns as Carabosse, the evil fairy -- seemed to be particularly undermined by the lack of musical support. Tschaikovsky's shimmering and expansive music for the Lilac Fairy was bland and his stormy and vindictive music for Carabosse was wan.
In staging 'The Sleeping Beauty' Martins did a great deal to streamline this version -- cutting out two intermissions, eliminating a game of blind-man's bluff, shortening some solos. Why did this performance seem so long? so boring? so FLAT?
MARTINS' MEDDLING . . .
On February 22nd -- the Friday after we saw 'The Sleeping Beauty' -- the New York Times published an article about Peter Martins interfering with the ballet's opening performance on February 13th. You can read the article here:
https://www.nytimes.com/2019/02/22/arts/dance/peter-martins-city-ballet.html
Among the thoughts I've had while reflecting on this story:
Justin Peck's 'Principia' to a commissioned score by Sufjan Stevens by that name was first performed on the previous Thursday evening, January 31st. The 'Principia' is Isaac Newton's three-volume treatise on the laws of motion -- you'll probably remember "every action has an equal and opposite reaction" from your high school physics. It is a work for 24 dancers, and as Justin frequently does, he has mixed principals, soloists and corps members with little regard for status or sex. They are costumed by Peck's frequent collaborators, Reid Bartelme and Harriet Jung in gauzy layered dance wear and beautifully lit by Jennifer Tipton.
The work begins with all of the dancers crouched in a pool of golden light at the center of the staged with arms raised up and behind them hands clasped. First Taylor Stanley pops up from the thicket of arms and hands perhaps searching the horizon -- he retreats and Tiler Peck pops up -- then Clair Kretzschmar -- then I lost track.
 |
| Taylor Stanley rising out of the opening formation of Justin Peck's 'Principia' Photo by Erin Baiano |
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| Harrison Coll (center) with Ralph Ippolito, Lars Nelson, Devin Alberda, Christopher Grant, Gilbert Bolden III, and Jonathan Fahoury in Justin Peck's 'Principia' Photo by Andrea Mohin for NYTimes |
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| Miriam Miller (I think) with a pod of dancers in Justin Peck's 'Principia' Photo by Erin Baiano |
https://www.nycballet.com/ballets/p/principia-new-peck-1.aspx
'Principia' is wonderful -- a complex work that will reveal even more on subsequent encounters.
Kyle Abraham's 'The Runaway' had it's premiere at the Company's 2018 Fall Fashion Gala. The very weird costumes are by Giles Deacon, the British fashion designer, and the effective lighting is by Dan Scully.
 |
| Peter Walker and Roman Mejia in Giles Deacon's costumes for Kyle Abraham's 'The Runaway' Photo by Paul Kolnik for NYC Ballet |
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| Georgina Pazcoguin and Sara Mearns in Giles Deacon's costumes for 'The Runaway' Photo by Paul Kolnik for NYC Ballet |
Much of the piece seems insignificant -- I didn't even realize that Sara Mearns and Ashley Bouder were in it until I reread the program later.
 |
| Taylor Stanley in Kyle Abraham's 'The Runaway'. Taylor holds this pose for a seeming eternity. Photo by Paul Kolnik |
The most important thing about 'The Runaway' are the two solos that Abraham created for Taylor Stanley that open and close the work. Mr. Stanley may be the 'runaway' of the title -- it is certainly a 'runaway' success for him.
https://ballethub.com/ballet-video/anatomy-of-a-dance-taylor-stanley-on-the-runaway/
There is no question that this work has given Taylor Stanley a starring role that is tailor-made for his unique abilities.
THE SLEEPING BEAUTY
SUNDAY MATINEE, FEBRUARY 17, 1:00PM
Princess Aurora: Tiler Peck
Prince Desire: Tyler Angle
The Lilac Fairy: Ashley Laracey
The Fairy Carabosse: Sara Mearns
Conductor: Daniel Capps
As we left the theater following this performance of 'The Sleeping Beauty' I wrote ''FLAT" on my ticket stub. The orchestra played Tschaikovsky's beautiful score as if they were collectively recovering from an all-night bender and any loud noises or fast movements couldn't be tolerated. This lack of musical support left the dancers to fend for themselves. Maybe the black cloth that covers the orchestra pit does muffle the sound (it makes the projections easier to see on the front scrim) but certainly their conductors must know how to make up for most of that.
This is a particularly extravagant production with gorgeous sets designed by David Mitchell and sumptuous costumes created by Patricia Zipprodt and executed by Barbara Matera. It is a real shame that the lovely projections that lead us into the castle during the overture; indicate the passage of time between scenes; and accompany Prince Desire on his journey to find Princess Aurora were short-changed by their wan orchestral accompaniment.
The program credits for 'The Sleeping Beauty' say "Choreography by Peter Martins [after Marius Petipa] with ["Garland Dance" by George Balanchine]".
