NYC Ballet Performance on Friday Evening, October 9th -- Part 2

FRIDAY EVENING, OCTOBER 9, 8:00 PM

POLARIS (new Myles Thatcher ballet)
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THE BLUE OF DISTANCE (new Robert Binet ballet)
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COMMON GROUND (new Troy Schumacher ballet)
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NEW BLOOD 
     intermission
JEUX (new Kim Brandstrup Ballet): Mearns, Hyltin, Ramasar, Danchig-Waring; music by Claude Debussy, "Jeux"; [Conductor: Capps]


The second half of the October 9th program consisted of Kim Brandstrup's new ballet 'Jeux' which had premiered the previous evening.

Kim Brandstrup, 58, is from Denmark where he studied film at the University of Copenhagen before moving on to the London School of Contemporary Dance where he studied choreography.  Most of his creative life has taken place in Britain.  He founded Arc Dance Company there in 1985 and choreographed many works for them.  In 1994 he made his Metropolitan Opera debut as the choreographer of Benjamin Britten's 'Death in Venice' which featured Jeffrey Edwards as Tadzio and Karin von Aroldingen as his mother (non-speaking roles).  Brandstrup had previously choreographed 'Death in Venice' for the Royal Opera House, Covent Garden in 1992.

Kim Brandstrup (center) in the studio creating 'Jeux'  with Jonathan Stafford, ballet master, Harrison Ball and Indiana Woodward.
Photo by Paula Lobo for NY Times

'Jeux' uses a score of that name that Claude Debussy composed for Diaghilev's Ballets Russes in 1913.  Nijinsky's ballet to the score was set at a tennis game and concerned a menage a trois.  It was completely overshadowed when a few weeks later Nijinsky's 'Le Sacre du Printemps' to Stravinsky's ground breaking score received a tumultuous reception.

The French 'jeux' is commonly translated as 'play' or 'game', but also has connotations of play-acting, masquerade or deception.  It even figures in phrases of the French casino, such as 'faites vos jeux' (make your bets) and 'les jeux sont faits' (the chips are down).  For his 'Jeux' Brandstrup has created a scenario that takes all of these possible translations into account.

Sara Mearns with Sterling Hyltin & Amar Ramasar (right) and ensemble.  Photo by Paul Kolnik for NYC Ballet

As the curtain opens, Amar Ramasar is tying a blindfold over Sara Mearns eyes as Sterling Hyltin and the five couples of the ensemble watch.  Sara and Sterling are wearing 'little black dresses' while the other women are in dark street dresses with the men in business suits with loosened ties -- some have even shed their jackets.  They seem to be in an empty industrial building with a single dangling light bulb and a single square black column separating a narrow area on the right side of the stage from a larger area on the left.  The lighting is murky until a black back curtain rises halfway to reveal a white wall that is lit with a glaring, sometimes pulsing (and annoying) white light.
  

Sara Mearns with four ensemble couples in Kim Brandstrup's 'Jeux'.  Photo by Andrea Mohin for NY Times

Amar and Sterling with the ensemble proceed to force Sara into a game of blindman's bluff, taunting Sara and always avoiding her searching, outstretched arms.  It seems that Amar and Sara have been romantically involved, but Amar is making moves on Sterling while Sara is blindfolded.  After some ensemble dancing including what are known in pairs figure skating as 'tabletop' lifts -- spectacular from some couples, merely adequate from others -- the six couples leave Sara alone groping for contact. 

Sara Mearns and Adrian Danchig-Waring in Kim Brandstrup's 'Jeux'.  Photo by Andrea Mohin for NY Times

The party crowd is replaced by Adrian Danchig-Waring as a young jock in jeans and T-shirt with a soccer ball.  Initially intrigued by the blindfolded woman, Adrian avoids contact with Sara -- ducking under Sara's leg extended in several extravagant turns. Then he comes to her rescue when she is about to fall and begins to partner her in a sensual, athletic duet.  Here's a link to a brief video clip from the Company of their pas de deux in 'Jeux':

https://www.facebook.com/nycballet/videos/10156161034855529/

Sara removes her blindfold (or maybe Adrian pulls it down) and Sara tosses his ball into the wings with disdain.  

Adrian Danchig-Waring and Sara Mearns in Brandstrup's 'Jeux'.  Photo by Paul Kolnik for NYC Ballet

As Sara and Adrian leave the stage Sterling and Amar return to dance a romance tinged duet.  Sara sneaks back to spy on Sterling and Amar before confronting him in a jealous rage.  Sara and Sterling fight for Amar's attention.  The ensemble swirls around them.

