deanofdance

If I were a gambling man, my money would be on Dominika as the next corps to soloist promotion —her height and slight build (and talent!) give her an advantage in terms of versatility and range when it comes to casting  — as I can see her cast in more roles than say, a taller dancer like Corti, or a shorter dancer like Alston. 
Yes, a well deserved (and long awaited) promotion for Emma!  I’m thinking the next in line will be Miriam and Alexa.

A few thoughts on tonight’s performance:

1) This Bitter Earth — Beautiful.  Andy (like Tyler and Daniel) seems refreshed and rejuvenated — and how chivalrous he was to Unity — and how she trusted him — really a lovely partnership — and they made it all seem so easy!   Since last season’s Tschai Pas I’ve sensed an ember gradually growing in Unity — glowing and shimmering — and it’s lovely to see.  
2) Herman Schmerman — A great fit for Tiler and Roman (NYCB’s Taylor and Travis) — and this partnership seems to be keeping Tiler rejuvenated as well — she’s dancing as free and as voracious as she ever has — and she finally has an equal in Roman!  And I’m sorry — but a shirtless Roman, his bare torso sweaty and gasping for air is worth the price of admission.  Encore!
3) Love Letter — so much depends on casting — I remember that Jonathan Fahoury was in the original cast — and it wasn’t until Taylor replaced him that this ballet took off. And after multiple viewings, I’m thinking why aren’t more African American dancers cast in the solo roles?  For example, seeing Olivia Bell on stage and how she moved — I wished she were given a larger role.  And Mabie isn’t a good fit — neither in the ballet or with Taylor.  Represent.

A few thoughts on last night’s performance:

Pictures at an Exhibition — considering the difficulty of the choreography (to me it’s too kinetic for kinetic sake) the group did well in this first performance (more often than not these first performances are more practice runs).  Very nice to see Ashley back on stage.  And Aaron is looking really sharp and confident.  And Tyler seems a decade younger — there’s a new vitality in his dancing.  And Chan keeps surprising — his speed, clarity, commitment, and calm — wonderful.  But really — there was only one dancer on stage — Mira.  To see her in full flight — is to see ballet at its limit — and I don’t really think of her as an allegro dancer — and it’s not really very good choreography — but Mira’s speed and expansiveness, musicality and elegance, attack and daring were on full display — golly, she was flirting with whiplash!  (Note: as this is AAPI Heritage Month — shout out to Chan, Huxley, Takahashi and Mira!)
Red Angels - This cast delivered tonight — no practice run here — a full fledged sparkling performance by all 4 dancers!  Bravo!  I think Ulysses Dove would have been very happy — the performance had what it needs most — Confidence and Personality!   Surprised by how well Joseph and Adrian did — really fun to see this different side of them —  ballet with a bit of sashay!  And Dominika held her own with Mira (no easy feat) — dancing within her own vast potential — she keeps exceeding every new role that comes her way (last night she reminded me of a young Janie Taylor).  And Mira seemed to add what she learned from Errante — the spontaneity — the dancing within the music, her playing with her options, her theatrical nature (the downward glance, the gaze straight to the audience, the sly smile) — makes this a wonderful role for her.  Fierce.
Play Time — Insipid.
Glass Pieces — Unity and Adrian were excellent in their pas de deux.  And in the Akhnaten section — my body seemed energized by the music and movement of the men on stage — wow — the male dancers (all corp) just seemed to vibrate above the stage with expansive energy — I’ve never seen this section danced better — and the energy kept building — and when the women (all corp as well) came on — their energy matched the men’s.  Exhilaration.  

I wasn’t sure what to expect from tonight’s “Future of NYCB” — but what a very pleasant surprise — so much better than expected and a real, real treat (perhaps that’s the secret — have low expectations!).   Everyone was delightful (well, except the Pam Tanowitz — yawn).  The real surprise was Unity and Veyette in This Bitter Earth — it was very good from the start and just kept building and building.  Both dancers were excellent — and Unity seems to be on a wave of confidence — and getting better by the day.  
And Rommie Tomasini has caught my attention — from Interplay and tonight’s Pictures at an Exhibition.  

