Spring Season 2014

[abatt]

I think the scherzo was cut on Sunday because J. Stafford had already danced in Emeralds, and he probably requested that the scherzo be cut because it would be too much for him. I can tell you that the full scherzo was performed by Mearns w. LaCour at the Sat matinee.

[volcanohunter]

I was very sorry it was omitted. It took me a few minutes to adjust to its absence.

[Balanchinomane]

I think it was planned. At the last rehearsal on Friday they did not run through any part of the scherzo.

There are nice photos of Sunday on Twitter - I don't know how to post them here.

[abatt]

This is not the first time in my experience. They omitted it once last season when Sara Mearns was injured but wanted to dance her scheduled Diamonds performance. The omissions are definitely planned in advance. I wish they would inform the audience of the omission in advance, too.

[balanchinette]

I was at the performance last night and just wanted to note my disappointment at some of the casting choices by the powers that be at city ballet. First, Justin Peck is SO not worthy of the wondrous Maria Kowroski in Barocco. First time I've liked the first and third movements much better than the adagio. Maria and Sara Mearns make a great pairing -- I'd say Maria danced much better with Sara than with Justin Peck! And Sara always makes an event out of the second ballerina role (unlike when Abbi Stafford dances it, when it seems like an afterthought). Having seen the magic Maria and Tyler Angle made in Barocco last season, it was very disappointing to see Tyler cast in the boring, annoying, way-too-dark "Neverwhere" and Peck as Maria's Barocco partner. Where Maria soared in arcing lifts with Tyler, she was plunked up and down by Peck, and the partnering overall seemed rough and rushed. Sigh.

The other huge casting mistake was Megan Fairchild in the lead role of Who Cares?. She is just not right for the role. Too petite, too stiff, looked weird with Ask la Cour (and Tess Reichlen as one of the other lead girls), and the Man I Love had no atmosphere whatsoever. I don't get why, out of all the women to put in that role, they thought Fairchild would be a good fit? Weird. I really like her usually, especially in virtuoso tutu roles like Raymonda and T&V, and her Rubies on Friday was amazing (even if she couldn't summon the same level on Saturday). But she is all wrong for Who Cares, in my opinion. Ashley Isaacs, on the other hand, had a very impressive debut in the "turning girl" role of Who Cares. She has a great jump and is a decent turner. I still prefer Tess Reichlen in that role, although Tess is also great in the third lead role of Who Cares as well. Amazing how Tess can be such a great allegro dancer with her height! Ask la Cour was ok, again, though, isn't there another man who could do better, as Ask isn't really a virtuoso dancer? Part of the problem is once you've seen Robert Fairchild and Tiler Peck in the leads it's hard for anyone else to even come close. I thought the corps and soloists, on the other hand, all looked really sharp. Devin Alberda stood out for his beautiful line (even though his double tour is somewhat lacking).

Even with a fantastic Other Dances cast (can't imagine anyone doing that better than Tiler Peck last night, and Gonzalo Garcia is also better than I've ever seen him), I'd skip this weird casting in Who Cares. As for Neverwhere, I'm sitting the next performance out next time I have to encounter it on an otherwise great program.

[Colleen Boresta]

Thank you so much Balanchinette for your review of the Tuesday night performance. When I saw on the casting page online that Ask la Cour and Megan Fairchild were going to be in Who Cares? I had my doubts. Unfortunately, as I've found out via your wonderful review, my doubts were realized. I am so glad I am going to see Peck and Fairchild in Who Cares? on Sunday. You are right, Balanchinette, once you've seen Tiler Peck and Robert Fairchild in Who Cares? you don't want to see anyone else.

[abatt]

They were casting Ramasar and Hyltin as the "alternate" cast for Who Cares last season. They were fine, but nothing like Peck and Fairchild. I can't imagine Megan Fairchild and Ask LaCour as the leads in this ballet. Sorry to have missed Peck in Other Dances.

[cobweb]

I have to agree about the bizarreness of the LaCour-M. Fairchild casting. It looked odd and awkward, and neither of them seems to have the right presence or personality for this ballet. No one could live up to the Peck-R. Fairchild performances, but at least Hyltin and Ramasar seem more suited to each other, and to the ballet. Reichlen and Ashly Isaacs were both wonderful, however.

