Jump to content
This Site Uses Cookies. If You Want to Disable Cookies, Please See Your Browser Documentation. ×

NYCB Winter 2015 Season


Recommended Posts

Just back from the ballet. First, Veyette was replaced in tonight's premiere of Rodeo due to injury. Justin Peck covered a portion of Veyette's role, and Suozzi covered a different portion of the role in another section of the ballet. This ballet is made for many, many men (didn't count in my program how many) and one woman- Sara Mearns. My favorite section of the work was a melting pdd between Mearns and Ramasar. Overall, the choreography was very athletic. Some of the choreography was extremely repetitive, and I often felt like I was watching an advanced ballet class for male dancers where the objective was to practice jumping skills.

I most enjoyed the Wheeldon work on the program. (Mercurial Maneuvers). Wheeldon's choreography is very sophisticated and responsive to the music at all times. Tiler and Jared were especially moving in their pdd.

I'm still not a fan of Pictures at an Exhibition, although it does have its moments. Hyltin did a lovely job in taking over Wendy's role. And Lovette is looking more and more like principal material. She did a terrific job in the daring and tricky role originated by Tiler Peck.

I wish they would get rid of these See the Dance lectures, or hold them during intermission for those who wish to hear them. The evening was already running long.

Link to comment

Also back from tonight's performance. Justin Peck's new piece, Rodeo (in which Andie was to have danced) was up second. There was no announcement at the start of the program that Andie was out so several of us were hoping against hope that last night was just a minor problem. But after intermission, (just before the work) Justin came out to announce there had been an emergency and one of his dancers, Andie Vyette had been injured in the previous night's Donizetti. In order to present a "finished" work, he and Sean Suozzi would take over Andie's role. Justin danced the beginning while Sean danced a later PDT w/Danny Ulbricht and Gonzolo Garcia (which somewhere became a PDD) and then the finale. I know this was an emergency but I have to say (my one complaint) that Justin is in terrible shape. He now dances worse than the worst corps dancer. Clearly choreographing is his priority and he shouldn't be dancing. He drew my eye away from the ensemble because he was so bad. Hopefully, by Sunday (when this program is repeated) Sean or someone else will have learned the whole role.

As for the piece, I thought a Rodeo was a resounding success. It is a piece for 16 dancers, all of whom are men, except 1-Sara Mearns. It was really great to see the opening ensemble with just men leading the way - no partnering, just doing male steps, a lot of jumping and turning and some just running around. Unlike de Mille's Rodeo, Justin's seems to have no story. It is just a visualization of the very upbeat, energetic Copland score. There is an opening where all the men (and Sara) dance. That leads to a group dance for 5 soloists led by Taylor Stanley, also with Danny Applebaum, Craig Hall (yay), Andrew Scordato, and Allen Peiffer. Ssomewhere in there are a few virtuosic solos for Ulbricht (double yay!) who executed them beautifully. There is a long PDD with Sara and Amar which, unlike abatt, I found a little dull. Sara wears no tights (Wayne MacGregor anyone?) so you can see her legs are made of steel muscle. There is also the PDT with Sean, Danny and Gonzo which became a PDD as Danny dropped off. That was just the basic structure though. I really need to see the ballet again to focus on it more. But it got a standing ovation and at the next intermission everyone was a buzz with how much they liked it. I thought it was great.

Pictures At An Exhibition started the evening. There was a major cast change from the fall. No Wendy (Sterling took her part), no Tiler (Lauren Lovette). We also had Gretchen Smith, Indiana Woodward and the immensely talented Joseph Gordon. As cobweb noted above, Gordon is really talented: great turner and jumper, and a very good stage presence. What is most noticeable to me, though is his epaulement, use of his chest, arms, hands and head. This guy has definitely had some Vaganova training somewhere along the way because SAB doesn't teach this way. Anyway, he won't be in the corps for long, I expect. As for Sterling, I was surprised at how much I liked her in Wendy's role. While not an angular, unique presence, her technique was excellent and her jumps into Tyler (her partner's arms), his twining her around his body and occasionally throwing her in the air looked very good. I also loved Adrian here. This type of contemporary ballet really suits him more than something more classical like Chaconne. I did miss Tiler, but on the whole, liked the ballet more than in the fall (this was my 4th viewing)

