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

  

New York City Ballet, Tuesday Evening, February 9th

TUESDAY EVENING, FEBRUARY 9, 7:30 PM: NEW COMBINATIONS

POLARIS: Gerrity, Mann, Isaacs, *Finlay, Stanley, Applebaum, Kayali, Scordato
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THE BLUE OF DISTANCE: Woodward, Phelan, Adams, Catazaro, Carmena, Chamblee, Villarini-Velez [Solo Piano: Chelton]
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COMMON GROUND: Laracey, Maxwell, Reichlen, Ramasar, Huxley, Janzen, Gordon [Conductor: Sill]

ESTANCIA: T. Peck, T. Angle, Veyette [Conductor: Litton]

THE MOST INCREDIBLE THING: Stanley, Hyltin, Ramasar, la Cour, Janzen, *M. Fairchild [Conductor: Litton]

'Polaris', 'The Blue of Distance' and 'Common Ground':

'Polaris', 'The Blue of Distance' and 'Common Ground' were all new last fall.  You can read my comments about the ballets here:

http://zylopho.blogspot.com/2015/10/nyc-ballet-performance-on-friday.html

In this performance of Myles Thatcher's 'Polaris' Emily Gerrity and Chase Finlay replaced Tiler Peck and Craig Hall in the leading roles.  Ms. Gerrity offered a bold and vibrant view of the outsider. Mr. Finlay, newly returned from serious injury, seemed cautious and bland.

In Robert Binet's 'The Blue of Distance' only Antonio Carmena and Preston Chamblee remain from the starry original cast.  Of the new additions I felt that the three women -- Sara Adams, Unity Phelan and Indiana Woodward -- proved alluring as the three 'mermaids'.  They and Messrs. Catazaro and Villarini-Velez fulfilled my October prophecy that this is a work that could be danced by a less starry cast without losing its impact as a hypnotic ensemble piece.

'Common Ground' by Troy Schumacher remains troubling chiefly because the costumes are so distracting.  The commissioned score remains interesting and Troy's choreographic response to it is skillful and lively.  The original cast seemed even better at this performance -- Troy has brought out the best in each of the seven dancers.  Teresa Reichlen, Ashley Laracey, Anthony Huxley and Russell Janzen all caught my eye for the way they took advantage of the choreographic opportunities Troy provides them.

'Estancia': 

Christopher Wheeldon created 'Estancia' for the Company's 2010 Spring Season to a score by Alberto Ginastera, the great Argentine composer.  The Ginastera score and libretto had been commissioned by Lincoln Kirstein in 1941 for George Balanchine to choreograph on their American Ballet Caravan -- one of the earlier iterations of what became New York City Ballet.  That company disbanded, however, before Balanchine could undertake the project.

The scenic designs for Wheeldon's 'Estancia' are by the Spanish architect, Santiago Calatrava, who provided designs for several new ballets presented that season.  I believe that collaboration with Calatrava was a precursor of the Company's annual Art Series.  Calatrava is the architect of the recently opened Transportation Center at the World Trade Center which is featured in this video from Cole Haan featuring five NYCB dancers Sara Mearns, Megan Fairchild, Craig Hall, Adrian Danchig-Waring, and Gretchen Smith:

https://www.facebook.com/colehaan/videos/10153979285903518/

For 'Estancia' Calatrava created a front curtain that is an abstraction of a stampeding herd of longhorn cattle: 

Santiago Calatrava's design for the front curtain of 'Estancia' by Christopher Wheeldon.

and a backdrop that is an abstracted and layered landscape of the Argentine pampas.

The cast for this performance included most of the original 2010 cast -- Tiler Peck as the Country Girl, Tyler Angle as the City Boy, and Andrew Veyette as the Wild Horse.  I missed Gina Pazcoguin as another wild horse -- a role that seems diminished in this staging.  Perhaps Wheeldon has done some tinkering since 2010 or perhaps Ms. Pazcoguin wasn't available.

'Estancia' opens with a singer, Steven LaBrie, singing 'El Gaucho Martin Fierro', Ginastera's setting of a poem by Jose Hernandez that inspired him to develop the libretto and write the score.  It sets a contemplative mood which is echoed in the opening scene of ranch workers going about early morning chores on the estancia.
  