Also, totally totally agree about Nowhere, or Neverwhere, or whatever. Nevermore!

[Colleen Boresta]

I'm off to see NYCB's matinee - Walpurgisnacht Ballet, new Peck and The Four Temperaments. Will post about it probably on Monday.

[Colleen Boresta]

I'll post a more detailed review on Monday or Tuesday, but I just want to say that Sara Mearns was absolutely breathtaking in Walpurisnacht. As the third lead Lauren Lovette was just lovely. Ask la Cour (replacing Adrian Danchig-Waring) is a good partner, but when he dances alone he loses me. His technique is nothing special. And in the Four Temperaments as Phlegmatic (sorry if I misspelled it) he was absolutely colorless. I really miss Albert Evans and the sly sense of humor he brought to Phlegmatic. I did like Sean Suozzi in Melancholic and Sara Mearns and Jared Angle were wonderful in Sanguinic. Ashley Bouder is considerably shorter than most dancers I've seen dance Choleric but she has such a commanding presence that for me it works. I really loved the new Peck. There is so much going on that I need to watch it a few more times to really get the full measure of it. I have to say that it held my attention completely. I like it much better than Peck's Year of the Rabbit. I do agree, however, with the critics who said that Peck needs to work on his pas de deux. His .choreography is much stronger in the group dances

[abatt]

I saw Friday evening's performance. As stellar as Tiler Peck and R. Fairchild have been in the past in Who Cares, Friday's performance was even more electric. Perhaps because these two are getting married shortly, there is a level of intense romance now in their performance that surpasses their past triumphs in these roles. (Stellar technique too, as always!) They were also brilliant in the solos. Forget all these faux romances in ballet. This is the real deal, and it shows.

[kbarber]

I loved the new Peck piece. Such a rare pleasure to see a new creation where

1) there is bright lighting so you can actually see the dancers dancing instead of peering at them through Stygian gloom.

2) the dancers look happy to be alive rather than afflicted by existential angst

3) they move expansively.

I agree about Mearns in Walpurgisnacht. Breathtaking.

[cobweb]

I was there on Friday night. Tiler Peck and Robert Fairchild outdid themselves in Who Cares. An exhilarating, passionate, and technically stunning performance. I saw this ballet earlier in the week and felt I was getting sick of it but Friday's performance revitalized my interest. Lauren King and Devin Alberda an especially fresh and charming pair. And Ashly Isaacs again looking terrific. She interacts with her partner and with the audience in a fresh, lively way - seems spontaneous and genuine, not canned. So confident and secure that she takes her time, casting a teasing glance at the audience and letting us know how much she's enjoying herself. Projects authority and ownership of the role. Looks like a seasoned pro, not like a young member of the corps de ballet who's being thrust into principal roles.

Also enjoyed Concerto Barocco with Teresa Reichlen, Abi Stafford, and an elegant Russell Janzen.

Other Dances - Ashley Bouder softer, less mugging - terrific! Joaquin de Luz amazing.

During Neverwhere, I enjoyed a sandwich over at the Atrium.

[canbelto]

I saw this afternoon's performance. I think Concerto Barocco was simply okay -- Krohn has a beautiful dancer but I wish she'd stop grimacing when she dances. It's very distracting. The contrast between Krohn and Stafford was rather muted. Other Dances was fun but I don't really like this ballet. Neverwhere is a ballet that goes nowhere ... you would expect with all the dark lighting, the black pleather costumes and the Nico Muhly score that the choreography would be edgier, but instead it's the most generic, bland partnering/pas de deux choreography. Lots of mild twirling of the women.

Who Cares? with Peck and Fairchild is always a treat, and Ashley Isaacs was delightful as the turning girl, but Savannah Lowery was graceless and charmless. An okay, but not great afternoon.