There is no question that Balanchine's Garland Dance, which he created for the Company's Tschaikovsky Festival in 1981, is one of the choreographic highlights of this production. Balanchine uses 56 dancers: 32 villagers, 8 maids of honor, and 16 children (students from The School of American Ballet). They form kaleidoscopic patterns that break apart and come together with each entrance of more dancers. The villagers hold arches of pastel flowers that are manipulated to form virtual arcades and arbors; carousels and gazebos. It is all wondrous and ingenious.
 |
| George Balanchine's 'Garland Dance' from 'The Sleeping Beauty' Photo by Paul Kolnik for NYC Ballet |
 |
| Tyler Angle and Tiler Peck in the Wedding Pas de Deux from 'The Sleeping Beauty' Photo by Paul Kolnik for NYC Ballet |
In staging 'The Sleeping Beauty' Martins did a great deal to streamline this version -- cutting out two intermissions, eliminating a game of blind-man's bluff, shortening some solos. Why did this performance seem so long? so boring? so FLAT?
MARTINS' MEDDLING . . .
On February 22nd -- the Friday after we saw 'The Sleeping Beauty' -- the New York Times published an article about Peter Martins interfering with the ballet's opening performance on February 13th. You can read the article here:
https://www.nytimes.com/2019/02/22/arts/dance/peter-martins-city-ballet.html
Among the thoughts I've had while reflecting on this story:
- Martins is the choreographer for a sizable portfolio of works performed by the Company including the full-evening works 'Swan Lake', 'Romeo+Juliet' and 'The Sleeping Beauty';
- The full-evening works at New York City Ballet also include Balanchine's 'A Midsummer Night's Dream', 'Coppelia', and 'George Balanchine's The Nutcracker';
- Collectively, these full-evening ballets tend to fill the house, while the rest of the repertory often does not;
- Few of Martins' shorter works are considered to be more than mediocre and could easily be replaced with other works, but the box-office draw of his three full-evening works gives him leverage to interfere in the Company's normal operations whenever these works are performed.
There are four entities in which Martins had been involved prior to his abrupt 'retirement' on January 1, 2018:
- The New York City Ballet founded by George Balanchine and Lincoln Kirstein in 1948. Martins was the Ballet-Master-in-Chief from Balanchine's death in 1983 until his abrupt retirement on New Year's Day, 2018.
- The School of American Ballet founded by Balanchine and Kirstein in 1934. Martins had been Co-Chairman of the School's faculty with Kay Mazzo before his retirement.
- The Balanchine Trust established after Balanchine's death in 1983 as a vehicle for overseeing the rights to most of the Balanchine ballets. Balanchine had bequeathed these works individually to his dancers, colleagues and friends. Barbara Horgan, 86, who is quoted in the Times article, is the remaining Founding Trustee and Ellen Sorrin is the current Director. The Trust is listed in the Company's current programs as an entity within the Company, which surprised me, since it purports to authorize performances of the works it controls, collect royalties for those performances, and provide ballet companies around the world with approved repetiteurs to supervise and teach the works it controls.
- New York Choreographic Institute was founded in 2000 by the late Irene Diamond and Peter Martins as a vehicle to support and develop new choreographers and choreography. Except when one of his ballets is on the program, the only mention of Peter Martins in the Company's current performance programs is as co-founder of the Institute .
While the Times article had not yet appeared when we saw 'The Sleeping Beauty' on Sunday, February 17th, I'm wondering how much the incidents that are described may have had a detrimental effect on the Company's morale during the two-week run of the ballet. No matter where individual members of the Company's community fall on the spectrum from approval to disapproval of Martins' actions -- both over time and immediately preceding and during the opening night on February 13th -- the facts as reported would naturally lead to disequilibrium. The well-known members of the community --including current and former Board members quoted in the article -- can only have exacerbated a delicate situation.
. . . AND FINALLY GOOD NEWS
On Thursday, February 28th, the Boards of Directors of both New York City Ballet and The School of American Ballet announced the selection of Jonathan Stafford to become the Artistic Director of their organizations. New York City Ballet also announced the appointment of Wendy Whelan as Associate Artistic Director.
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| Wendy Whelan and Jonathan Stafford, NYC Ballet's newly appointed Associate Artistic Director and Artistic Director Photo by Todd Heisler for The New York Times |
You can read more about their appointments and backgrounds here:
It is a great relief for all of us who support the Company and the School to have the turmoil that began in late 2017 with accusations of sexual misconduct against Peter Martins followed his abrupt retirement and later the dismissal of three of the company's male principals in a sexting scandal during the summer of 2018 come to a successful conclusion.
Jonathan Stafford has been a steady, sure presence throughout these difficulties as the leader of the Interim Artistic Team -- Justin Peck, Craig Hall and Rebecca Krohn. Thanks to all of them for their devotion to the Company throughout this interim period.
