Miami City Ballet Matinee Performance on April 17th

Miami City Ballet, Saturday, April 17th, Gary Sheldon, Conductor

Heatscape (Bohuslav Martinu/Justin Peck):
First Movement:  Emily Bromberg, Renan Cerdeiro
Second Movement:  Tricia Albertson, Kleber Rebello
Third Movement:  Andrei Chagas, Jennifer Lauren, Shimon Ito

Viscera (Lowell Liebermann/Liam Scarlett):
Jeanette Delgado, Renato Penteado, Kleber Rebello, Jennifer Lauren, Callie Manning, Zoe Zien
Francisco Renno, Piano

Bourree Fantasque (Emmanuel Chabrier/George Balanchine):
First Movement:  Jordan-Elizabeth Long, Shimon Ito
Second Movement:  Simone Messmer, Rainer Krenstetter, Emily Bromberg, Samantha Hope Galler
Third Movement:  Nathalia Arja, Renato Penteado, Ashley Know, Neil Marshall, Zoe Zien, Chase Swatosh
Fourth Movement: Entire cast


Miami City Ballet was founded in 1985 and is just finishing its 30th Anniversary season.  It's week-long appearance at the Koch Theater was the capstone of the anniversary celebrations -- the first time the Company had performed at Lincoln Center and their first appearance in New York City since 2009.  They brought eight ballets spread over three programs on this visit.  Their music director, Gary Sheldon, conducted the New York City Ballet orchestra for all seven performances.

Lourdes Lopez, the artistic director of Miami City Ballet since 2012, commissioned 'Heatscape' from Justin Peck in 2015.  Justin used the Piano Concerto #1 by Bohuslav Martinu -- a composer whose 'Sinfonietta la Jolla' he had also used for his 'Paz de la Jolla' in 2013.  The well-known street artist and graphic designer Shepard Fairey-- who created the 'Hope' poster of Barack Obama for the 2008 presidential campaign -- created the backdrop and Reid Bartelme and Harriet Jung designed the costumes.

Company members in Justin Peck's 'Heatscape'.  Backdrop by Shepard Fairey and costumes by Reid Bartelme and Harriet Jung.  
Photo from Miami City Ballet website.

This video by Ezra Hurwitz and Justin Peck shows Justin imagining the choreography amidst Miami's Wynwood Walls -- a site where vivid street art is encouraged and celebrated:

https://www.youtube.com/watch?v=L_w11RwHYuw 

'Heatscape' itself is a brilliant introduction to this company -- as sunny and open-hearted as its home city.  The choreography is athletic and complex, but most of all it is immensely fun to watch -- and hopefully to dance.

The curtain opens with the entire 17-member cast lined up across the back of the stage facing Fairey's backdrop -- a huge red and orange sunburst with a wide border in a dark blue and gold border across the bottom, both inspired by Indian mandala patterns.  They're wearing Bartelme & Jung's pale costumes -- short white dresses for the women and beige shorts with white tops for the men.  They turn and race to the front of the stage before beginning to dance to the jaunty opening of the first movement (Allegro moderato).  As the music shifts into a more contemplative mood a central couple (Emily Bromberg and Renan Cerdiero) emerges. 

Tricia Albertson and Kleber Rebello in the second movement of 'Heatscape'.
Photo by Paul Kolnik

In the second movement (Andante) a different couple (Tricia Albertson and Kleber Rebello) dances a sensual pas de deux.  There is a beautifully executed movement repeated several times, where Ms. Albertson rises through a hoop of Mr. Rebello's encircling arms.  Mr. Rebello must be incredibly strong to sustain Ms. Albertson in the air supported on his extended arms.

Miami City Ballet dancers in Justin Peck's 'Heatscape'.  Photo from Vanity Fair

The romping third movement (Allegro) is led by Andrei Chagas, Jennifer Lauren and Shimon Ito.  Peck often devises choreographic patterns which intrigue and sometimes deceive the observer -- here two concentric circles of five and then seven dancers each.  You initially think that you see a circle of men and a circle of women, but then you realize they are probably organized by height with a single tall woman mixed with four tall men and a shorter man with four short women.  By the time you've figured that out, the circles have grown to seven members each -- again seemingly organized by taller and shorter without regard to sex.  It reminded me of the moments in Balanchine's 'Agon' where the three quartets -- initially four men and two groups of four women -- suddenly become mixed and then resolve again by sex.  It is all enormous fun for the observer and obviously for the company.

Miami City Ballet dancers in Justin Peck's 'Heatscape'.  Photo from Vanity Fair

 At the end the cast gathers at the back of the stage and then race to the front as the curtain descends.