[Colleen Boresta]

I'll post more in a few days but I just wanted to say that I too was at the Sunday matinee and I agree with what abatt, cobweb and canbelto have said about the performances. Concerto Barocco was fine, though I could have done without the see the music segment which seemed to go on forever. Also I far prefer Maria Korowski and Sara Mearns in the lead roles. Other Dances with Ashley Bouder and Joaquin de Luz was just perfect - great dancing, great flair, great humor. Neverwhere was just weird. I'm still trying to wrap my head around it. And who knew that leather boots could also be toe shoes? In Who Cares the principal dancers were superb, except for Savannah Lowery. I thought she was fine, but nothing special. Ashley Issacs was wonderful. I want to see her in more ballets. Is she only in the corps? Hopefully she'll be promoted to soloist before too long. And Tiler Peck and Robert Fairchild. They just get better and better. Interestingly three of the principals got a second bow after their solos (as did Peck and Fairchild as well after The Man I Love). Thoe only dancer who didn't get a second bow was Lowery.

[balanchinette]

I was at yesterday's performance as well. The Barocco Adagio has been meh and devoid of magic all season. Only Maria Korowski and Tyler Angle come anywhere close to the Wendy Whelan/Albert Evans greatness of years past. These new men (Peck and Janzen) that have been put in Barocco just don't do the partnering justice, and Tyler Angle was squandered instead in Neverwhere. Neither Tess Reichlen nor Rebecca Krohn has the right timing for the Adagio, either. But I really enjoyed the See the Music portion yesterday. If one is a Bach lover, what Andrew Sills said really rings true.

Other Dances was great but for a bad flub at the very end, when Ashley and Joaquin completely missed the final shoulder sit/lift. Awkward. Looked like Joaquin was pretty gassed, so maybe that's why? But she kind of ended up sliding down his front and then striking a pose to cover up the flub. Not a good way to end an otherwise lovely performance by both.

Sat out Neverwhere and had to leave the theater to get away from the annoying music. Who Cares was awesome -- Tiler Peck and Robbie Fairchild give definitive performances. The Man I Love was breathtaking. One thing bothering me about Fairchild's solo, though -- doesn't that solo usually end with a double tour at the very end, or am I misremembering? The last couple of times I've seen Fairchild, he's ended with just a multiple pirouette and drop to the knee, which doesn't have quite the same impact.

[Colleen Boresta]

Here is a more detailed report of NYCB's May 31st matinee performance. The afternoon begins with Balanchine's 'Walpurgisnacht Ballet' choreographed to music from Gounod's opera Faust. There are three principal parts in 'Walpurgisnacht'. They are danced by Sara Mearns, Ask la Cour and Lauren Lovette. Sara Mearns is breathtaking in this ballet. She dances with joyously complete abandon. At the end of the ballet she whirls across the stage at a breakneck pace. The last moment of the piece shows Mearns flinging herself freely into la Cour's arms. He then balances her on his shoulder as the curtain rings down.

Ask la Cour is a superlative partner for Mearns but I find his individual dancing to be merely adequate. La Cour is also lacking in personality so even though he's about 6'5" he never commands my attention. Lauren Lovette and the surrounding female corps de ballet are especially lovely in 'Walpurgisnacht Ballet'.

The second work of the afternoon is Justin Peck's 'Everywhere We Go'. It is set to a commissioned score by American singer-songwriter Sufjan Stevens. Stevens also wrote the music for Peck's 'The Year of the Rabbit'.

I, however, like 'Everywhere We Go' much better than 'Rabbit'. There is a lot going on in this ballet, so much so that I need to see it several more times before I really understand the work.

Peck is especially good at choreographing for large groups. There are many gorgeous and inventive dance

patterns to be found in 'Everywhere We Go'. Peck is weaker when it comes to creating pas de deux. It's something the young choreographer needs to work on.

All the dancers are wonderful, but, as usual, a few really stand out. Andrew Veyette impresses with his amazing jumps and turns. Sterling Hyltin is all charm and lightness. The strongest duet is between Robert Fairchild and Amar Ramasar who shadow each other's gestures and movements. 'Everywhere We Go' is an absorbing ballet whose choreography fits the music seamlessly.