Just a few thoughts on last night’s performance:

1) Interplay — overall, better than Wednesday night — the tempo was a bit faster in the beginning and clearer — and everyone seemed more “on” — more confident more prepared and committed  on how they wanted to dance this ballet — and also, more importantly, seemed to be enjoying themselves.   It isn’t that the choreography is great, but the dancers (and musicians) really making the most of what they are given.   Also, Victor and Alston’s pas de deux was much improved — emotionally nuanced and technically solid.  Only misstep was that Victor and Takahashi has issues with their double tours. 
2) Other Dances — how different was this ballet with Joseph and Indiana, who really seemed to capture the spirit of the ballet.  Generalizing, Roman and Tiler are like the high school quarterback and head cheerleader, they are so All American (they’re like Taylor and Travis!) — and they’re show offs as well — bravura is their middle name.  But perhaps when a ballet isn’t technically daring that they are at a relative loss — and I think this was the case with Other Dances.  Joseph and Indiana seemed to have stepped out of Chopin’s Paris — Joseph can be so princely, so inherently elegant, and Indiana can be like a Brontë sister in toe shoes — and the music seemed to spark an inner life — especially in Indiana — whose epaulement can perfume a stage.  Lovely.

A few thoughts on last night’s performance:

1) Interplay: the energy emanating from these 8 dancers was pulsating.  The dance begins with the 4 male dancers — all young bucks — bounding across the stage, all seemingly moving for the joy of it — and to see these 4 young men dance with such elan — is to see them coming into their own — especially Victor - who has been maturing before our eyes this past year.  Then comes the 4 women led (in a way) by Alston — the fire cracker, the hummingbird — and they dance as if this were for Olympic gold.  It was interesting to see these 8 dancers (7 corp and 1 soloist) as it mirrored In Creases, which also had 7 corp and 1 soloist — and how hungry these young dancers are for opportunity, and  how each rises to the occasion in this hyper competitive world of ballet — and the audience is the winner.   After tonight, I think Interplay should only be cast with corp dancers — it’s in the spirit of the choreography.  After the end of the ballet, when all 8 are standing gasping for breath — a sweet moment happens — Victor crosses the stage to shake hands and thank pianist Hanna Kim — and he has the biggest smile on his face — he just beams.  
2) Other Dances: Oddly, the weak link in this was Tiler Peck (gasp! — I know).  At first, she’s looking at the top of her game, playing with the music as is her wont — but it didn’t build further — and I wondered if it was the choreography’s doing, that it doesn’t give her enough.   Also, a tad annoying — there’s a bit of the Bolshoi in Interplay — the dancers bow after every solo.

3)Year of the Rabbit: I loved this ballet when it premiered in 2012 — and am I huge Peck fan — but it honestly felt like a new different ballet to me — the music seemed new — as well as most of the choreography (of course I remember the sliding women across the stage).  And what an interesting ballet it happens to be — and to think Peck was 25 when he did this!  Emma and Miriam and Chan and Takahashi shine — but the surprise eye opener was the pas de deux with Alexa and Harrison — an unexpected level of sublime beauty. 
 

Just a few thoughts on last night’s performance:

1) Rubies — Another quality (yes, another one!)  of Mira’s that I noticed was the languid ease with which she can dance — you feel her dance power/energy emanating from her but tonight there appeared to be such an effortless, artless quality to her dancing — as if she just woke up at 4 pm, had a bubble bath, some tea, went to the studio, put on her toe shoes and — voila — comes on stage and is — well, like no other dancer.  Also, I do enjoy the sensual quality she brings to the tall girl — she’s a young Garbo with a dash of Merle Oberon AND Ava Gardner — I think the sensual quality she can bring to her dancing is natural to her, easily accessible.   Also, I usually sit on the far left side of the theater, but tonight was sitting on the far right — so got a full view of her bows at curtain call — even her bows are stunningly beautiful. 
2) In Creases — Again was pulled in by this dance and the 8 dancers — again all 8 were outstanding and moving with such energy and expansiveness.  Watching them I was thinking about what it is about NYCB that I love so much and why I prefer to be close to the stage versus farther back — and how certain dancers can enter one’s head, and then from there, a select few can enter one’s heart.  Watching Preston and Dominika dance last night — I can sense that they are entering my head — they are dancing with such individuality, grace, and calm authority — and I sense that they have such potential as artists that we have yet to see.  Perhaps, this is one of the many, many reasons why I love NYCB.
 

