Royal Blue

Being far away from the stage on both Monday and Tuesday evenings, it is admittedly necessary for me to also view Of Love and Rage from close-up. Catherine Hurlin and Aran Bell, to be sure, are already quite accomplished as dancers —but still too young! In contrast, the maturity, experience and artistry of Christine Shevchenko (especially) and Thomas Forster are more in line with the subject and themes of Ratmansky's ballet. Inside the program is a note from ABT regarding the subject matter of the ballet. "Our storytellers, the choreographers, and dancers seek to transport audience members to other worlds and spark conversations about humanity in all its facets” reads its second sentence. And later: "While the great classics we present may be of another period, we hope that they serve as a relevant reflection of life and humanity, however ugly or beautiful." Basically, the sentiments expressed in these statements are sensible. History, to be sure, is a treacherous and confusing subject. Ignoring it, distorting it or attempting to erase it from our collective memory, however, —whether in the year 2022 or 802,701— would be foolhardy, dangerous, dishonest and futile. Clearly, humanity has little choice but to navigate its way through a perpetual vortex of double binds.

Although, of course, one may offer a differing slant on one or another observation made above, after viewing Of Love and Rage on two successive evenings I must say that the comments from the members who saw the ballet a little over two years ago on the West Coast were very accurate and helpful. Thank you, to all of them!

[A quote from the release by the Segerstrom Center for the Arts posted by Dale.] One cannot properly evaluate Ratmansky's interpretation of Callirhoe without reading the early novel itself, and taking into consideration the time period of its provenance. (Perusing a synopsis for today’s audience while necessary is insufficient.) On the other hand, a ballet with a narrative based on a literary text should aspire to appeal to those unfamiliar with the primary source. An interesting statement nevertheless, and the subject/theme of forgiveness specifically is indeed complex and fascinating. All the comments from the seven or so members who viewed Of Love and Rage during its initial run at Costa Mesa make one wish —the reservations expressed notwithstanding— to view not only the ballet but every cast as well.

Not only is The Four Seasons a "fun ballet", it is also an enthralling one. (And as Tiler Peck, Roman Mejia and KJ Takahashi demonstrated a ballet that can end on a tremendously exhilarating note.) However, NYCB has not really disregarded it in recent years. Scheduling the seldomly revived Piano Pieces for the upcoming Fall Season instead seems entirely appropriate. There were two casts for Piano Pieces this season and one witnessed high quality dancing from both. In a previous post I highlighted four sections of the ballet: all the dancers assigned these parts performed superbly. Isabella LaFreniere and Peter Walker, for example, were as captivating in “Reverie" as were Emilie Gerrity and Jovani Furlan earlier in the week. And, although Indiana Woodward is marvelous, I was elated that Unity Phelan danced "June - Barcarolle" in one performance. After watching NYCB's streams of "The Unanswered Question" and Sofia Coppola's film —undoubtedly two of the most significant out of all the ballet streamed during the pandemic— anytime Anthony Huxley henceforth excels on the stage will carry greater meaning and weight for me. And I couldn't agree more with all the laudatory comments above about his performances in both Piano Pieces and "Spring" of The Four Seasons. * All the recent remarks on this thread, including those expressing frustration regarding the abandoned effort to keep the casting list updated, evince love for NYCB, its current crop of dancers, and that divine masterpiece called A Midsummer Night's Dream.

In fairness, it should be pointed out that both Unity Phelan and Andrew Veyette performed much better during the bravura sections of "Fall" last evening.

On first viewing, the most exquisite sections of Piano Pieces (for me) were "Reverie" and "June - Barcarolle" —both impeccably cast and performed. Close after these were "Natha Waltz" and "October - Chant d’Automne", also well-done. Even if there was nothing else to this ballet (not the case), NYCB made the right decision to program it and perform it. Since the "Summer" segment of the following work was excellent too, from my perspective Emilie Gerrity had a fantastic evening! Only during the "Fall" portion did last night's performance of The Four Seasons falter. Of the three principals only Daniel Ulbricht was truly able to live up to the technical demands of their respective roles. Nevertheless, Unity Phelan's beauty shone as brightly here as in other ballets.