The last piece of the afternoon is the iconic Balanchine work 'The Four Temperaments'. It is set to a commissioned score by Paul Hindemith and premiered in 1946. 'The Four Temperaments' was the first Balanchine ballet I ever saw live (way back in February of 1980). As new as I was to ballet at the time, I didn't appreciate this abstract leotard ballet. It wasn't long, however, before I grew to love 'The Four Ts'. Every time I see it, even all these years later, I find something new to wonder at.

Sean Suozzi has grown in the role of "Melancholic". I really feel his desolation. He dances with a weight that seems to be pulling him into the earth. Sara Mearns and Jared Angle are superb in the 'Sanguinic" duet. As "Phlegmatic" Ask la Cour is colorless. I miss Albert Evans and the sly sense of humor he brought to the role. Ashley Bouder is considerably shorter than most dancers who dance "Choleric" but she has such a commanding presence that it works for me. And the fantastic ending to the ballet - those lifts, the hand gestures, the pointed attack of the dancers' bodies - all still have the power to amaze me. May New York City Ballet dance 'The Four Temperaments' forever!

[Colleen Boresta]

Here is my more detailed review of the June 1st matinee. The first ballet on the program is 'Concerto Barocco' set to Bach's "Double Violin Concerto in D Minor". The leading ladies on Sunday afternoon, Rebecca Krohn and Abi Stafford, are tolerable, but I far prefer Maria Kowroski and Sara Mearns in the leading roles. I missed seeing how Kowroski and Mearns complement each other. I don't find this quality in Krohn's and Stafford's performances.

The next piece is 'Other Dances', a pas de deux choreographed by Jerome Robbins to Chopin piano music. The ballet was created for Natalia Makarova and Mikhail Barysnikov in 1976. On Sunday it is performed by Ashley Bouder and Joaquin De Luz. It is a fantastic duet performed with virtuosity, flair and humor.

After the intermission it is time for 'Neverwhere' which was choreographed by former NYCB principal Benjamin Millipied to music by Nico Muhly. It is a strange work performed in almost total darkness. The stage is so black that I have great difficulty identifying the dancers. The costumes are futuristic in design, made of some kind of black plastic material that crinkles when the dancers move. The women's boots are also toe shoes which is a new sight for me. The music is loud and somewhat atonal. Is this a ballet I would choose to see again? The answer is a resounding no!

The afternoon ends on the highest of notes with George Balanchine's 'Who Cares?'. It is set to 33 George and Ira Gershwin songs. The first part of the ballet features ten female corps dancers and ten soloists - five girls and five boys. The piece comes into its own when the soloists dance to classics like "Do Do Do" and "Oh, Lady Be Good". All these dancers - Erica Pereira and David Prottas, Brittany Pollack and Peter Walker, Emilie Gerrity and Allen Peiffer, Megan LeCrone and Harrison Coll and Lauren King and Devin Alberda - are equally wonderful.

Then the lights are lowered and the second segment of 'Who Cares?' begins. This section of the ballet has often been compared to Balanchine's 'Apollo'. There is one boy and three girls. Each girl dances once with the boy and once by herself. Then the boy dances a solo. 'Who Cares?' ends with the entire company performing to "I've Got Rhythm".

The weakest of Sunday's principal dancers is Savannah Lowery. Lowery lacks the sparkle and coltish playfulness of Teresa Reichlen in her solo to "I'll Build a Stairway to Paradise".

Ashly Isaacs is demurely coy in her pas de deux with Robert Fairchild to "Embracable You". She tosses off limitless fouettes and chain turns with aplomb as the orchestra plays "My One and Only". Isaacs is a performer with great charm and personality. It is hard to believe that she is still in the corps. I hope Ashly Isaacs is promoted to soloist before too long.

As good as Isaacs is, the real standouts in 'Who Cares?' are Robert Fairchild and Tiler Peck. Fairchild's timing, his phrasing, even the snap of his fingers - all remind me of a young Fred Astaire.

When I first saw Tiler Peck in 'Who Cares' (June of 2010) I found her to be the equal of Patricia McBride, the role's creator. Since then Peck has surpassed not only McBride but her own incredible performances in the ballet. It's hard to fathom but Peck keeps just getting better and better every time I see her dance. Her solo to

"Fascinatin' Rhythm" shows off Peck's timing and musicality. The way she plays with the music is just delightful. Her precise footwork is equally amazing. I have yet to see anyone whirl across the stage at such a breakneck pace.