Just a few thoughts on this afternoon’s performance:

1) BF — I was just struck near the end of this ballet — by the energy that was coming off the stage — the full out dancing — that I thought of these words by the the author Robert Garis in his book Following Balanchine, “ …I also miss the company’s dancing style as a whole, especially the fast dancing: brilliant, full, life-sized, sincere, generous, humane.”   And I thought — this is what NYCB is capable of NOW — dancing that is brilliant, full, life-sized, sincere, generous, humane —  and capable of giving me such joy.  
2) The Bizet — this ballet is why I’ve attended all 5 performances this season — Garis again, “And at the end of a particularly great performance of  Symphony in C, when 50 dancers filled the stage with disciplined, free vitality, I felt an exhilarated happiness.  My friends felt it too, we defined it in the same way, and we agreed on its value.  When that exhilaration failed to come — for it did not come at every performance — we agreed about that too, for this happiness was too important to fake.  It was one of the great things in our lives, and one of the great things in the century.” 
This afternoon’s Bizet left me — for some reason — lukewarm — the exhilaration failed to come.  Except for the opening night Bizet with the first cast (joy!)  — since then I preferred all the second cast’s performances over the first cast — Emily and Chan, Unity and Knight, Baily and Takahashi (I know, even over Roman and Emma!).

Just a few thoughts on tonight’s and last night’s performances (same program — I held off writing on last night’s performance till after tonight’s):

1) Rubies — tonight’s performance was actually not as good as last night’s (this happens) — it just felt flat — as the performance went on, I thought about Jovani partnering Emma last year — and how wonderful the 2 of them were — having fun and being loosey goosey, jazzy, and having a friendly competition in their solos — and that perfume was missing these the past 2 nights.  Gordon currently lacks the jazziness, the loosey goosey energy —  (just like in Fancy Free — Jovani delighted, Gordon was earnest) — and there lacked a sense of playful competition between him and Emma.  I then thought that Gordon was actually miscast — he’s a bit too Apollo, not enough Dionysus.  And glad to see David Gabriel back in action — and near the end of ballet — thought he would be a better partner for Emma.  
2) Dig the Say — now here was Playful Competition!  Tonight’s performance was improved from last night’s — and last night’s was marvelous!  It’s always a real treat to see these 2 pyrotechnically insane dancers go at — and I eat it all up!  I was fortunate enough to see the event this past Monday where the PUBLIQuartet played excerpts from the piece — at the time I wasn’t sure about the music — but now I see how propulsive this music is for dance.  Tiler and Roman —tonight these stars were supernovas — now sorta kinda regret not getting their tee shirt at the gift shop last season. 
3) In Creases — this dance was a happy surprise last night and more wonderful tonight.  So much that I enjoyed — what a really outstanding ensemble this was — all 8 dancers were strong, athletic, and danced tightly as a group — I could sense that these dancers are pouncing on any opportunity to make an impression — and they impressed — their collective excellence uplifted the choreography — and all but one are still in the corp — Depth.  I’m singling out Preston — he looked physically renewed (I’ve never seen him in better shape) and determined — his dancing now has a force and conviction — I hope he’s cast in more this season.  Also Dominika — she seems like a choreographer’s dream, so many things she seems capable of doing.  And I just noticed Charlie Klesa — more please!

4) Underneath, There is Light — this piece diminished on second viewing — the piece starts out well enough, but the second half lacks musicality and gradually sinks.  