Sterling Hyltin and Amar Ramasar in Kim Brandstrup's 'Jeux'.   Photo by Paul Kolnik for NYC Ballet

Or so it seemed to this observer.  But, who are these dancers?  why are they in this sinister space?  what are their connections before and after these dramatic encounters?  Brandstrup gives us few clues and no compelling reason to search for answers.  

This work strikes me as a descendant of Anthony Tudor's oeuvre.  Unnamed characters engage in unexplained interactions to sensuous, mysterious music.  With the right dancers (and these are the right dancers) this can be highly dramatic.  We're in a kind of post-modern lilac garden where four dancers engage in self-destructive behavior to satisfy carnal impulses.   As  'she who is cast aside' Mearns is indelible -- by turns needy, unstable, sensual and implacable.  Ramasar as 'he who moves on' is part matinee idol, part callous cad and always consummate partner.  Hyltin as 'she who seduces' is by turns alluring and flirtatious.  Danchig-Waring as 'he who hooks up' is wholesome, inquisitive and intense.

The ensemble are 'they who join in the game'.  In the ensemble, I was particularly struck by Emilie Gerrity, Rachel Hutsell and Lauren King among the women and Preston Chamblee and Russell Janzen among the men.  Rachel is still an apprentice and Preston joined the corps only last January.

*  *  *  *  *  *  *  * 

Whether 'Jeux' or any of the other four new works on this program will hold up to repeated viewing, they do provide a showcase the Company's dancers and an opportunity for them to expand their horizons with interesting choreographers.   Mearns and Hyltin shine in very different ways in 'Jeux' and 'The Blue of Distance'; Tiler Peck added cool diamantine sparkle to 'Polaris'; Ramasar provided leading man charisma and assured partnering in 'Jeux' and 'Common Ground'; Preston Chamblee in 'The Blue of Distance' and 'Jeux' stood out for his strong partnering; Russell Janzen in both the 'Jeux' ensemble and in 'Common Ground' is a very tall man who can move with speed and partner with grace; Claire Kretzschmar blazed brightly in 'New Blood' in her female-female duets with Kristen Segin and then Lauren King; and Lauren went on to stand out in the 'Jeux' ensemble; Meagan Mann with Ashley Bouder and Daniel Applebaum with Andrew Veyette held up their end in 'New Blood' duets with the Company's technical dynamos. 

There's always a lot to absorb in an evening of all new choreography, but the vivid dancing of the entire Company taking on new roles helps to point the way.  We're already anticipating Justin Peck's new ballet and to seeing more of these Fall Season premieres during the Winter Season. 

NYC Ballet's (Mis)Adventures with Bournonville: Part Three, Dress Rehearsal of 'La Sylphide'

Before we saw the all-Bournonville program at NYC Ballet on Sunday, May 24th, I had attended a dress rehearsal of 'La Sylphide' on May 5th and together we went to the NYCB Seminar on " Peter Martins' 'La Sylphide' and the Bournonville Style" on May 18th.  This is the third of four posts about these events.

May 5th Dress Rehearsal for 'La Sylphide':
I attended the piano dress rehearsal for 'La Sylphide' on Tuesday, May 5th, which was lead by Peter Martins and  Petrusjka Broholm with the opening night (May 7th) cast including:  Sterling Hyltin (Sylph), Joaquin De Luz (James), Daniel Ulbricht (Gurn) and Georgina Pazcoguin (Madge).

I was struck by Peter Martins' detailed coaching of the mime passages which are important in conveying the plot.  He spent quite a bit of time working with Joaquin De Luz and Georgina Pazcoguin on the mime passage where Madge reluctantly gives James the poisoned scarf.

I found Susan Tammany's sets for both acts very distracting, making it hard to concentrate on the dancers and the dancing.  In the Act I Manor-House set, the fireplace and beams created too many strong diagonals.  In the Act II Forest set, the complicated backdrop of trees and clouds and moon which I had loved in the promotional materials seemed to distract from the sylphs dancing in their natural environment.

Sterling Hyltin and Joaquin De Luz in the opening scene of 'La Sylphide'.  Photo by Paul Kolnik for NYC Ballet

Ms. Hyltin and Mr. De Luz, although mismatched in height, danced brilliantly.  His precise beats and wonderful elevation make him ideal for the Bournonville choreography.  Ms. Hyltin danced with both airiness and new found technical strength and looked like a 19th century lithograph come to life.  Mr. Ulbricht seemed wasted on the small part of Gurn.  Ms. Pazcoguin, the Company's finest mime artist, played Madge with wonderful expressiveness and clarity.  

Here's a link to a video of Ms. Hyltin and Mr. De Luz dancing in Act II:
  
https://www.facebook.com/nycballet/videos/vb.112319735528/10155556052500529/?type=2&theater

And here's a link to Sterling and Joaquin dancing with the corps of sylphs:

https://www.facebook.com/nycballet/videos/10155576659685529/

Note that the single partnered moment in this ballet is the one at the end of this second clip.