Tyler Angle, the City Boy, arrives at the estancia. Tile Peck, the Country Girl (center) and the Country Folk disdain his fancy dress and fine manners.  Photo by Paul Kolnik for NYC Ballet

The City Boy arrives and is awed by the simple ranch life and smitten by the Country Girl who scorns his refined dress and fine manners.  He watches while she catches and tames the Wild Horse.  Determined to impress her, the City Boy tries to capture a wild horse.  She grudgingly admires his determination and ultimate success.  By the time the sun sets they have fallen in love and with the next dawn the lovers are integrated with the country folk as they begin the next days chores.

I wasn't persuaded by Wheeldon's telling of this tale in 2010 and I'm not sold on 'Estancia' by this performance either.  He offers some interesting steps and motifs for the wild horses and uses four long poles effectively to suggest a corral.
  

Tiler Peck as the Country Girl tames the Wild Horse, Andrew Veyette, in Christopher Wheeldon's 'Estancia'.
Photo by Paul Kolnik for NYC Ballet

The dances for the country folk and the pas de deux for the Country Girl and City Boy seem generic rather than specific to the story.  Balanchine was probably right to pass this material by even though Kirstein had paid for it.  

'The Most Incredible Thing':

Justin Peck's new work 'The Most Incredible Thing' was obviously the big draw on this program.  With costumes and sets by Marcel Dzama and a commissioned score by Bryce Dessner, 'Incredible' is based on a fairy tale of the same name by Hans Christian Andersen.  

Marcel Dzama (sets & costumes), Justin Peck (choreography) and Bryce Dessner (music).

It tells the story of a King (both Ask la Cour and Russell Janzen) who offers his daughter (Sterling Hyltin) in marriage along with half of his kingdom to whoever can do the most incredible thing.

The Creator (Taylor Stanley) creates a fabulous clock that produces wonderful displays for each hour in the day.  He presents the clock to the King and his daughter.  Everyone agrees that the clock is the most incredible thing and they begin preparations for the wedding.

But, the Destroyer (Amar Ramasar) arrives just before the wedding of the Princess to the Creator.  He smashes the clock.  Everyone agrees that the destruction of the clock is the most incredible thing.  The King is forced to give the Destroyer the hand of the Princess in marriage.

But, the fantastical figures from the smashed clock rise up and vanquish the Destroyer -- and everyone agrees that the resurrection of the clock's figures to attack the Destroyer is the most incredible thing and they all celebrate the marriage of the Princess and the Creator.

We know the story because there is a synopsis printed in the program . . . and from a seemingly endless string of Facebook and YouTube postings from the Company.  Unfortunately, the ballet itself muddies the plot rather than clarifying it.  The first pas de deux for the Creator and the Princess, while lovely, precedes the creation and presentation of the clock.  In fact, there is almost no connection established between the Creator and the clock.

After the clock is presented there is a series of divertissements for each hour led off by a solo for the Cuckoo (Megan Fairchild) representing one o'clock.  

Tiler Peck as the Cuckoo.
Photo by Paul Kolnik for NYC Ballet

The original costume for the Cuckoo was covered in feathers including a feathered 'ski mask' that was modified and later discarded in favor of a single feather -- a la 'The Firebird'.  Unfortunately, Ms. Fairchild took a bad nose dive center stage at her second entrance which marred the overall impact of her Cuckoo.  

Rebecca Krohn & Adrian Danchig-Waring as Adam & Eve
Photo by Paul Kolnik for NYC Ballet

For two o'clock there is a duet for Adam and Eve (Rebecca Krohn and Adrian Danchig-Waring) -- a sort of nightclub adagio for dancers in nude body-stockings with strategically placed vines and leaves.

Three o'clock is a trio for The Three Kings (Jared Angle, Daniel Applebaum and Gonzalo Garcia).  It is unclear from their generic choreography and medieval armor if these are the biblical magi or some other kings.  There is no gold, frankincense and myrrh -- just the shiny gold and silver armor and helmets and long metal staffs.

Four o'clock is the Four Seasons represented by an Empty Nest for Autumn (Brittany Pollack), a Crow for Winter (Marika Andersen), a Spring Bird (Gwyneth Muller), and a Grasshopper for Summer (Andrew Scordato).  

Brittany Pollack as the Empty Nest and
Gwyneth Mullet as the Spring Bird.
Photo by Paul Kolnik for NYC Ballet

These are among Mr. Dzama's most successful costumes and Mr. Peck responds with inspired movement that take full advantage of their impact.