A few thoughts on tonight’s performance — my fourth time seeing this program (what can I say, I adore the Bizet, it’s life’s antidepressant) — but numerous viewings of the same program at NYCB has it rewards — and tonight’s rewards were a harvest:

1)BF — I didn’t think it would, but this ballet has grown on me — I find the music third rate, but the choreography is confectionary and Busby Berkeley-esque — and this combo is a lot of fun.  But the real joy was seeing how a couple of dancers — Emily and Victor — grew and developed in a span of 4 performances.  Tonight Emily had a lushness to her dancing, a growing regal quality — I sensed that she was finally feeling confident and settled ( no longer apologizing that she is not Sara Mearns or Tiler Peck) in choreography that fit her well.  And Victor looked sharp with Emma, and much calmer than on opening night when he partnered Alexa and had a mishap early on.  But I admired the way that with every night he grew in confidence and got steadier and now is now ready for more. 

2) Errante — talk about growth and development!  I wonder what Suzanne told Mira — because each subsequent performance has been better than the one before.  And then I remembered a line from an interview Suzanne gave — “You can’t rehearse a performance.  What I rehearsed are options.”  And on stage tonight it seemed as if Mira was dancing as if she had all the options in the world — such an astounding interplay of control and then abandonment, of thought and then the seduction.  It was the performance of the young season so far.  Enchantment.

3)The Bizet — I see Alec and even Unity as young in terms of their artistic growth — and while they have a ways to go before they reach their artistic peaks — I don’t think they could have danced the second movement better than they did tonight.  Gaining and maintaining confidence isn’t as easy as one thinks — and gaining and maintaining artistry is a delicate mystery — so I don’t want to jinx them, especially Unity — but she seems on more solid footing now — Godspeed.   And Baily Jones — what a buttery quality she has to her movement, and a wonderful epaulement — and she pairs well with Takahashi — who seems to have gained a couple of inches on his jumps.  And last but not least — the Corp.  Bountiful.

A few thoughts on this afternoon’s performance:

1) DAAG — well, I do agree with Arlene Croce that DAAG would be better served if shortened by 15 minutes, though I’d go for 30 minutes.  First off, I thought the pianist, Hanna Kim, was brilliant — clear and expressive and dramatic.  Bravo.  And seeing a new cast from last night — I was struck by the different dance qualities between Roman and Anthony — who could not be more different — and how these differences led to different overall perfumes that then pervaded the performances.  I think NYCB is very fortunate to have such 2 very different types of male virtuoso dancers, both brilliant and sublime.  But Anthony has the advantage of being a mature artist, and his solos had more nuances and shades of emotion and thoughtfulness.  Beauty.  
Don’t quite know what should be said about Ashley Boulder — I remember when she first made principal — she could do anything — and it seemed that with the right development, I thought she may become an outlier in the best way — be given Farrell repertory — Diamonds, Mozartiana…  but that thought did not last long, as I don’t think she grew artistically, and some of her performances came across as mannered and repetitive (though I do recall a not that long ago 4T’s where her Choleric was fantastic).  Now it appears that she is an outlier in a sad, unfortunate way.  
2)BSQ — it shows the depth of NYCB that this is the first I am seeing Miriam — by golly — she is the loveliest of dancers — blazing across the stage.  Vision.  And it was good to see Alexa in a Balanchine role — as she is a Balanchine dancer — her speed and attack, her extension and line, her commitment and fearlessness — and she’s still growing. 
The most unfair comparison between last night’s performance and today’s matinee is between Olivia and Mira — it would be cruel to elaborate.  

A few thoughts on tonight’s performance:

1) DAAG - I forgot how long this ballet seems to go on — it’s the never ending ballet!   As time has gone by, I'm increasingly not a Robbins fan — and I know I am in the minority, but have never warmed to DAAG — and as Samuel Johnson wrote, “no man is a hypocrite in his pleasures” (and I add “displeasures”).  A few positive notes from this dance marathon — Tyler Angle looked in better shape, nice to see Alston given opportunities, Tiler and Roman had a sweet emotional connection in their pas de deux, and I sense Unity gradually growing in confidence and artistry (last 2 seasons I thought she was lacking both).