NYC Ballet's (Mis)Adventures with Bournonville: Part Two, The Seminar

Before we saw the all-Bournonville program at NYC Ballet on Sunday, May 24th, I had attended a dress rehearsal of 'La Sylphide' on May 5th and together we went to the NYC Ballet Seminar: 'La Sylphide' and the Bournonville Style on May 18th.  This is the second of four posts about these events.

May 18th Seminar: "Peter Martins' 'La Sylphide' & the Bournonville Style":
On May 18th we attended the NYC Ballet seminar about 'La Sylphide' and Bournonville style.  It was moderated by Faye Arthurs -- a long-time member of the company.  In addition to Peter Martins, the panelists included the lead dancers from the first cast of 'La Sylphide' -- Sterling Hyltin, Joaquin De Luz and Georgina Pazcoguin; the stager, Petrusjka Broholm; the stage manager, Marquerite Mehler; and the set and costume designer, Susan Tammany.

Ms. Arthurs first presented a brief history of 'La Sylphide' which originated at the Paris Opera Ballet in 1832 in a production made by Filippo Taglioni as a vehicle for his daughter, Marie Taglioni.  The score was by Jean-Madeleine Schneitzhoeffer.  It was the first ballet that integrated dancing en pointe into the plot.  Taglioni had her skirts shortened -- which was considered scandalous -- to show off her excellent pointe work.

Marie Taglinoni dancing 'La Sylphide' in Filippo Taglinoni's Paris Opera production of 1832.

Bournonville saw 'La Sylphide' in Paris and began to prepare a production for Copenhagen.  Stymied by the high price demanded by the Paris Opera for Schneitzhoeffer's score, he commissioned a new score from the Danish composer Herman Severin Lovenskjold.  The Sylph was danced by Lucile Grahn and Bournonville himself danced James.  The Danish version premiered in 1836 and has remained in the Royal Danish Ballet's active repertory ever since.

It is this version that Peter Martins danced in as a child and later in the mid-1960's he danced the role of James with the Royal Danish Ballet.  He staged this version in 1985 for the Pennsylvania Ballet with decor by the artist Susan Tammany.  
In discussing Ms. Tammany's sets, Ms. Arthurs showed a slide of  'Mountains at Collioure' painted in 1905 by the Fauvist, Andre Derain.  With the Act II 'La Sylphide' set behind and the Derain painting on a large screen in the center it is certainly plausible to see the connection between Ms. Tammany's set design:

Backdrop by Susan Tammany for Act II of Peter Martins' staging of 'La Sylphide'.

and Derain's painting:

'Mountains at Collioure' by Andre Derain, oil on canvas, 1905.

In discussing the costume designs, Ms. Tammany noted that the colors for the tartans of the three main human characters were chosen to reflect aspects of their characters -- blues and purples for James, the dreamer; browns and rusts for Gurn, the practical farmer, and blues and greens for Effie, the optimist. 

Skirts in tartans for (left to right) Effie's clan, James' clan, and Gurn's clan in NYC Ballet's Costume Shop.
Photo from NYC Ballet website.

Petrusjka Broholm, the stager, worked with the company for eight months teaching and perfecting its Bournonville dancing in order to mount 'La Sylphide' in the Danish style.  All of the dancers on the panel -- Ms. Hiltyn, Mr. De Luz, Ms. Pazcoguin, and Ms. Arthurs -- agreed that Ms. Broholm's Bournonville classes had improved and strengthened their overall technique.

Peter Martins spoke briefly about the importance of effective mime passages for the audience's understanding and appreciation of 'La Sylphide' and of the need to train NYC Ballet dancers in the Danish style of mime.  All of the dancers expressed the view that Peter really wanted to play the mime role of Madge, the old fortune teller and witch, but Peter denied it.

Peter Martins working on a mime passage with Georgina Pazgoquin (Madge) and Joaquin de Luz (James).

This was an impressive debut for Faye Arthurs as a seminar moderator.  She had clearly prepared for the program with extensive research and had a definite agenda that she followed, but with enough flexibility to allow the panelists to expand on their responses to her questions and make additional comments where appropriate.  It was also to her credit that there was enough information presented that there were only two questions/comments from the audience. (The questions and comments from the audience are usually the low point of the NYC Ballet seminars, since they are often silly or self-serving.  So the less, the better in our view.)
  
The seminar handout points out that Ms. Arthurs was the valedictorian when she graduated from Fordham University and from her performance here we know why.  You can read Faye's blog, 'Thoughts from the Paint' here:

http://www.thoughtsfromthepaint.com/

It's interesting to read about NYC Ballet from the viewpoint of an intelligent, articulate dancer immersed in the company's activities.

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.