By way of the story of Orpheus from ancient Greek mythology, two of the most famous and influential artists of the 20th Century venture through the eponymous NYCB ballet to deal with a paramount theme of art —the connection between love and death. A ballet which deals with a difficult and somber subject, to be sure, and one which understandably is not among Balanchine's most successful and greatest creations. Nevertheless, it is simply too weighty to leave entirely out of the repertoire. (Another essential theme of the myth, of course, is the power and solace music —and by implication all art— provides humanity in confronting the unknown.) The "Greek trilogy" program —Apollo; Orpheus; Agon— is superlative! Although brought together again only by circumstances, the four dancers in the first cast of Apollo —Tiler Peck, Brittany Pollack, Indiana Woodward and Taylor Stanley— are breathtakingly beautiful in this ballet. An outlier opinion, probably. Regardless, the streaming of their pre-pandemic performance delighted me, and I am joyful to have seen Apollo with this cast on stage again this week. Predictably, Joseph Gordon (debuting) and Sterling Hyltin were superb in Orpheus. In Agon, Unity Phelan (debuting too in the principal female role) and Emilie Gerrity were particularly thrilling. After their absence from the stage for a while, all four ballets in the week's second program —Divertimento from 'Le Baiser de la Fée'; The Cage; Duo Concertant; Rubies— proved favorably surprising. As the Tall Girl Mira Nadon dazzled, and in their respective debuts Isabella LaFreniere as the Queen in Cage and Indiana Woodward in Duo were impressive. A couple of ironies in the casting were too conspicuous to go unnoticed. On Wednesday evening one was enthralled as Joseph Gordon and Sterling Hyltin movingly performed the haunting pas de deux in front of the curtain during Orpheus. Anyone aware of the synopsis of The Fairy's Kiss could not fail to perceive the irony of watching Gordon the following night give a stellar performance (alongside the brilliant Tiler Peck) in the Divertimento from 'Le Baiser de la Fée’. And how radically different —in terms of character and choreography— was the role of the Novice in The Cage Hyltin powerfully danced on Thursday night! Four weeks into the season, and despite the disruption the pandemic has caused and is still causing —and notwithstanding all the retirements and injuries— NYCB simply does not appear to have missed a beat.

My sense from watching the streams by NYCB was that one of the few performances whose beauty I had somehow overlooked at the theater was that by Miriam Miller in Pulcinella Variations. Consequently, I enjoyed watching her immensely on Sunday afternoon (especially in "Serenata"). Besides that, one can only marvel at the extent the dancing by the inimitable Tiler Peck and others in the same work, by the students of the School of American Ballet in Scherzo à la Russe, by the sixteen dancers featured in Architects of Time, and by the entire cast of Stravinsky Violin Concerto —Ashley Laracey, Joseph Gordon, Unity Phelan, Amar Ramasar and the corps de ballet— sparked uninterrupted enthusiasm throughout the afternoon. Regarding the previous program, I heartily concur with all the praise for Isabella LaFreniere's debut as the Firebird. Together, her beautiful dancing and consummate gesticulation in portraying the mythical creature —as well as her superb carriage and appearance in the outfit— proved riveting every moment she was on stage. (A magnificent Hippolyta, I should think; however, definitely looking forward to watching her as Helena.) Without a doubt, Symphony in Three Movements is one of the most exciting, richest and (at 22 minutes long) concise of all Balanchine's ballets. Nevertheless, it would be a grave error to take for granted the lavish beauty of the 47-minute-long Firebird either. With its resplendent Marc Chagall scenery and costumes aptly matching Stravinsky's powerful score, and Balanchine's (and Robbins') engaging choreography enacting on the stage an intriguing ancient Russian fable, it is one of the most spectacular ballets in NYCB's repertoire. Like other great works of art created by people long gone, it is now in our possession to do with as we please. One of the main functions of such works is the succor they provide for our burdened, anxious minds and souls in this unruly world. We should take care to preserve them because we need them. To wit, this magical ballet intimates an apposite metaphor apropos Balanchine’s entire body of work and the company he founded. (Those who post on this subforum love at least some of Balanchine's ballets, so they have that much in common. Since we are different individuals, our particular takes on specific works will sometimes differ sharply though. No programmer will be able to satisfy everyone at all times.)