Finally, Wheeldon's Mercurial Manoeuvres. I'm not sure I've seen this ballet before. As Canbelto noted during intermission, it's set to the same Shostavich piece to which Ratmansky choreographed Piano Concerto No.1 (with Vishneva and Osipova) for ABT. The opening of the piece begins with the wonderful Anthony Huxley dancing to the concerto's main theme. He always moves so quickly and cleanly, it's a joy to watch. Then Wheeldon uses a large ensemble of female corps, standing initially almost motionless on point. He creates shapes, patterns and formations with this group. In the middle, there is a long PDD gloriously danced by Tiler Peck and Jared Angle. She was gorgeous and musical in it but to remember steps, I need to see it again. Sara Adams and Kristen Segin were 2 demis. My husband felt the Ratmansky piece "got" the music better than Wheeldon but to be fair I'd really have to see both again (though I think he may be right). I still liked Manoeuvres a lot though.

So a highly successful evening for NYCB and its audience.

Link to comment

As Amour noted, the audience seemed to love Rodeo, so my mixed feelings about it may be in the minority. To be honest, I have not been a huge fan of most of Peck's past work for NYCB, with the exception of Year of the Rabbit and Belle Lettres. Balanchine often used a gaggle of women and one guy in his ballets to great effect. However, I didn't feel like the opposite approach, a gaggle of guys and one woman, worked very well last night. The jumps and spins started to become monotony for me. There was a lot of movement, but not much content. Ulbricht was totally in his element, as he can out-jump and out-spin most of the other men.

The NYC dance world was out in full force last night in the audience.

Maybe I would have liked the Peck work better if it had been on a program with a variety of different kind of works - some classical purity and some modern. Last night's program was all modern - mostly unrelenting athletics. Not a tutu or long dress to be seen.

So if Veyette is injured for the rest of the Winter season, who will they have to replace him in Harlequinade. Last time they did Harlequinade, Veyette did all the performances because DeLuz got injured. Are we going to have a reversal where DeLuz is expected to do all the Harlequinade performances? Stay tuned.

Link to comment

What a shame about Veyette. It was the most painful thing seeing him gut it through his solos in Donizetti the other night. He looked fine in the pdd but as soon as he came out for his first solo it was clear there was something very wrong. But he gutted it out for the bits where he would have been the only person on stage (although he stayed away for his bits with the corps). He even (grimace) toughed out a few double tours, all of which were still better than most men in the company can do uninjured. But maybe that wasn't the smartest thing given his injury? It was definitely some problem with one of his legs, as he hopped onto the other one in the middle of toughing it through another pirouette sequence. He must be horribly disappointed at missing the Peck and maybe Harlequinade too. The company really needs more depth in those kinds of roles that require virtuosic male dancing, like Donizetti, Theme & Variations, and Oberon in MSND. Most of the time it's Veyette and De Luz alternating, because they're the only ones that can pull it off well. Sometimes the company throws in Garcia or Carmena, but those two are not in the same league as Veyette and De Luz and obviously struggle in those roles. De Luz is amazing, especially given his age, but nycb really needs some star men to fill out the bench. For some reason they refuse to use Danny Ulbricht (he's probably close to De Luz's height, so it can't be just that alone). Here's hoping Veyette has a speedy recovery. I love his dancing.

Link to comment

Thank you, Abatt and Amour, for your wonderful descriptions of last night's performance, especially Rodeo. I love Copland's quintessential American music and hope to see Peck's version in a future season. Since it got a rousing reception from the audience, Martins should bring it back, right?

Link to comment

I think NYCB does have a roster of up and coming stars who could do these roles. As examples, Harrison Coll and J. Gordon are both on my radar as being future stars who are ready to take on bigger roles. I think Ulbricht's classical form is generally considered to be sloppy. That's why he tends to cast in more modern ballets, but not as the lead in a ballet like Donizetti.

Wishing Veyette a speedy recovery.