2) BSQ - It’s not that I forgot how wonderful this ballet was — it never registered as a wonderful ballet before — but tonight’s performance was delight and surprise after delight and surprise — beginning with Kitka — who was delightful and de-lovely, dancing with lightness and grace!  Emily seems to be cast every night this first week — and is riding a little crest — there’s a joy in her dancing,  the way she smiles at her partner, it’s infectious.  I can’t say I see Olivia endowed with great dance qualities, but she did pull off the tricky choreography in the second movement, and she was subbing for Indiana, so kudos to her.  Preston added a feline grace to his movement, which I hadn’t noticed before — hoping he’s cast in more later this season (Red Angels?) but I don’t see his name on the casts for the next 2 weeks… The last and biggest and most welcome delight and surprise was the dancing of Andrew and Sara — esp Sara — who more than made up not being cast in Errante — by dancing with an abandon and energy that only she can do — now that was joyous dancing!  Last season I thought she was beginning to look a bit matronly, but this season seems in better shape, and her technique and whiplash speed are still there.  At the end of the ballet, she was laughing — of course, I don’t know why — but it was good to see.

A few thoughts on tonight’s performance:

1) BF:  the more I see Alexa dance, the more I like her — and MT as well.  
2) STS:  for some reason — perhaps because Huxley doesn’t ham it up — he won me over with his understatement.  It’s a short ballet, quickly over — innocuous really — but there was a sweetness. 
3] Errante: can see a progression of Mira making this dance her own — she’s looser and freer with every performance — it’s as if Suzanne told her — do you — and yes Aaron comes in later as well as 4 couples, but really I don’t notice them…

4) the Bizet: I wasn’t taken as I usually am — perhaps I was in a mood — I don’t know, but why did I find Megan’s dancing more than usual clipped and abbreviated — nothing full out.  (Now if Alexa were cast in the first movement…)  And Sara seemed to be moving as if embalmed and I wondered if she’d asked the conductor to slow the tempo down.  And Alston’s lower body seemed relatively inflexible — there appeared to be no stretch in her line. 

Just a few thoughts on tonight’s and last night’s performances:

1) Errante: Mira was doubly more enchanting tonight than last night (and she was marvelous last night!) — but the first night was more a practice run — and now she is settling in and getting more comfortable with using her bag of tricks/ her arts of allurement/her inner life/her bountiful technique and dance qualities/call it what you will…. In an earlier post I compared Mira to a young Garbo ( well, Garbo with a dash of Merle Oberon) — as there is not only Mira’s preternatural beauty, talent, and imagination — but as Kenneth Tynan wrote, “What when drunk, one sees in other women, one sees in Garbo sober.”  I think it’s symbolic that for the 5 performances of Errante she is the only dancer cast — in a role that belongs to Farrell — it’s the passing of the torch — it’s the passing of the repertory — anointment.  
2) Bizet:  thought it would be difficult to top opening night’s Bizet — but tonight’s performance by the second cast was just as wonderful — which was a nice surprise as I was expecting the opposite.  Then I began thinking — NYCB could do 4 casts of the Bizet and they would all be wonderful — that is the current depth of this company. 
3) Dancers shout out: Alexa (attack), Bolden (joy), Gerrity (warmth)  Takahashi (principal?!), Unity and Knight (finally).

My vote for the sleepwalker in the giant slo-mo video is Ava “Star” Sautter.  So @cobweb perhaps you’re not outvoted (yet)  and the jury is still out!   