At the theater, Jerome Robbins' Afternoon of a Faun is simply a gorgeous pas de deux. When one reflects on it afterward it reveals itself as one of the most intellectually stimulating and important of all ballets. I credit the beauty of Sterling Hyltin's performances as the young female dancer with opening my eyes to the significance of this extraordinary work. Both casts in this run —Hyltin with Adrian Danchig-Waring, and Unity Phelan with Christopher Grant (the last three in their debuts)— served the ballet well. In particular the two women looked exquisite, and conveyed effectively the impression of looking in a mirror naturally. That is what is required here; every person can decide the rest for themselves. Howsoever the 34-year-old Robbins stumbled upon the concept of what amounted to an interactive work of art, he unquestionably struck gold in my view. An indispensable ballet which, consequently, would be unfathomable for the company to ever neglect! All three other works in this program —Divertimento No. 15; Allegro Brillante; and The Four Temperaments— are gems which contain some of Balanchine's most captivating choreography. They provide an assortment of dancers —soloists and members of the corps alike— with unmissable opportunities to impress the audience. Indiana Woodward, Joseph Gordon and Peter Walker in Divertimento, and Emilie Gerrity as well as Miriam Miller in The Four Temperaments were standouts. A performance by Tiler Peck in Allegro Brillante is a familiar balm for the soul, and more necessary now than ever.

A perfectly valid position, as there are many lighthearted moments in The Goldberg Variations! Nearly all those moments, however, I find to be extremely beautiful (the most powerful naturally being the 30th Variation with all the dancers splendidly arrayed on the stage). And since I am burdened with what psychologists call the "Xerxes complex" they are transmuted for me into poignant ones. Significantly, poignancy is not to be equated to sadness: a performance of The Goldberg Variations is for yours truly always an eminently wholesome experience. Simply a ballet that carries much, much greater "emotional weight" from my standpoint though! Additionally, I consider Bach's opening theme (with which the composition also concludes) to be one of the greatest expressions in music of this "Xerxes complex” —so it invariably triggers a strong emotional reaction. ------ All the dancing by Sara Mearns and Tiler Peck with downcast eyes in their respective serious pas de deux was absolutely divine last evening. And there was another blazing performance by the latter in the wondrous 29th Variation. The decision to cast the six soloists in Part I for all five performances was anything but excessive to this viewer, since they were all thoroughly delightful. Watching Ashley Laracey and Emilie Gerrity especially dance these roles is always exhilarating.

For the Saturday matinee performance I wavered slightly before buying a ticket in the last row of the Third Ring. There were several reasons for attending. First, the thought of missing even a single performance of The Goldberg Variations displeased me. Second, to show my appreciation for the second of two superb casts (particularly Isabella LaFreniere and Indiana Woodward who made excellent debuts in their respective roles on Thursday evening). Third, to see Sterling Hyltin's final appearance in this great work before her impending retirement. And finally, the desire to experience the ballet from that perspective. Only the potential disruptive activity of anyone in the audience was a concern. During the intermission I actually had to move to the other side of the theater in order to avoid a little girl who was talking throughout Serenade —despite the fact that there were a couple of children over there too (in addition to that section being more crowded). In the event, neither the children nor the adults for the most part on that side proved disruptive. The performance was marvelous, and The Goldberg Variations looked simply fabulous from the Third Ring. Part I of the ballet in this year's run had the same soloists for all performances: Miriam Miller, Preston Chamblee, Emilie Gerrity, Ashley Laracey, Daniel Applebaum, Jovani Furlan, Aaron Sanz, and Sebastian Villarini-Velez. For Part II there were two different casts. The first consisted of Unity Phelan, Sara Mearns, Tiler Peck, Taylor Stanley, Tyler Angle and Joseph Gordon. In the second were Sterling Hyltin, Isabella LaFreniere, Indiana Woodward, Amar Ramasar, Adrian Danchig-Waring and Chun Wai Chan. (The names in bold signify those making their debut in a role.) Hats off to all these people for their lovely performances, as well as to every single member of the corps who participated, and to the pianist (Susan Walters). NYCB's repertoire contains many wonderful ballets. However, there is none that I craved to see more right now than The Goldberg Variations. Full-length, medium or short, narrative or abstract, this is one of the greatest of all ballets. No other evokes the awe-inspiring sweep of history, and its connection to the present and future remotely the same way. True, this is due to a great extent to the magnificent composition Johann Sebastian Bach created 281 years ago! So what? A choreographer chooses the music for his work. The opening of the ballet is an exquisitely simple and elegant pas de deux. Starting with the dazzling 29th Variation (spectacularly led by Joseph Gordon and Tiler Peck last Tuesday and Wednesday), the entire concluding segment is one of the most brilliant and poignant in all the performing arts. In between, Robbins filled the work with choreography of considerable variety and great beauty. One does not have to understand every choice that he made, any more than one has to grasp all the technical aspects of Bach's music. What the main message might be is encapsulated in the repetition at the end of the composition of its melting opening musical theme, and the different costumes we observe the elegant couple wearing in the beginning and close of the ballet. I am grateful that the artistic team revived The Goldberg Variations during a challenging season, that it scheduled the ballet for the spring, and that it took care to cast it well. Serenade and The Goldberg Variations together —what an irresistible program! For me, the Thursday evening performance of the former (with arresting debuts by Ashley Hod and Miriam Miller as the Russian Girl and Dark Angel respectively) jelled together as one wishes it would every time for this glorious ballet. Its surpassing "Elegy" section with the stunningly beautiful Dark Angel trio of Sara Mearns, Miriam Miller and Aarón Sanz was so powerful on Saturday afternoon also that no disruptive behavior could blunt its impact. During the opening night of the season on Tuesday, the orchestra played the short but affecting Melody for String Orchestra by the late Ukrainian composer Myroslav Skoryk as an expression of solidarity with the Ukrainian people. How ironic that it was fortuitously followed by the sublime work of a famed Russian composer on the one hand, and the towering one of an illustrious German composer on the other!