Since her retirement from NYC Ballet in October, 2014 Ms. Whelan has continued her involvement with new choreography. She initiated collaborations with four choreographers -- Kyle Abraham, Joshua Beamish, Brayn Brooks, and Alejandro Cerrudo -- for a touring program called 'Restless Creature' in which she danced a duet with each of them. Kyle Abraham, of course, created 'The Runaway' which we saw at the February 3rd performance discussed above. Hopefully as part of her new responsibilities, Wendy will take a leadership role in New York Choreographic Institute, which is one of the feeders for the Company's new choreographers and choreography.
While I was initially skeptical of the ability of interim artictic team to manage such a sprawling operation as New York City Ballet, it quickly became apparently that all four of them were determined to make the bold decisions that were needed to steady the ship and keep it focused on its artistic mission. In the process Mr. Stafford rose in stature and leadership ability to the point where his appointment as Artistic Director became virtually inevitable. With Ms. Whelan as Artistic Associate undertaking much of the programming of new works and polishing of existing repertory, I am confident that they will bring continuity, stability and creativity to the Company.
ALL ROBBINS
SUNDAY MATINEE, MARCH 3, 3:00PM (Conductor: Otranto)
INTERPLAY:
*Villwock,
Segin, Adams, Woodward, Walker, Alberda, Hoxha, Mejia [Solo Piano: Moverman]
IN THE NIGHT:
Lovette,
Kowroski, Mearns, Gordon, Janzen, J. Angle [Solo Piano: McDill]
NY EXPORT: OPUS JAZZ:
Villwock, *Fahoury Coll, Habony, Walker
* First
Time in Role
We approached this program with some trepidation. Although Jerome Robbins could be a wonderful choreographer, he was a lousy editor of his own work. This made the prospect of an entire program of his works daunting.
I have always thought of 'Interplay' (1945) as an early sketch of Robbins' choreography for 'West Side Story' (1957). It has a delightful jazz/swing score -- Morton Gould's 'American Concertette' -- and was first performed on Broadway in Billy Rose's 'Concert Varieties'. It entered the Company's repertory in 1952 following Jerry's becoming Associate Artistic Director in 1949.
It is divided into four sections -- 'Free Play', 'Horseplay', 'Byplay', and 'Team Play' -- and is usually performed by eight corps dancers, as it was here except for Indiana Woodward and Peter Walker -- who are recently promoted soloists. It is an early example of Robbins' emphasis on personal interactions between the dancers in his works.
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| Peter Walker with Erica Pereira in the 'Byplay' pas de deux of Jerome Robbins' 'Interplay' Photo by Paul Kolnik for NYC Ballet |
At this performance, Nocturne No.7 was danced by Lauren Lovette and Joseph Gordon. They portray the youngest couple, rapturously in the first bloom of love. Lauren is wonderful in this role, but Joseph is a bit too blank in his responses to her. They had a slight bobble on the floor at one point with legs and arms going briefly askew.
I always think of the couple in the second section to Nocturne No. 15 as a more mature, aristocratic pair. Maria Kowroski and Russell Janzen have a natural reserve that suits this section well. The spectacular spot where Russell holds the rigid Maria in an upside-down verticle lift and gradually rotates her to the floor while she flutters one foot against the opposite ankle came off without a hitch -- demonstrating not just their superb technique but also the rather cool and aloof characters they portray.
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| Maria Kowroski and Russell Janzen in the second Nocturne of Jerome Robbins' 'In the Night' Photo by Erin Baiano |
"and the pain that is all but a pleasure will change
for the pleasure that's all but pain
and never, oh never our hearts will range
from that old, old love again"
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| Sara Mearns and Jared Angle in the third Nocturne of Jerome Robbins' 'In the Night' Photo by Erin Baiano |
'New York Export: Opus Jazz' was created in 1958 for Jerome Robbins' Ballets: USA and first performed at Gian Carlo Menotti's first Festival of Two Worlds in Spoleto, Italy that year. When put in the context of 'West Side Story' which Robbins choreographed in 1957 it seems derivative and not particularly imaginative. The jazz score by Robert Prince and the scenery by Ben Shahn add to the late 50's atmosphere without seeming very special.
The ballet is for 16 dancers in black tights and colorful T-shirts with matching sneakers for the first four sections: 'Entrance: Group Dance'; 'Statics'; 'Improvisations'; and 'Passage for Two'.
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| Dancers in the opening sections of Jerome Robbins' 'New York Export: Opus Jazz' Photo by Erin Baiano |
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| Dancers in the final section of Robbins' 'New York Export: Opus Jazz' Photo by Erin Baiano |
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The Company's 2019 winter season was a bit of a roller coaster ride with a few highs and several lows and twists and turns. We're anxious to give our new artistic direction a chance to settle into their roles and take ownership for New York City Ballet's future.
2/01/19)
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