Liam Scarlett's 'Viscera' to Lowell Liebermann's 'Piano Concerto #1' was created for MCB in 2012 and has since also been danced by the Royal Ballet -- where Scarlett is resident choreographer.  The dark, partially translucent costumes are also by Scarlett. 

Jennifer Kronenberg and Miguel Guerra in Liam Scarlett's 'Viscera'.  Photo by Andrea Mohin for NYTimes

The murky lighting design is by John Hall.  I found what of Scarlett's choreography we could see through the gloom arduous with often clumsy partnering.  The 16-member-cast was led by Jennifer Carlynn Kronenberg, Jeanette Delgado and Miguel Guerra, but the entire group floated on and off stage seemingly at random. 

The program closed with Balanchine's 'Bourree Fantasque' to music of Emmanuel Chabrier.  The work was staged for the Miami company by Susan Pillare -- who had also staged it for the School of American Ballet's 2010 Workshop Performances.  It was one of the first ballets that Balanchine created -- in 1949 -- for New York City Ballet.

The first movement -- created for Tanaquil Le Clercq and Jerome Robbins -- is one of Balanchine's pairings of a tall, long-legged ballerina with a shorter partner.  Both Le Clercq and Robbins were well-known for their wit.
  

Tanaquil Le Clercq and Jerome Robbins in the first movement of Balanchine's 'Bouree Fantasque'.
Photo by George Platt Lynes

Here the Miamians Jordan-Elizabeth Long and Shimon Ito had great fun with the taller woman/shorter man paradigm.  In this movement the women all expertly manipulated fans while the men gave their best toreador impressions.

Balanchine created the second movement for Maria Tallchief and Nicholas Magallanes.  The ballerina -- a relative of the Waltz Girl in Balanchine's 'Serenade'and the Elegie ballerina from his 'Tschaivkosky Suite #3" --  fades in and out of the ensemble as she is pursued by her ardent suitor.  MCB's Simone Messmer and Rainer Krenstetter danced with poignance and longing as the thwarted lovers.

Simone Messmer and Rainer Krenstetter in the second movement of Balanchine's 'Bourree Fantasque'.
Photo by Andrea Mohin for NYTimes

Balanchine set the third movement on Janet Reed and Herbert Bliss.  The Miamians Nathalia Arja and Renato Penteado were dazzling in this performance.

The fourth movement brings the entire cast of 42 dancers on stage for a rousing finale featuring cadres of ballerinas from the three previous movements crisscrossing the stage in space devouring grand jetes.

Mass grand jetes by the women of the second movement  in the final movement of
Balanchine's 'Bourree Fantasque'.
Photo by Gene Schiavone

 The complexity of the patterns -- including more concentric circles -- that constantly change and resolve is extraordinary and offered a final example of the exuberance and joie de vivre that this company brought to the Koch Theater. 

Miami City Ballet dancers in the finale of Balanchine's 'Bourree Fantasque'.
Photo by Renato Penteado for Miami City Ballet

  

Comments on 'Ballet 422'

We saw 'Ballet 422' Friday afternoon at the Film Society of Lincoln Center's Elinor Bunin Munroe Film Center -- a classy venue with a nice 'take-out' cafe, Indie, and $9.00 tickets for seniors -- $3.00 less than the nearby multiplex.

Poster for 'Ballet 422'

'Ballet 422' is a documentary film about the making of Justin Peck's 'Paz de la Jolla' -- the 422nd ballet created for New York City Ballet -- which premiered during the 2013 Winter season.  Unlike many documentaries, it does not use either voice over narration or on-camera interviews.  A few stark chapter headings let the audience know where we are in the timeline to the premiere which starts two months before the opening night.

At the time, Justin was still a relative choreographic neophyte.  His ballets 'Year of the Rabbit' (October, 2012) and 'In Creases' (July, 2012) preceded 'Paz de la Jolla' into the Company's repertory.  At 25, Justin was still a member of the Company's corps de ballet.

Justin Peck working on 'Paz de la Jolla' in the studio.  Photo: still from 'Ballet 422' by Jody Lee Lipes

'Ballet 422' simply watches as Justin goes through the days leading up to the premiere.  For his music he has selected 'Sinfonietta la Jolla' by Bohuslav Martinu a score for small orchestra and piano soloist from 1950 which was commissioned by a small musical group from La Jolla, CA, a suburb of San Diego -- where Justin grew up.  The selection of the music seems to lead to the ballet's design -- the beach at La Jolla in 1950.

Justin is working with a cast of 18 -- three principals (Sterling Hyltin, Tiler Peck, and Amar Ramasar), 10 corps women and 5 corps men.  The thematic idea of trios -- two women and one man -- seems to occur throughout the ballet as it develops.