CTballetfan, Rodeo is on the schedule for the Spring 2015 season.

Link to comment

I know this was an emergency but I have to say (my one complaint) that Justin is in terrible shape. He now dances worse than the worst corps dancer. Clearly choreographing is his priority and he shouldn't be dancing. He drew my eye away from the ensemble because he was so bad. Hopefully, by Sunday (when this program is repeated) Sean or someone else will have learned the whole role.

He danced absolutely fine (well, better than fine) in Serenade last weekend, though I realize that piece may not be the best barometer of his current abilities. His body certainly does not at all look out of shape. I haven't been following him long enough to judge whether there has been a decline in his technique, though.

To my eyes, Savannah Lowery looked remarkably out of shape, though she still managed okay in Agon.

Link to comment

I know this was an emergency but I have to say (my one complaint) that Justin is in terrible shape. He now dances worse than the worst corps dancer. Clearly choreographing is his priority and he shouldn't be dancing. He drew my eye away from the ensemble because he was so bad. Hopefully, by Sunday (when this program is repeated) Sean or someone else will have learned the whole role.

He danced absolutely fine (well, better than fine) in Serenade last weekend, though I realize that piece may not be the best barometer of his current abilities. His body certainly does not at all look out of shape. I haven't been following him long enough to judge whether there has been a decline in his technique, though.

To my eyes, Savannah Lowery looked remarkably out of shape, though she still managed okay in Agon.

Peck re his own dancing, in a recent article by Rebecca Milzoff in New York Magazine:

“I’m not a very good dancer,” he says matter-of-factly when I ask what his flaws are. “My feet don’t point far enough, my extension is embarrassing. Dance for me has been hard, because it’s a strive for perfection.”

I haven't seen Peck on stage very much recently, but he looked to be in decent enough shape in "La Valse." In any event, I'd say Peck was interesting as a dancer for reasons other than his technique.

Link to comment

I saw Peck in the lead in the Cage a few days ago. As you may recall, that little loin cloth outfit doesn't leave much to the imagination. For an NYCB dancer, he looked a bit out of shape. For anyone in any other type of occupation, he would be deemed totally in shape.

Link to comment

Having seen "The Goldberg Variations" three times in a week with two different casts (my first experience with this work), I can safely say that not only do I like this ballet but I am deeply moved by it. Last night's cast proved to be every bit as good as the first one. Everyone who participated in these presentations --from Faye Arthurs to Peter Walker (and, of course, Cameron Grant)-- is to be highly commended for their efforts. I agree with all of the positive remarks about specific dancers made by posters above. So I'll just add a few personal observations.

No one mentioned Lauren Lovette's performance last week, but I felt she did very well indeed. Last night Ashley Laracey was excellent in the same part as well. I find Laracey to be an enchanting ballerina and wholeheartedly concur with someone above who wished she was given more opportunities.

Since I expect so much from Sara Mearns anyway, I consider Sterling Hyltin to be the one who is having an outstanding season. She has been dancing in a lot of works (besides the Goldberg) and doing so --for the most part-- superbly.

In my opinion (a strongly held one), Tiler Peck is one very, very special ballerina. I too thought that she (to borrow cobweb's exact words) "was just astonishing" in the first two "The Goldberg Variations". Ashley Bouder, however, is a remarkable artist in her own right, as she showed yet again last evening. I think we are indeed very fortunate to have these two exceptionally talented women dancing at NYCB in the same time period. NYCB has a lot to boast about right now.

Finally, I thought that Emilie Gerrity looked splendid up on the stage last night. It was a great call by the powers that be to give her this chance. She danced her part with a sprightliness and confidence that were thoroughly endearing.

Link to comment

As Amour noted, the audience seemed to love Rodeo, so my mixed feelings about it may be in the minority. To be honest, I have not been a huge fan of most of Peck's past work for NYCB, with the exception of Year of the Rabbit and Belle Lettres. Balanchine often used a gaggle of women and one guy in his ballets to great effect. However, I didn't feel like the opposite approach, a gaggle of guys and one woman, worked very well last night.