Andrew Scordato's colorful makeup for the Summer Grasshopper.
Photo by Barbara Anastacio for NYTimes

For five o'clock there are the Five Senses -- five women in identical silver satin whirling dervish costumes with embedded hula hoops that obscure any meaningful choreography.

The Five Senses (which is which?).
Photo by Andrea Mohin for NYTimes

At six o'clock there is The Gambler (Daniel Ulbricht).  I don't have a clue what he's doing here -- other than a few spectacular leaps and spins while wearing a black costume with six white dots on his chest -- oh, maybe he's trying to throw himself a good crap shoot.

Daniel Ulbricht as The Gambler.
Photo by Barbara Anastacio for NYTimes

The Seven Deadly Sins or The Seven Day of the Week.
Photo by Paul Kolnik for NYC Ballet

Seven o'clock brings either The Seven Deadly Sins or The Seven Days of the Week played by seven corps women identically dressed in streaky orange, red and purple leotards with red-orange wigs sprouting rams horns.  Despite the confusion over what they represent they do have interesting choreography.

The Eight Monks arrive at eight o'clock looking more like Harry Potter wizards in long robes and tall, peaked hats that bobble as they move.  They can't dance in these costumes, so they march around the stage looking frustrated and portentious.

The Nine Muses in 'The Most Incredible Thing'.  Photo by Andrea Mohin for NYTimes

At nine o'clock the Nine Muses arrive in stiff black and white tutus that kind of look like the rings of Saturn and black Louise Brooks wigs.  Their choreography is the best ensemble dance in the piece:

http://www.nytimes.com/video/arts/dance/100000004185824/excerpt-the-most-incredible-thing.html

Ten o'clock brings back the Cuckoo in nicely avian choreography.  But why does the Cuckoo get two of the twelve hours?  budgetary concerns?  appeasing a diva's demand for greater exposure?

Eleven children -- students of The School of American Ballet -- enter down a slide on the right of the clock.  They are adorable and Mr. Peck has given them wonderful choreography that neither condescends to their youth nor over taxes their ability.  More than doting family members in the audience will appreciate this section.

Finally, at twelve o'clock the entire cast of the divertissements assembles for a finale.  Mr. Peck usually has great finesse in dealing with odd numbers of dancers, but here he assembles the Seven Deadly Sins, the Eight Monks and the Nine Muses in a three by eight column with the extra Muse plunked in front of the line of Seven Sins.  He either ran out of time or inspiration or both for this recapitulation of themes from the divertissements.

Sterling Hyltin & Taylor Stanley as the Princess & the Creator lead the ensemble in the Twelve O'Clock finale.
Photo by Paul Kolnik for NYC Ballet

As the cast assembles for the wedding of the Princess and the Creator, the Destroyer suddenly appears.  He is wearing silver armor with a two-faced helmet and a silver club in place of one hand -- we've been told Mr. Dzama was inspired by Marcel Duchamp chess pieces for this club.  After using the club to smash the clock, the Destroyer forces himself on the Princess in an erotically-charged pas de deux:

https://www.facebook.com/nycballet/videos/10156551753810529/

Amar Ramasar & Sterling Hyltin as The Destroyer & the Princess.

This duet is Mr. Peck at his finest -- raising the difficulty by using the club/hand as both a complication and a threat -- and Ms. Hyltin and Mr. Ramasar seem inspired by the challenges.

As the pas de deux ends, the clock pieces arise from the rubble of the clock and attack the Destroyer -- in a whimsical touch some of the eleven children cling to his legs as he thrashes about and the Three Kings in their armor finally have a purpose.  The Destroyer is subdued and vanquished.  The Princess and the Creator are united in triumph.

'The Most Incredible Thing' is neither an unmitigated disaster nor an unparalleled success.  For me, Mr. Peck has placed too much faith in a strong-willed artistic partner (Mr. Dzama).  Some of the costumes work very well, while others are too unwieldy for ballet.  The overall effect of the costume and set designs is of clutter and distraction.  Mr. Dessner's music works well without being distinctive.