The film shows Justin working on a solo with Tiler Peck and a duet with Sterling and Amar in the studio.  For a young corps dancer, he seems both assured and circumspect -- coaxing and coaching them in dancing the passages as he has envisioned them.  There is a nice sense of give and take between Justin and the dancers to achieve what is either possible or comfortable for them within the framework of his creative vision.

With the corps dancers, Justin seems a bit more assertive, going over movements until they are done to his satisfaction.  With all of the cast, Justin knows what he wants and seems to have the knack of getting it from each of them.  The film shows a humorous moment as Justin works out a move when Tiler and Sterling have to brace Amar as he falls back.  Initially the ladies apply unequal strength, causing Amar to slip sideways.  It takes several tries before they get it to Justin's satisfaction without dissolving in giggles.  

Albert Evans is the ballet master working with Justin on 'Paz de la Jolla'.  At one point Albert halts a rehearsal to give Tiler a 5-minute break -- required by the dancers' and musicians' union contracts.  At other points, as Justin develops the piece Albert is there to record and remember the sequences, since he will be responsible for restaging the work and rehearsing other dancers who may take over from the original cast.  Albert also gives Justin a sounding board for his notes and thoughts as the rehearsals proceed.

Sketch of costume for Tiler Pack by Reid Bartelme & Harriet Jung from the NYC Ballet archives.

Justin is seen with the lighting designer, Mark Stanley, and his lighting crew working out the lighting that will give the ballet the on-stage atmosphere he's looking for.  Justin goes over costume ideas with the designers Reid Bartelme and Harriet Jung and interacts with them and Marc Happel, the head of the Company's costume shop.  Later some of the dancers try on the costumes to make sure that they give Justin the look he's after while still allowing the dancers to dance the steps he's created for them.  Each dancer has a different costume to give the effect of a crowded summer day at the beach circa 1950.

Costume designs for 10 of the 15 corps dancers by Reid Bartelme and Harriet Jung from the NYC Ballet archives.

Cameron Grant, the Company's principal piano soloist, is a presence throughout the creative process -- playing for studio rehearsals as the ballet is developed and then in the pit as piano soloist for orchestra rehearsals with Andrews Sill conducting the orchestra.  Just before the final rehearsal, Grant suggests that Justin give the orchestra a pep talk to thank them for their efforts and rev them up for the premiere.  Following the rehearsal Justin asks the conductor for time to say a few words.  It is a touching moment as the neophyte takes the advice of a mentor (Grant) to get the orchestra's buy-in to his creative process.

While the creation of the ballet proceeds, the rest of Justin's life goes on in parallel.  He takes company class, dances in the repertory, goes home to an empty apartment in Morningside Heights.

Finally, the night of the premiere of 'Paz de la Jolla' arrives.  Justin dons his dark suit, white shirt and tie, puts on his round horn-rimmed glasses and mingles with the Company's benefactors before the premiere.  He takes his seat in the second ring and watches 'Paz de la Jolla'.  Justin seems pleased with the result.  When the curtain comes down he rushes down to the stage to take part in the curtain calls.

Then, negotiating the deserted hallways backstage to his dressing room, he takes off the suit, puts on his costume and make-up and goes on stage to perform in the corps for the last work of the program -- Alexei Ratmansky's 'Concerto DSCH'.

'Ballet 422' was directed and photographed by Jody Lee Lipes.  Lipes is the husband of Ellen Barr, a former New York City Ballet dancer, who is now the Director of Media Projects for the Company and one of the film's producers.  To me, it was a surprise that Peter Martins doesn't appear in the film and gets minimal coverage in the credits.  Did Peter really stay that far in the background?

Banner for 'Ballet 422'

You can watch the trailer for 'Ballet 422' here:

http://www.magpictures.com/ballet422/

But you really should just go see the movie while it's in town.  It really does take you behind the curtain at New York City Ballet to see how the pieces of a very complex puzzle fit into place and to get a sense of how a young choreographer goes from 'let's put on a show' to actually getting the show onto the stage in something like his original vision.  Despite all of its insight it leaves you wanting to know even more.  It also leaves you wanting to see and savor 'Paz de la Jolla' in a live performance now that you know a bit about how it came into being. 

Of course, Justin Peck has gone on from 'Paz de la Jolla' to create even more ballets for New York City Ballet and other companies.  Just this week, his new ballet to Aaron Copland's orchestral suite from 'Rodeo' opened at NYC Ballet -- we'll see it on Sunday, February 8th.  He has been promoted from corps de ballet to soloist and has been named the Company's resident choreographer.  Benjamin Millipied, the director of dance at the Paris Opera, just announced that Justin will create a work for them in 2016.  This film is a glimpse at the creative process of one of the 21st century's most promising choreographers.