Thrilled at the casting choices made for The Goldberg Variations and Afternoon of a Faun, and nearly all of those for Divertimento No. 15.

Not even a page long, and yet a story whose power, beauty and meaning are inexhaustible! The Parable of the Prodigal Son will continue to provide nourishment for the mind and soul for as long as humankind exists. Again, while Balanchine's ballet is wonderful its ultimate virtue is that it directs one to the story itself. The pre-pandemic performances I viewed of Prodigal Son by NYCB and a couple by ABT with Veronika Part as the Siren have been among the most consequential ballet performances I have attended. Moreover, the streaming of the ballet a year ago by NYCB, with the outstanding interpretations of Teresa Reichlen and Daniel Ulbricht, was simply fantastic. This weekend's casting of the work looks promising. In addition to an unfortunate mishap that occurred, one could tell that in her debut as the Siren Miriam Miller focused excessively on the steps of the part to the detriment of any solid characterization. She is more experienced now, and has performed impressively in various works including the streams of Pulcinella Variations and Rachmaninoff Suite. Casting her in this was appropriate, although there are others deserving of the opportunity. Before this weekend, Gonzalo Garcia had performed the role of the Prodigal Son a single time at NYCB. And yet his striking debut, in tandem with the terrific turn of a sinuous Sara Mearns as the Siren, made for one of the most intense and mature ballet performances I have ever been privileged to witness. This fact, coupled with my exceptionally strong feelings about the parable, makes me opine that he could not have chosen a better work with which to conclude his career with the company.

What a remarkable coincidence that Teresa Reichlen should have given birth just a few days before being featured in the stream of a ballet based on a tremendous story about—at least in part—the nature of parenthood! Furthermore, this is happening under the worldwide tribulation of a pandemic, which adds even greater resonance to the phenomenal parable of Jesus! Whatever criticism one may proffer about Balanchine's treatment of the tale, and particularly how he handles its climax, Prodigal Son nonetheless remains a spectacular achievement for the choreographer and serves splendidly as a monument to the great parable. Needless to say, it should never be absent from the repertory for long. Noticing it on schedule for performance at the theater a year from now naturally elicits, therefore, a nod of approval and the hope that things are reasonably back to normal by then. In the meantime ... NYCB, in my opinion, has carried out the streaming of works last spring and fall elegantly, especially considering there was no intention to show the ballets filmed publicly. Consequently, the expectation that the upcoming streams of Prodigal Son, Theme and Variations, Stravinsky Violin Concerto and (later) Vienna Waltzes will be generally superb is hardly unwarranted.