It didn't work very well for me at all either. Some of the people in the orchestra section actually gave it a standing ovation, something which almost never happens at NYCB --even for the most amazing of performances! But I don't mind being in the minority whenever I have to be. In general, I have liked Justin Peck's work --with the exception of the piece at the Joyce and now Rodeo. But with all due respect to the gentlemen who performed in Rodeo the best segment of that ballet was --the portion Sara Mearns danced in! I confess to being a strong adherent of the "ballet is woman" school of philosophy. Of particular curiosity to me --a cause for head-scratching actually-- was that a beautiful, slow section of Copland's score was choreographed for several men only. Interestingly, I have a ticket for the program next week in which Tiler Peck is scheduled to perform in Rodeo. I wonder whether I will be singing a different tune after I see her in it, but I doubt it because the problem here was hardly Mearns at all! I liked Pictures at an Exhibition very much but the highlight Wednesday for me was Tiler Peck's gorgeous performance in Mercurial Manoeuvres.

Link to comment

Finally, I thought that Emilie Gerrity looked splendid up on the stage last night. It was a great call by the powers that be to give her this chance. She danced her part with a sprightliness and confidence that were thoroughly endearing.

Last night was my first opportunity to see The Goldberg Variations, and I loved it. Of course, you can't beat the music, which was wonderfully played by Cameron Grant. But I totally agree, Royal Blue, that Emilie Gerrity was simply out of this world.

Link to comment

I spoke to Justin Peck briefly about Rodeo after tonight's Ballet 422 screening. He said they are " still working on" a replacement for Andie Vyette. However he doesn't anticipate having to dance himself on Sunday (the ballet's next showing).

I wanted to ask him about still dancing while choreographing but I wasn't called on. Someone else asked a similar question, though. Justin responded that he likes dancing because it gives him another perspective on choreography. Apparently, he has just been cast in Symphony in C, a ballet he has long studied. I say, then, Justin get in shape. Sorry Kathleen, but I didn't like him in La Valse (which I saw twice with him as a Death). There's not much dancing in the role anyway ( he walks downstage, gives the lead some gloves, a necklace and shows her a mirror). And I found his acting unpersuasive. He wasn't really sinister or seductive. I don't know whether he really wants to dance or Peter is just making him. In any case, he needs to improve, IMO. Stil, kudos to him for Rodeo.

Link to comment

To my eyes, Savannah Lowery looked remarkably out of shape, though she still managed okay in Agon.

I saw Savannah Lowery tonight in Concerto Barocco. To my eye she did not look out of shape, in that her dancing was fine. She did, however, look like she needs to lose some weight. For me, being "out of shape" means you can't practice your craft well, not whether you're thin or heavier. For example, Vasiliev with the Mikhailovsky seemed a bit out of shape with his breathlessness and occasional sloppiness of form. But I didn't think he looked any heavier than usual. I know being out of shape often goes along with weight gain but not always. My complaint about Justin Peck's dancing is that it's simply not where it should be for a soloist. Well, they pulled Adrian Danchig-Waring from tonight's Goldberg Variations (replaced by Tyler Angle) so maybe he'll be dancing Justin's pièce tomorrow.

Tonight Goldberg was a lot less wearing than last week. The second section had Ashley, Joaquin, Sara, Tyler, Sterling and Amar as the principals. If you thought Ashley was just an allegro dancer, think again! She was wonderful as the lead principal and made the adagio movements truly come alive. She well out danced Sara (who is an adagio dancer). Sterling and Amar were also very good. Tyler (who danced both pieces in the program) again showed himself off as a quiet virtuoso, not just a great partner. Sara was unmemorable, IMO.

I wasn't thrilled with Concerto Barocco tonight. Savannah and Maria K don't seem well matched to my eye. Maria looked better in the PDD with Tyler than on her own. Savannah was pretty good but, as I said earlier, could use losing a few pounds to lengthen her line. I preferred the Tess/Sara matchup from last week though even those two don't look that good together. Still it's a great piece. I just tried to look at the corps.