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Just a few thoughts on last night’s performance — my last for this Winter’s season:

1) Stars and Stripes — I think of these weekend’s Balanchine ballets as — how should I put this — as crowd pleasers — I mean, you know what you are getting — displays of show stopping multiple whatever steps that should induce applause, applause, applause.  An audience of all ages and new to ballet can enjoy these 3 ballets — and I’m writing this not to denigrate these ballets in anyway (J’adore Stars and Stripes and Tschai Pas) — just to say that what I look for when watching these ballets is different, in a way, from what I would look for when watching ballets such as, say, “Mozartiana” or “Leibesleider Walter”.   I think that foremost in the dancers’ minds is that they have to deliver and sell the goods (the audience came for a show, we’ll give them a show) — that they have to be faster, and to keep going, and commit to the choreography, the incredible tempo of the music, and to the confidence in their own talent.  And last night’s performance had this commitment from all the dancers — everyone was tighter and more secure — especially Megan and Joseph — who kept feeding off each other.  Both impressed — Joseph who had a real sense of abandonment (yet control — he saved a couple of real off balance turns!) — and Megan who when you see her technique beginning to fray, still manages to deliver an excellent performance — she still  has much to draw on — showmanship, bravura, confidence built on years of performance, and best of all, her joy in dancing these demanding roles.

2) Tarantella — I thought Daniel toned down his performance last night — in a gentlemanly gesture to share the spotlight with Emma.  Both were a delight to watch — but in one of Emma’s solos — she just stands there for a couple of beats shuffling her feet before continuing on with the choreography.  When I first saw this on Friday I thought there was a small mishap, but there it was again last night — a bit odd.  
3) Tschai Pas — Debuts!  Indiana looks like she has been dancing Tschai Pas for a long time — she appeared very much at home in the choreography — but then one of her dance qualities is her ability to put her personal spin/touch on many ballets.  To put on a show and to make it her own — quite a rare trick!  Anthony’s dance qualities seem so unsuited to this role — his dancing doesn’t “sell” anything, his dancing doesn’t “put on a show” — it is just there, capable of unique beauty and expansiveness.  But it is good to see him test himself in new waters — and it will be interesting to see how he develops in this new repertory. 
 

Just a few thoughts on last night’s performance:

1) Stars and Stripes — Takahashi was the only one to capture this ballet with the zest and elan needed — and unfortunately for Erica, Alston was right behind her, chomping at the bit — everyone knowing how much better Alston would be if she were cast as the lead.  And to a lesser degree, same for Ashley — who passed more on showmanship than technique.  Ava was dancing right behind her at the end, and I thought — perhaps Ava would be a better fit for this role (but I’m such an Ava fan — she should be cast in so much more).  But kudos to Ashley who subbed for Olivia — I don’t know how much time Ashley had to prepare.  And an “A” for effort to Megan and Joseph — the season has been long and we are near the very end… they have another chance tonight   

2) Tarantella — It looks like Daniel drank from the Fountain of Youth — I don’t think I’ve seen him dance with such ease, with such speed, with such muscularity than he did last night (I know, that is saying a lot!)
3) Tchai Pas — Perhaps Roman has not healed completely from his injury — his dancing here was, for him, subpar and a bit labored.  But the night belonged to Unity — she tamed the beast that is the NYCB audience who came expecting to see Tiler dance a signature role (with her current beau, no less). And she did this with all good things — pluck, determination, desire, talent!  Did I say she tamed the beast?  Actually, she won the beast over.  Bravo!

Just a few thoughts on tonight’s perfromance — well, both Tuesdays and tonight’s performance — I saw both nights:
1) Opus 19/Dreamer — never been much of a fan of Robbins work for NYCB — seeing his ballets this season, I’ve realized that they are becoming increasingly dated and lacking in musicality.  The more times I see his pieces, the more my eyes glaze over.  The one piece I do (relatively) like is “Fancy Free” — as that is more of a “Broadway” piece, where his talent lies.  But this piece comes across as over reaching and a very pale copy of Balanchine.  