Peck's duet with "the man she does love" (she and Fairchild are getting married this summer) is magical. The luminous yearning of their love brings tears to my eyes.

If only NYCB would replace Santo Loquasto's tacky and garish costumes 'Who Cares?' would be a perfect ballet. That being said, it was a splendid afternoon at the ballet.

[cinnamonswirl]

The Man I Love was breathtaking. One thing bothering me about Fairchild's solo, though -- doesn't that solo usually end with a double tour at the very end, or am I misremembering? The last couple of times I've seen Fairchild, he's ended with just a multiple pirouette and drop to the knee, which doesn't have quite the same impact.

It is usually done with a double tour, yes.

[Amour]

Anyone see opening night of Midsummer Night's Dream? I'm seeing that same cast Saturday night. Curious how they fared.

[vipa]

I saw Midsummer on Wed. evening and thoroughly enjoyed it. Mearns was terrific in the authority with which she held the stage from the moment she entered. Her "cavalier" pas de deux with Justin Peck was full, lush and beautiful. Running full tilt into off balance promenades, never holding back she was wonderful. As is often the case in NYCB she is partnered by someone with the skills to allow her to be free. Her "Bottom" pas de deux was tender and lovely, which of course gave it humor.

Andrew Veyette as Oberon was also quite fine. His variations were stunning in their clean quickness, wonderful beats and multiple turns. I also enjoyed his characterization.

Brittany Pollack was a pleasure to watch as the Butterfly. What a fine dancer.

I didn't think Megan LeCrone would make a good Hippolyta, I always think of her as a leotard ballet dancer, but I thought she did well. She scaled up her dancing to make it bigger and more forceful. There were no technical problems at all.

Silas Farley is a little young (and young looking) for Theseus but he'll grow into it. There's not much dancing but I'm sure he is benefiting from performing the partnering required of the role.

Briefly the couples - Lauren King, Abi Stafford, Chase Finlay & Zachary Catazaro were all quite good in both acts.

Lastly the divertissement - That is one of my favorite pas's of all time. I hope my breath the entire time I'm watching. And watching Tiler Peck, what more can I say that hasn't been said except I'm amazed that every time I see her she's better than the last. Her musicality, port de bras, rapport with her partner (Tyler Angle in this case) are amazing to behold. She draws you into her world and it is a joy to be there.

On top of it all I have to say that as I was watching the balletm every once in a while there would be a moment when I would think - Wow this choreography is brilliant - and it is.

[cobweb]

I was also there last night and enjoyed it very much. Finlay and Catazaro both looked adorable in those pageboy wigs, and Finlay especially was comically silly. What a pleasure it has been to have him back this season. I thought Veyette was a little stiff in his upper body and had loud landings. I look forward to seeing Antonio Carmena in the role. He doesn't have Veyette's presence but he is fleet of foot. Megan Le Crone did very well as Hippolyta. Sara Mearns and Tiler Peck - just wow to both. The new costumes looked fresh and brilliantly colored. The music is beautiful. It's a great ballet.

On to tonight's performance!

[vipa]

I just want to add that I think Veyette is one of the best male dancers on the stage today. His Theme at ABT was stellar. The performance of Midsummer that I saw the other night was tremendous. A former ABT dancer (male) that attended with me said that Veyette's performance gave him goose bumps! I'd really, really love to see him in Mozartiana. Add to that his prowess as a partner, I'd say he's up there with any man on the stage today.

[ivanov]

Ashley Bouder was wonderful tonight in her debut in the Act II pas de deux! She seemed close to tears as she took her bow afterwards, after the double swoon.

A note about the refurbished costumes: didn't Demetrius and Lysander used to wear mismatched tights? (Blue tights with red tunic, and vice versa.) I always thought of this as a joke about men's inconstancy. Now they are dressed in blue (or red) from head to toe, as if a mistake had been corrected by the wiser heads in the costume shop.

[rg]

the mismatched tights noted here used to be presented in this costume scheme but over the years, and lately, the mismatch got lost, either out of ignorance or an urge to 'correct' Karinska.