The introduction of the Princess as the King splits in half is a real coup de theatre, but it's effectiveness was diluted by the videos that came out before the first performance:

https://www.youtube.com/watch?v=FY_P1c4NJwU 

Here is a link to a piece where Mr. Dzama and Mr. Dessner discuss their creative process -- among other things, it attempts to justify the mess that Mr. Dzama installed on the Koch Theater promenade and throughout the Theater's public spaces:

http://thecreatorsproject.vice.com/show/marcel-dzamas-most-incredible-thing-ballet?utm_source=tcpfbus

Justin Peck with Marcel Dzama's backdrop for 'The Most Incredible Thing'.
Photo from The Last Magazine 

New York City Ballet Matinee on Sunday, February 21st

SUNDAY MATINEE, FEBRUARY 21, 3:00 PM

'21st Century Choreographers'

ASH: *Laracey, *Catazaro [Conductor: Capps]
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THIS BITTER EARTH: **Mearns, T. Angle
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THE INFERNAL MACHINE: *Phelan, *Chamblee [Conductor: Capps]
     intermission
JEUX: Mearns, *Lovette, Danchig-Waring, *Hall [Conductor: Capps]
     intermission
PAZ DE LA JOLLA: Hyltin, Ramasar, T. Peck [Conductor: Sill]

  *  First time in role at Saturday Matinee, February 21st
**  New York City debut at Saturday Matinee, February 21st

New York City Ballet's '21st Century Choreographers' program was on our subscription series.  Since we had watched Justin Peck's creation of 'Paz de la Jolla' in the movie 'Ballet 422', we were anxious to see the result on stage.  The rest of the program was not new to us -- we had seen several of these works close to the dates when they were first introduced to the Company's repertory.

'Ash' is a busy, energetic work by Peter Martins to a score by Michael Torke.  It was created in 1991 when the original cast was Wendy Whelan and Nilas Martins backed by four couples: Yvonne Borree, Rebecca Metzger, Monique Meunier, Kathleen Tracey, Albert Evans, Arch Higgins, Russell Kaiser and Ethan Stiefel.  At Sunday's program it was danced by Ashley Laracey and Zachary Catazaro with Sara Adams, Laine Habony, Ashley Hod, Unity Phelan, Devin Alberda, Cameron Dieck, Spartak Hoxha and Sebastian Villarini-Velez.

Devon Alberda, Cameron Dieck and Spartak Hoxha in Peter Martins' 'Ash'.
Photo by Paul Kolnik for NYC Ballet

The general design of 'Ash' reminds me of Balanchine's 'Square Dance' -- the hierarchy of principals and corps, the use of call and response, the dancers' general glee with their performances.  Ms. Laracey was sunny, but a little generic; Mr. Catazaro seemed subdued and underpowered.  Among the corps, I was particularly impressed with Mr. Alberda's crisp delivery of his solo passages and also enjoyed the sparkle added by Ms. Phelan, Ms. Adams and Mr. Dieck.

Christopher Wheeldon created 'This Bitter Earth' for Wendy Whelan and Tyler Angle as part of a larger work, 'Five Movements, Three Repeats', first performed at the Vail International Dance Festival in August, 2012.  As a stand-alone pas de deux it entered the Company's repertory at the 2012 Fall Gala.

Wendy Whelan and Tyler Angle in Christopher Wheeldon's 'This Bitter Earth' in 2012.  Photo by Paul Kolnik for NYC Ballet 

The music by Max Richter and Dinah Washington comes from the soundtrack for the movie 'Shutter Island'.

Partnered by Tyler Angle, Sara Mearns made her debut in the work the previous day.  Sara's dramatic temperament and extraordinary amplitude fit nicely into Wheeldon's duet of convoluted shapes and tricky partnering.  Tyler provides strong, somewhat stoic support.  'This Bitter Earth' is not a favorite ballet of mine -- more a piece d'occasion than a repertory staple -- but cast with first rate dancers like Sara and Tyler it makes a positive impact.

Peter Martins created 'The Infernal Machine' for Diamond Project V in May, 2002, to music of the same name by Christopher Rouse.  The original cast was Janie Taylor and Jock Soto.

The score is filled with odd ticks and jolts and sputters.  Unity Phelan and Preston Chamblee -- two of the Company's emerging young talents -- made their debuts in this work at the previous day's matinee.  Chamblee is a steady, confident partner while Phelan provides a feline intensity.  Martins gives them complicated, manipulative partnering moves that can often look awkward, but here they seem appropriate for the astringent score.
    