Link to comment

"Isn't cobweb going to make a post about last night's performance?" my partner keeps asking me today. Yes, cobweb is planning to, but she's been too lost in listening to Murray Perahia's recording of Goldberg Variations and dreamily envisioning Faye Arthurs and Zachary Catazaro and their quiet steps at the beginning and end of the ballet. It was last Saturday that I saw this piece for the first time. Last night was the third time, and when I got home I anxiously checked the programming for spring. Thank goodness, there it is on the schedule. Same casting and same pianist, please! (I saw an assortment of casting in the three performances -- all good! Anthony Huxley my fave. Pianist was the wonderful, not to mention very handsome, Cameron Grant).

It's a piece that makes me think a lot about Robbins. Can anyone let me know if there's a good biography of him? My feeling is that this piece shows his enormous talent, but also some constriction and muddiness of thought. The costume-change conceit doesn't really make sense to me. More of a dramatic arc would help engage the viewer for this very long piece. I feel that some of the movement vocabulary undercuts the gravity and beauty of the music. Finally -- and this is purely impression that I would have difficulty supporting -- I get a sense that Robbins wanted to experiment more with gender roles and pairings, but didn't feel free to fully explore that line of thinking.

Despite all that, there is enough that's beautiful and engaging, not to mention the beauty of the music, and my appreciation for the splendid dancing by a large cast including newcomers and veterans, that it made for a deeply moving experience and makes me feel very grateful for ballet.

Link to comment

Can anyone let me know if there's a good biography of him?

I have Dance with Demons: The Life of Jerome Robbins by Greg Lawrence (Gelsey Kirkland's first husband):

http://www.amazon.com/Dance-Demons-Life-Jerome-Robbins-ebook/dp/B000OCXGI2/ref=sr_1_1?s=books&ie=UTF8&qid=1423436855&sr=1-1&keywords=dancing+with+demons+jerome+robbins

I believe it was criticized at the time for sourcing, but it does go into the controversies early in his adult life, when he "named names" before Joe McCarthy's HUAC committee, destroying many careers. McCarthy reportedly threatened to "out" him as a closet homosexual, which would have ruined his career in the early 1950s. The episode apparently haunted him for the rest of his life.

Link to comment

There are two other bios Robbins:

Somewhere: The Lift of Jerome Robbins by Amanda Vaill

Jerome Robbins: His Life, His Theater, His Dance by Deborah Jowitt

Martin Duberman writes a bit on Robbins in his bio The Worlds of Lincoln Kirstein.

There's also a bit of snark on Robbins in Joseph Mazo's Dance Is a Contact Sport.

Link to comment

Can anyone let me know if there's a good biography of him?

I have Dance with Demons: The Life of Jerome Robbins by Greg Lawrence (Gelsey Kirkland's first husband):

http://www.amazon.com/Dance-Demons-Life-Jerome-Robbins-ebook/dp/B000OCXGI2/ref=sr_1_1?s=books&ie=UTF8&qid=1423436855&sr=1-1&keywords=dancing+with+demons+jerome+robbins

I believe it was criticized at the time for sourcing, but it does go into the controversies early in his adult life, when he "named names" before Joe McCarthy's HUAC committee, destroying many careers. McCarthy reportedly threatened to "out" him as a closet homosexual, which would have ruined his career in the early 1950s. The episode apparently haunted him for the rest of his life.

Robbins had ambitions at the time to do more work in Hollywood, which work would have been cut off had he been an unfriendly witness. In the end he did go to Hollywood and got canned, which some no doubt regarded as just deserts.

cobweb, we have several different threads on the various Robbins bios in our "Writings on Ballet" forum. If you do end up reading one of them, please think about telling us your thoughts!

I'm enjoying reading all these reports on the season from the West Coast.

Link to comment

There were a number of debuts during last night's performance of Pictures. Georgina Paz. took over Mearns part. She didn't have the technical command and speed needed for the big solo contained in this role, but in fairness it was her debut so she will probably improve in future performances. That sort of problem was even more evident in Catazaro's performance. He took over Ramasar's role. He was too tentative and too slow.

Tiler Peck took over Mearns part in Rodeo. I liked Peck's performance more than Mearns. Mearns, who is usually a drama queen, has approached the part with a joyous and sunny reading. In contrast, