Two reviews of New York City Ballet from danceviewtimes.
For me, many recent performances are haunted by ghosts of former dancers, and it has seemed to be a series of unconnected slightly saccharine exercises. But it burst alive again this season, with a newish, beautifully rehearsed cast. One of my ghosts is Jenifer Ringer, with Christopher Wheeldon, soaring through the so-called giggle dance--also known as Apricot. The music seemed to come directly from her back, float through her arms, and served to the audience with grace and charm. Ringer has graduated from Apricot to Pink, and she danced this at her farewell performance. Pink is a much larger and richer role, but her early qualities still shown through. She danced simply and graciously, with eloquent and soft arms, focusing on her fellow dancers. There were a few small pauses, as if she were savoring this last performance; rarely have I seen the moment when Pink offers her hand to Mauve (the elegant Jared Angle) performed with such elegant deliberation,....
Scarlett has set a similar, stronger, work at Miami City Ballet, “Euphotic.” There are echoes of the earlier work here: facing away from us at the opening, the cast took a slow walk from the back that revealed a soloist. Here again, the corps was a mass, but it was revelation, not anonymity that Scarlett was after. Another device he likes: there was often one couple in the back echoing the solo couple – again not for anonymity, but universality. Somewhere down the hall, across the street or across an ocean, someone is having the same argument as you.