Preston Chamblee and Unity Phelan in 'The Infernal Machine' by Peter Martins.
Photo by Paul Kolnik for NYC Ballet

Here is a brief YouTube clip showing these two dancers in this work which has just shown up on the Company's website:

https://www.facebook.com/nycballet/videos/10156630720785529/

'Jeux', the ballet by Kim Brandstrup to the Debussy score, was new last fall.  You can read about my initial reaction here:

http://zylopho.blogspot.com/2015/10/nyc-ballet-performance-on-friday_23.html

I concluded those comments by questioning whether 'Jeux' (and several other new Fall Season works) would hold up on repeated viewings -- it does not.  Sara Mearns was again extraordinary as the blindfolded woman who is cast aside.  Adrian Danchig-Waring again offered strong if nonchalant partnering for her as the jock with the ball.
  

Sara Mearns and the ensemble in Kim Brandstrup's 'Jeux' to the music of Debussy.
Photo by Paul Kolnik for NYC Ballet

Craig Hall and Lauren Lovette were new in this performance -- Craig as the cad who casts Sara aside for Lauren's flirty seductress.  Mr. Hall certainly has the matinee idol looks and strong partnering technique for the part, but he lacks the intense focus Amar Ramasar brought to the role.  With her gorgeous looks and sparkling presence Ms. Lovette makes seduction look simple.

Nevertheless, 'Jeux' is a disappointing ballet that doesn't offer new rewards on repeat viewings.  The vaguely sinister atmosphere and the harsh lighting on the women's bare legs also distract from it's appeal for me.

Justin Peck's 'Paz de la Jolla' which was the subject of the movie 'Ballet 422' was both old and new to us -- old in that we had watched its creation in 'Ballet 422', but new in that we had never seen the complete ballet on stage.  The ballet is set to Bohuslav Martinu's 'Sinfonietta la Jolla for Piano and Chamber Orchestra'.  Here is a description of the work written by Dr. Richard E. Rodda from a Harrisburg Symphony program:   

The opening movement is based on traditional sonata form and utilizes two basic thematic types. The first is bustling and active, filled with rapid figurations passed among the instruments; the second derives from the songfulness of folk music in its lyricism and chordal texture. A pleasing balance is achieved between these two contrasting elements without ever losing the exuberance and spontaneity that enlivens Martinů’s music. The second movement, slow in tempo and soulful in expression, uses folk song models to such an extent that Brian Large, in his study of the composer, labeled it “a virtual fantasia on Czech folk songs.” The finale is a vivacious rondo indebted to the irresistible closing movements of Haydn, whose music Martinů was studying closely at the time he composed the Sinfonietta.  

Justin created a ballet set on the beaches of Southern California where he grew up -- sun drenched by day and moonlit by night.  The cast was led here by Sterling Hyltin, Amar Ramasar and Georgina Pazcoguin (replacing Tiler Peck).  The 15 other dancers were a mix of soloists and corps -- most from the original 2012 cast.  They are all individually costumed in what I would characterize as Eisenhower-era beach wear designed by Reid Bartelme and Harriet Jung.

Costume sketch for 'Paz de la Jolla'  by Reid Bartelme and Harriet Jung.

Following the structure of Martinu's music, Justin's choreography begins with lively beach games interspersed with the stirrings of summer romance between Amar and an outsider, Sterling.  The moonlit central section is a romantic duet for Sterling and Amar often engulfed by shimmering images of surf or coastal fog for the ensemble, their bright beach wear now shrouded in silvery translucent smocks. 
 

Ensemble in translucent smocks during the central movement of Justin Peck's 'Paz de la Jolla'.
Careful inspections shows Amar Ramasar and Sterling Hyltin partially visible behind the ensemble.
Photo by Paul Kolnik for NYC Ballet 

In the final rondo the full cast engages in more beach frolics with Sterling now integrated into the larger group.

By now, we are familiar with some of the signature movement motifs that run through Justin's choreography.  What is amazing is how well he adjusts them and integrates them with the music he has chosen so that they produce a unique result.  Here's a video from the Company which highlights Justin's creation of 'Paz de la Jolla':

https://www.youtube.com/watch?v=86qGrO9fJFY

Better yet, seek out the movie 'Ballet 422' which provides even deeper insight into Justin's creative process.