Regardless of what Jerome Robbins' precise intentions may have been when creating Afternoon of a Faun, and notwithstanding its brevity, the performance by NYCB on the 100th anniversary of the choreographer's birth revealed a work not just of great beauty but also of considerable depth and meaning. Coming simultaneously on an anniversary of the company's own and at a challenging juncture, it was a luminous, beneficial success. And certainly it was heartwarming as well as thrilling to observe recently how the haunting performances by Sterling Hyltin and Joseph Gordon retained their power when viewed on a laptop screen. Nevertheless, one aspect that makes Afternoon of a Faun so stimulating is its effectiveness at prompting consideration of the significance and essence of attending a live performance at a theater. A showing of the ballet, therefore, during a period in which people cannot avail themselves of this opportunity—due to a crisis this time engulfing not just the company but the entire nation and world—appears strikingly meaningful and pertinent. A wise decision by NYCB to include this work and performance as part of their scintillating Digital Spring Season!

The ending of Swan Lake represents an eminent composer's attempt to express through music not only a climactic conflict between good and evil, but also the intricate yet inescapable relationship between love and death. Without a doubt, it is one of the most dramatic and powerful moments in classical music—one whose capacity to move deeply never pales even after countless hearings at the theater or in recordings. In New York City Ballet's controversial production this extraordinary moment—and the buildup to it: the rest of the second lakeside scene—is realized magnificently! The three most recent performances during this season's run—Sunday evening with Teresa Reichlen and Peter Walker, Tuesday with Ashley Bouder and Jovani Furlan, and last evening with Tiler Peck and Joseph Gordon—amply demonstrated this. Particularly for a busy company focusing on non-narrative, shorter ballets these performances of Swan Lake were impressive. Together with Tchaikovsky's music and the marvelous work by the dancers, the felicities of the production in my mind easily outweigh all its questionable and unattractive aspects.

A year ago I attended no less than ten NYCB Nutcracker performances, more than any previous season. One especially satisfying and beautifully performed section was "Marzipan," with Sarah Villwock as a shepherdess in eight of them—three as the lead. Two of her assignments during the fall were particularly notable. First, it was a lovely gesture to cast her as one of the demi-soloists in the supernal second movement of Symphony in C, including at the final performance of the season. Additionally, in a work which includes a segment titled "To Live in the Hearts We Leave Behind," Villwock's presence and exact positioning during a few poignant moments near its conclusion heightened memorably the impact of Everywhere We Go. For her part, Lydia Wellington performed in some capacity at virtually all the "Nutcrackers" mentioned. And, of course, she was in the cast of both Symphony in C and Everywhere We Go as well. Ultimately, it hardly matters that the audience was uninformed of her imminent departure from NYCB. Despite being just a member of the corps, she was one of the most prominent individuals in the roster on account of her glamorous looks and marvelous dancing—in innumerable performances. Difficult either not to miss or to forget her!

All four retiring dancers—Michelle Fleet, Parisa Khobdeh, Sean Mahoney and Jamie Rae Walker—have had unforgettable moments during the Paul Taylor Dance Company's 2019 Lincoln Center Season. So I am glad they chose to remain a while longer, and wish the same had occurred with Michael Trusnovec and Laura Halzack. Not complaining though, but instead am grateful to have seen the company during the last years of Taylor's life. As well as to have been in attendance at what was at the time, and even more so in retrospect, a deeply moving performance (Musical Offering; Runes; Mercuric Tidings) on March 25, 2018 afternoon. The dancers recently hired made a wonderful overall impression, and appear extremely promising. Moreover, those who have been longer with the company (especially Eran Bugge)—chosen and guided by Taylor himself—made superb contributions in what was for me a richly gratifying and illuminating season. It is devoutly hoped that PTDC will flourish under Michael Novak's artistic leadership, in order that its remarkable repertoire remains vibrant and extant.

Shorter ballerinas, of course, can appear regal and/or take on serious roles. Up until this ABT run, I had only seen Theme and Variations with the three NYCB women mentioned. It is undoubtedly exciting to watch a tall ballerina like Devon Teuscher perform the part.