2) Solitude — I don’t think I’ve heard such beautiful music for a ballet — it’s haunting and emotional.  That being said, I spent the bulk of the time watching this ballet thinking that I wished the young boy wasn’t in the piece — and could this ballet work without that literal image of a young boy  lying dead on the stage?  The music was so beautiful, the choreography was wonderful (a back to form Ratmansky — I mean, I saw “Whipped Cream” — not great…) — but couldn’t help thinking that “Solitude” would be better without the boy.   Even with the boy, it’s a strong piece — but who wants to feel manipulated into liking a piece —or deterred from saying they don’t like a piece — because of the sentimental atmosphere of a father losing a young son to war/invasion?  Especially when both father and son dancers come out to take a bow together at the end.  
3] Symphony in Three Movements — Who else but Balanchine could have put this magic of a ballet together?  The more I see these black and white ballets (well, with shades of pink), the more I love them (the enchanted realms of Balanchine).  Last season it was Agon, this season it’s 4 T’s and Symphony in 3 Movements — it’s like seeing magic on stage — who else could have dreamt this choreography into being?  

My 2 cents for the London casting  — they should cast Mira in Duo Concertant with Gilbert.  Or Preston.  Or Davide.   I do like to think that Duo Concertant has a hidden grandeur built in it — that the smaller framed ballerinas can’t quite attain.   And to see her face spotlit at the end — Drama!

Yes, @BalanchineFan — I do exchange subscription tickets — or else I would be seeing Midsummer Nights Dream five times!  And I count myself very fortunate to go to NYCB so often — so never a complaint from me — just my way of saying that this program was disappointing at first (and second) viewing.  But thank you for the tip — appreciate it. 

A few thoughts on last night’s performance:

Due to how my subscriptions worked out — I was seeing this program for the 3rd time — and I hadn’t really enjoyed the first 2 times — but there are worse things in life then sitting through a so-so NYCB performance.  Of course, I was hoping that the third time would be the charm…

1) Concerto for 2 Pianos — And charm it was!  What a difference a new cast makes — this was a different ballet — for me, Gilbert and Miriam are the most exciting pair in the company right now — there’s an electric current running between them — dancing together they’re turbo charged, crackling with energy.  Crackling along with them is David Gabriel — there was a sweet connection between David and Gilbert — are the 3 of them a throuple? (Kidding!) — but how this trio can light up the ballet stage!  I only noticed David recently, but each time I see a new dance quality to admire — he just keeps on getting better.  This time it was his musicality — musical and technical — could he be the male version of a Tiler Peck?  And seeing Olivia Bell and Emma dance together just made me smile with glee!  
 

Spartak (SVV came in), Melnikov, Olivia MacKinnon (Emily substituted).  I can’t recall the fourth

Just a few thoughts on last night’s performance:

1) Copland — Last year when this piece premiered — I saw both the first cast (heavy with principals) and the second cast.  The first cast left me unimpressed and slightly disappointed (sort of like Peggy Lee, “Is That All There Is?”).  But the second cast left me speechless with surprise and delight — to me it was a totally different ballet — the ballet bloomed with esprit de corps — and the bloom became many blooms — and I wondered if Peck had secretly told the second cast the meaning of Copland while keeping it secret from the first cast — as it seemed that way.   Then I realized that this was a true ensemble piece — related and connected to every dancer on stage — incredibly organic in its dependence on the dancers feeding off each other’s energies and emotions — if it’s there, it’s there…  And I had thought that Peck had reached a new pinnacle of artistic achievement — as his Copland seemed to me to be a dance that everyone interested in dance and performance and art should see and experience. 
I had seen the 3 earlier performances of the Copland this season, but waited till the fourth and last performance before jotting down my thoughts.  I wasn’t quite feeling that bloom in the 3 earlier performances — and wondered if I had overestimated the artistic merit of Copland — until last night.  We were informed before the performance that there would be substitutions as 4 dancers had injuries.  Several of us learned that there was an emergency rehearsal right before curtain so the cast could go over the piece with the substitute dancers — one of whom was Emily Gerrity, who originated a role last January, but had not been in the piece this season.   Can this explained the esprit de corps for last night’s performance?  Perhaps so — the coming together in time of need, wanting to honor Justin Peck’s work in this last performance, the perhaps feelings of, “oh well, let’s go for broke”, or the pressure being slightly off with everyone having to improvise.  Perhaps all of these or none of these — but the rich bloom and scent were there and it carried me through the night.