Here's a short promotional video from the Company with snippets from 'Paz de la Jolla':

https://www.youtube.com/watch?v=RG5YxO89hO4

Final image of Justin Peck's 'Paz de la Jolla' with Tiler Peck, Sterling Hyltin and Amar Ramasar.
Photo by Paul Kolnik for NYC Ballet

Gina Pazcoguin, replacing Tiler Peck apparently on short notice, has been with 'Paz de la Jolla' from its earliest rehearsals.  She dances with sparkle and wit, but lacks Ms. Peck's indelible stage presence.  The costume (designed for Ms. Peck) did Ms. Pazcoguin no favors.  Sterling Hyltin and Amar Ramasar seemed to be an unlikely romantic couple on paper, but with Justin Peck's choreography the improbable becomes indelible.

*  *  *  *  *  *  *  *  *

For me, the best impressions in this program were made by Unity Phelan and Preston Chamblee -- together in Martins' 'Infernal Machine' and separately in the ensembles of Martins' 'Ash' (Ms. Phelan) and 'Jeux' (Mr. Chamblee).  They are young dancers to watch as they progress further up through the Company's rich and diverse repertory and (hopefully) find themselves inspiring choreographers in roles made for their unique abilities.

Program for the 2016 School of American Ballet Workshop Performances

The faculty of the School of American Ballet has announced the program for the 2016 Workshop Performances on Saturday, June 4th, and for the 2016 Workshop Gala on Tuesday, June 7th:

'The Four Temperaments', Hindemith, Balanchine
'Les Gentilhommes', Handel, Martins
'Danses Concertantes', Stravinsky, Balanchine

After a few years of an 'odds and ends' dance recital format, this year they're returning to a substantial Workshop program that honors the School's seriousness of purpose and offers rewards for the talented students it trains and the devoted audiences who attend the three Workshop Performances.

'The Four Temperaments'

'The Four Temperaments' was first staged by Ballet Society -- the immediate precursor of New York City Ballet -- in 1946 at the auditorium of the Central High School of Needle Trades.  Unlike the austere black-and-white leotard ballet that we will see this June, the original 1946 performances had bizarre costumes by the surrealist artist Kurt Seligmann.
  

Kurt Seligmann's sketch of costume designs for Balanchine's 'The Four Temperaments'.

According to many contemporary viewers Seligmann's costumes distracted from Balanchine's revolutionary choreography. 

Elise Reiman and Herbert Bliss in Kurt Seligmann's original costumes for Balanchine's 'The Four Temperaments'. 

Even before the first performance Balanchine pruned some of the greatest excesses of the costumes.
  

Maria Tallchief in Kurt Seligmann's costume for 'The Four Temperaments'.

When 'The Four Temperaments' re-entered the repertory of New York City Ballet in 1951, Seligmann's costumes had been completely scrapped -- replaced by black-and-white leotards that display Balanchine's choreography in pristine glory.

The commissioned score by Paul Hindemith was created in 1940.  Igor Stravinsky admired the music of Hindemith and probably urged his friend George Balanchine to work with him.  Hindemith initially suggested a work titled 'The Land of Milk and Honey' as a joint project in 1938, but he was unable to produce the score on Balanchine's time table.  In 1940 Hindemith offered to produce the first part of a score for a different ballet in one week.  This opening section of Hindemith's score for piano and string orchestra was first heard that year at one of Balanchine's informal musical evenings.  Among the musicians that evening were Nathan Milstein, Samuel Dushkin (for whom Stravinsky wrote the 'Violin Concerto') and Leon Barzin.  Barzin went on to conduct the first performance of 'The Four Temperaments' at Needle Trades and to become the first conductor for Ballet Society and then for New York City Ballet.

The conceit of 'The Four Temperaments' is the medieval theory that each individual is composed of varying amounts of four temperaments or 'humors' -- melancholic, phlegmatic, sanguinic, and choleric -- which collectively form each personality.  The structure of the ballet is first a series of three pas des deux which establish movement motifs that will recur; then sections for each of the four temperaments; followed by a finale.  There are a total of 25 dancers -- 19 women and 6 men.