When preparing to watch Theme and Variations with ABT, I hardly expected the company to equal let alone surpass the magnificence of NYCB's performance with Tiler Peck and Joaquín De Luz last fall. Although no match for NYCB's production, ABT's possesses its own loveliness, and is worth seeing. Moreover, even slower speeds adopted by ABT cannot deprive this ballet of all its beauty. Certainly Sarah Lane's performance would have been more effective with stronger partnering; however, I enjoyed it nonetheless. Far from being reluctant to see Theme and Variations with ABT again, I await with eagerness Devon Teuscher's second performance tonight. On the other hand, what an unquestionable boon to be able to view ABT's excellent production of Apollo—with the prologue and apotheosis—also! In either version, Apollo is a stunning success for Balanchine and Stravinsky, and a defining work of the art form. Two or three casting choices for the Muses caused a little uneasiness beforehand; nevertheless, the dancers in both casts—Joo Won Ahn, Stella Abrera, Katherine Williams, Melanie Hamrick; Calvin Royal III, Hee Seo, Christine Shevchenko, Zhong-Jing Fang—proved well-matched. (There was nothing wrong with the pleated tunics of the Muses either.) Of the other five ballets included in ABT's first two programs this season, a couple are premieres, one premiered last spring, and a pair are older works unfamiliar to me. From way up, the luminous flooring of the stage effectively becomes the background for the dancing, and makes all the proceedings in A Gathering of Ghosts appear more tedious. A seat in the orchestra is preferable in order to at least observe the shapes made by the "Ghosts" against the black backdrop. Still, a puzzling new ballet by Twyla Tharp, whose best moments are in the second movement with the four consorts and Cornejo. During my first viewing last Thursday—from the orchestra—Ratmansky's The Seasons was spellbinding throughout, and elicited wonder at the choreographer's seemingly inexhaustible capacity to create material of such beauty and originality as to make a variety of dancers truly shine. A second viewing from the fourth ring caused a more muted reaction, partly attributable to the unfolding ballet's deteriorating color palette. There is little doubt, however, about the exquisiteness of the Winter section, which drew memorable performances from Aran Bell (Winter), Katherine Williams (Frost), Devon Teuscher (Ice), Catherine Hurlin (Hail) and Luciana Paris (Snow). Of the two pas de deux, I preferred the one from the late 1980s. Even though the songs by Tony Bennett are evocative and lovely, Let Me Sing Forevermore unavoidably comes across as being part of a dance competition. The music by William Bolcom and greater sense of intimacy in Some Assembly Required (1989) are more appealing for a ballet. Some of Clark Tippet's choreography in fact feels artificial and overdone, yet the piece also contains moments of great depth of feeling. Fine dancing from the two casts of both works! What a remarkable achievement and a welcome addition to ABT's repertoire is Twyla Tharp's Deuce Coupe, a ballet created in 1973 to songs by The Beach Boys. Music, costumes, scenery, lighting and choreography blend beautifully and consistently throughout, reaching a thrilling apogee with "'Cuddle Up’ — The Pas" as the cast (the women in lovely orange dresses) dances against a new-sprung blue backdrop. Yet the haunting aspect of this work is the presence of the woman in white—its sole ballerina! The juxtaposition of her movements—combining effectively with the rock music to a surprising extent—with the popular dancing by her counterparts is striking and affecting. Certainly there was outstanding work by many dancers in both casts of Deuce Coupe I saw. My gaze Saturday afternoon, however, riveted on a radiant Katherine Williams as the ballerina. And on Sunday afternoon, it fastened on Christine Shevchenko, who offered such a breathtaking display of beauty, skill, precision and control as to appear dancing the part surrounded by a halo.

Devon Teuscher's splendid debut in Theme and Variations was, indeed, far and away the most exciting thing about ABT's 2019 fall gala.

On October 11, 2018 NYCB performed in its program: Afternoon of a Faun; Other Dances; Moves; and Something to Dance About. There were two other events of interest that evening, and no compelling necessity to view three of the ballets scheduled. However, the two gorgeous performances of Afternoon of a Faun with Sterling Hyltin during the previous spring's Jerome Robbins Centennial Celebration struck a chord deep enough to induce me to immediately snatch a ticket as soon as a convenient seat became available in the auditorium. The superb performance of the ballet that evening—with an excellent Joseph Gordon in the male role—is one of the most significant art events I have ever attended, serving as the catalyst for reflection about what is a remarkable and special work. As part of their installation of the Art Series for the Winter Season of 2019, NYCB had affixed three large panels, high in the windows of the theater's facade, which included the words—one in each—"WHO ARE YOU". Created in 1953 when Robbins was 34 years old, Afternoon of a Faun essentially poses the same question. In addition to anything else, this 10-minute ballet engenders contemplation about the issue of identity, the nature of intimacy, and the meaning of art. Frankly, a more telling work could not have been fortuitously programmed for a season in which the company was under siege. Notwithstanding any flaws or shortcomings in Robbins' character, it is proper today to acknowledge the genius reflected in his greatest works. One should, furthermore, pay tribute to the woman whose beauty and artistry inspired Afternoon of a Faun, and who first interpreted its female role—Tanaquil LeClercq. As well as to the male lead at the premiere, Francisco Moncion. And—this great ballet being in part about all dancers—in a broader sense to all those performing it subsequently.