Dancers to highlight — Miriam and Gilbert were like two beasts — a lion with his lioness, Gilbert using his bulk and size in a new way — and Miriam using her length and expansiveness — they were eating up space like no one else — and how they both connected emotionally — looking straight into each other’s eyes — they were giving everything — they were giving Life! The women came together — perhaps the presence of Emily bolstered and calmed them (how does she remember the choreography?) , and they all became sisters or cousins or BFF’s — there was more warmth there, relaxed and real and inviting.   David Gabriel dances like he has wings on his ankles.  

Just a few thoughts from today’ performance:

1) Ballo della Regina — impressed by Joseph Gordon — more bravura today than I ever remember from him — reminded me a bit of Damian Woetzel — not so much in terms of facility — but in the the slight flick of the wrist at the end of his variation as if to say, “ there you go, easy as pie.”  When I saw MT MacKinnon dash onto the stage I thought next time she should be cast as the lead — her dancing has force, clarity, speed — and she’s a show off — in the best way, she lets her dancing do the talking.  I’m sensing that there is talk about India Bradley and her possible promotion to soloist — and I’m a fan — and it may happen — but she and MT were paired side by side in the 4T’s and in Ballo — and MT impressed me more, she remained in my mind’s eye longer, and I could picture MT dancing in the lead parts in other ballets.  I was thinking of which corp dancers will be promoted next — and there is such a strong field of contenders…

2) In a Landscape — 2 very, very strong contenders for promotion to soloist are Dominika and Alec.  Alec has proven to be the definition of a stalwart partner.  And I hadn’t REALLY noticed Dominika till this afternoon — OMG, she’s a gorgeous dancer — with such a delicate way of moving, to move slowly with such grace, as if under water — and with the loveliest feet since Maria Kowroski.  She danced this ballet so different than Ava did last week — and yet both were so wonderful, both so impressive.  Ava was monumental, elemental — Dominika was refined, exquisite.   It was like one week watching the Winged Victory of Samothrace and today watching the Nefertiti Bust.  

3) Hallelujah Junction — Alston and Victor stood out again — and I thought should/could have replaced Taylor and Lauren as the lead couple — not that Taylor and Lauren were wrong for the parts, or danced poorly — they danced well — but they weren’t the best couple in this piece — and  talent such as Alston’s deserves to be on stage for longer than a minute.  She is on my short list of candidates for promotion.

And who is David Gabriel?  And how did I not notice him till yesterday’s Copland?  He was striking and memorable yesterday.  But today — it was like Athena being born from the head of Zeus — fully grown, dressed in armor, ready for battle (well, dance battle).  And dance battle he did — and he dazzled and conquered  — stealing the show — and I wouldn’t have been surprised if Jonathan Stafford came out after the curtain call and promoted David on the spot.  I would have. 

Just a few thoughts from last night’s performance:

1) 4 T’s — have to say that I was feeling quite cool to the performers (even to Huxley — who is one of my favorites) until Davide showed up — and yes, he was even better than the night before — more solid, more secure.  And then, of course, there was Mira — the energy and musicality that can pour out of this dancer!  I was thinking about how Callas fans — how they worshipped her — that she should/could sing everything — Callas sings the Beatles!  Callas sings Cole Porter!  Well, I think Mira should/could dance everything.  To start, she can do every role in Jewels!

2) LW — the best of the 4 performances.  The men were so gallant and chivalrous — and all the women (yes, even Isabella) breathing and moving in the perfume that makes LW unique in the Balanchine canon.  Sometimes I got a sense that Sara was conveying a last chance at love — not desperate, but yearning, ever hoping, more than willing to take that chance at happiness.  And Chun — how he seemed to worship Sara.  At moments their dancing was glorious with emotion. But the real bond was between Indiana and Preston — they both seemed giddy to be dancing together, to be in this dream that can be and was Liebeslieder Walzer.