Here's a short video clip of the New York City Ballet principal Adrian Danchig-Waring discussing, rehearsing and performing 'The Four Temperaments': 

https://www.youtube.com/watch?v=QRgViWiqqr8 

Balanchine's choreography is mostly a response to Hindemith's music.  The sections for the four temperaments have a tenuous relationship to those humors at best.   Balanchine uses the classical ballet vocabulary, but makes subtle alterations.  Often the relationship of the dancers to the audience shifts to profile or diagonal; knees are often bent; feet are flexed; hands, arms and wrists stray from classical positions.  

Justin Peck and Rebecca Krohn of NYC Ballet show the bent knees and profile poses characteristic of Balanchine's 'The Four Temperaments'.  Photo by Paul Kolnik for NYC Ballet

The finale is like a fireworks display as four men lift their ballerinas in explosive grand jetes above the rest of the cast.  Here's a link to a video from San Francisco Ballet performing snippets from the Phlegmatic section and the finale:

https://www.youtube.com/watch?v=dBqOG3mJyl0

Suki Schorer is enlisting the help of several men from New York City Ballet -- Ask la Cour, Cameron Dieck, and Peter Walker -- in staging this modern masterpiece.

'Les Gentilhommes'

This year the SAB Workshop Gala on Tuesday, June 7th, will celebrate the School's Boys Program, which provides tuition free ballet training to male students.  The Boys Program is celebrating its 25th anniversary this year.  Here's a video describing the program:

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

Listen for Jock Soto's comments about retirement -- Jock retired from the School's faculty at the end of 2015.

Peter Martins created 'Les Gentilhommes' in 1987 as a tribute to Stanley Williams who taught at the School of American Ballet from 1964 until 1997.  Peter Martins himself had studied with Williams at the Royal Danish Ballet before Williams left Copenhagen for SAB.  Williams' men's classes were legendary for producing some of the finest dancers in American ballet -- and for attracting ballet stars, including Rudolf Nureyev and Mikhail Baryshnikov, whenever they were in town.  Nine of Williams' students danced in the original cast -- Gen Horiuchi, Peter Boal, Carlo Merlo, Jeffrey Edwards, Michael Byers, Damien Woetzel, Richard Marsden, Cornell Crabtree and Runsheng Ying.

The cast of the 2011 School of American Ballet Workshop production of Peter Martins' 'Les Gentilhommes'.

Set to Georg Friedrich Handel's 'Concerto in F, Opus 6, #9' and the Largo from 'Concerto in F, Opus 6, #2', Martins choreography displays the refinement and elegance that Williams demanded of his students.  Through the costumes, lighting and movement, we are brought into the courtly world of the 18th century with allusions to fencing and dancing and formal rules of conduct.

Peter Martins and Arch Higgins are already working with the Advanced Men on 'Les Gentilhommes'.

'Danses Concertantes'  

Balanchine's 'Danses Concertantes' was created in 1944 for the Ballet Russe de Monte-Carlo.  Igor Stravinsky composed the score in 1941 as an orchestral work --  in effect, 'concert dances'.  The score is decidedly dancey and Balanchine found it inspiring -- twice.  The original 1944 production was lead by Alexandra Danilova (another legendary teacher at SAB) and Frederic Franklin.  Although the pick-up orchestras the Ballet Russe used on their perpetual tours struggled with the complexities of the score, it remained in their repertory until 1948.

Balanchine created new choreography for a second version for New York City Ballet's 1972 Stravinsky Festival -- he claimed that he couldn't remember the original steps.  Linda Yourth and John Clifford led the 1972 cast.  The same colorful sets and costumes designed by Eugene Berman were used for both the 1944 and 1972 versions -- they were particular favorites of Stravinsky.

Darci Kistler and Robert LaFosse led New York City Ballet's 1988 revival of the 1972 version.  Hopefully, Ms. Kistler will be involved in staging 'Danses Concertantes' for the SAB workshops.  

New York City Ballet dancers in a recent revival of Balanchine's 'Danses Concertante' led by Megan Fairchild and Andrew Veyette.  Photo by Paul Kolnik for NYC Ballet

The cast consists of a principal couple and four color-coded trios of two women and one man.  They are introduced in a prologue -- a parade in front of Berman's colorful front curtain.  When that curtain rises there is a sequence of four pas des trois followed by a pas de deux for the lead couple and then a final parade for the entire cast.  

Balanchine's choreography is bubbly and effervescent -- like champagne -- but then quickly evaporates.  The whole ballet is colorful, clever and energetic.  It will provide a frisky, insouciant high note for the students at the end their program.