A weekend that began with irritation at the failure of the MTA to get me to Lincoln Center in time for Saturday afternoon's performance of Dances at a Gathering ended with reflections of gratitude that mass transit makes it possible to attend wonderful live art events like the NYCB Sunday matinee in the first place. Again Maria Kowroski came to the rescue following the intermission Saturday with her sublime dancing in Everywhere We Go. This time, however, it thankfully came within the context of stronger overall work from everyone else, culminating in the superb execution of the moving choreography to the ballet's solemn penultimate musical movement. Saturday evening's Serenade lacked a starry cast. Nevertheless, with a dancer of Sterling Hyltin's caliber as the Waltz Girl, and the solid backing of various excellent female members of the corps, it was not hard to find plenty to savor in this remarkable work. A grand performance of the splendid Tschaikovsky Piano Concerto No. 2, led by the regal Sara Mearns and Russell Janzen, ended an exceptional program on a rousing note. However, although in themselves Marc Happel's new costumes for the women are lovely, I concur with the criticism expressed earlier regarding their unsuitability for this ballet. In between came Summerspace, which was last presented by the company almost twenty years ago. All six dancers in the cast—Abi Stafford, Emilie Gerrity, Lydia Wellington, Sara Adams, Andrew Veyette and Adrian Danchig-Waring—looked fabulous in Robert Rauschenberg's colorful unitards. Being new to Merce Cunningham's choreography, my only point of reference to Saturday evening's performance is what I witnessed at The Joyce Theater back in April. At that intimate theater, it was easier to immerse one's self in Morton Feldman's music and the world of Summerspace. Moreover, despite criticism about being unidiomatic, the dancers of Ballet West appeared more practiced in the style. (Although, in fairness, the larger stage of DHK makes the proper execution of the steps—including some punishing jumps—exceedingly difficult.) Still, the two NYCB male principals as well as Adams acquitted themselves well. And, both Gerrity and Wellington were riveting! The biggest disappointment was Stafford's inability to match in a key role the elan and impact of her counterparts at the Joyce. An exciting yet grueling sequence of jumps, for example, here amounted to little and was over before I realized it had begun. Notwithstanding any of this, I would not hesitate in principle to attend all three remaining NYCB performances in order to gain greater familiarity with Summerspace. Sunday afternoon was my first viewing of the program which includes this fall season's two new ballets: Edwaard Liang's Lineage, and Lauren Lovette's The Shaded Line. The opener was brilliant. Separately and together, Sterling Hyltin and Taylor Stanley captured copious beauty in Opus 19/The Dreamer—countering the inclination to dismiss it as minor Robbins. As others observed, Lineage is at the least an attractive work, and it was difficult to tell from Sunday's performance that this was mostly a second cast. Once again, Emilie Gerrity in her debut was engrossing. There is no better preparation for viewing a new ballet than being forewarned by fellow BA members about its awfulness. Yet nothing I saw Sunday of The Shaded Line would dispose me to skip any program that included it, or not try to figure out what it is about on further viewings. The ambition exhibited by Lovette is notable, as are the resources—including 26 dancers, no less—placed at her disposal. This ballet affords a great opportunity for Georgina Pazcoguin to display her particular talents. In a supplementary role, Unity Phelan is typically bewitching. Finally, how apt that such a glorious performance by NYCB of Symphony in C—with an ineffably beautiful Sara Mearns appropriately leading its divine second movement—should follow for me the patchy one last November at City Center! One could scarcely ask for a better cast: Ashley Bouder and Joseph Gordon; Mearns and Russell Janzen; Indiana Woodward and Sebastian Villarini-Velez; Brittany Pollack and Andrew Scordato. All were on fire! If cast and performed as well, few ballets provide a more brilliant showcase for the art form than Symphony in C. Most significantly, its second movement—sublimely interpreted as on Sunday—is one of the sections in ballet most likely to compel sober rumination about the vast splendor and ultimate mysteries of the universe.

Even though I do not feel as keenly about Union Jack as you do, cobweb, I admire your enthusiasm. For those who love the art form and have seen many performances, it is interesting to reflect about which ballets and which moments in a particular ballet mean to us the most. * All ten members of the cast at each performance of Dances at a Gathering must be chosen with great care, as it seems to me has been done in this run of the ballet. (I like what little I have seen of Jovani Furlan, and I have great faith in Emilie Gerrity.) As the woman "in blue", a more critical part than is perhaps usually thought, both Lauren King and Brittany Pollack are fantastic. Thursday evening's performance of Everywhere We Go was inconsistent and will be improved upon. And yet, no matter: Maria Kowroski was transcendent in what I regard as the ballet's finest moments! Nor will I ever forget Rebecca Krohn in the role. My calculations about who would be assigned the part in a second cast have proven correct, and I am looking forward to her debut next week.

Not only do spectacular scenes with a crowded stage in opera and ballet reflect inescapable realities of mass society and civilization, they also—ironically—contribute substantively (through contrast) to our understanding and appreciation of—human intimacy! Depending on their placement and function in a work, the accompanying music, and their handling in a given production, such scenes can be anything but tedious or pointless. One need not be enamored of militarism or nationalism, or hunger for military parades in order to deem the entire first section of Balanchine's Union Jack—along with the ballet’s glorious finale—thrilling. The intervening "Costermonger Pas de Deux" and "Royal Navy" segments, on the other hand, provide lighter fare. One cast of the ballet this fall consisted of dancers reprising their roles, and included Gonzalo Garcia, Tyler Angle, Abi Stafford, Jared Angle, Sterling Hyltin, Sara Mearns and Teresa Reichlen. On Tuesday evening, the performance featured Amar Ramasar, Andrew Veyette, Lauren King, Ask la Cour, Brittany Pollack, Unity Phelan and Ashley Bouder—with all but Veyette and Bouder debuting! Both casts were fantastic, so although I could attend this program only twice and would have had no issue viewing either again, I am glad how everything panned out. As befitted her vast stage experience and prominent artistic ambitions, Mearns in "MacDonald of Sleat" was more assertive than the blossoming and gentler Phelan. All the same, the latter's debut in the role was enchanting. Another key difference was the discrepancy in height between the lead women in "Wrens". Certainly the imposing Reichlen dazzled with her striking figure and legs. Nevertheless, Bouder herself looked marvelous in the costume and displayed her consummate craft in the role. Considering that it is a weaker section, how enjoyable the "Costermonger Pas de Deux" proved to be at both performances! Like true professionals, Megan Fairchild as the Pearly Queen and Andrew Veyette as the Pearly King set aside any personal differences to deliciously re-enact their roles on Sunday afternoon. Just as was the case with Lauren King in “Green Montgomerie” and Brittany Pollack in “Dress MacDonald”, it surprised me that Daniel Ulbricht’s rendition of the role of the Pearly King was a debut—although, of course, this ballet is not presented often. Best of all, Lauren Lovette was at once hilarious and utterly charming in her buoyant, splendid debut as the Pearly Queen. My complete absorption in the performances and choreography of the program's preceding ballet, Kammermusik No. 2, similarly surprised me, since it is not a favorite. Most of the dancers—Emilie Gerrity, Peter Walker, Unity Phelan and Jovani Furlan on Sunday; Abi Stafford, Joseph Gordon, Teresa Reichlen and Russell Janzen on Tuesday—were new to their roles. The way Balanchine in this peculiar piece blended dancing by eight male corps members to the unusual material for the soloists is fascinating. Even though I have seen Kammermusik No. 2 many times, these performances made me feel it is a work whose ingenuity and particular beauty I am in the process of discovering. That nine-minute ballet of sheer musical and choreographic loveliness titled Valse-Fantaisie begun the program. Having seen it only once before this past spring, Sunday afternoon's performance set the stage for an enthralling one Tuesday with Indiana Woodward and Roman Mejia as the scintillating leads.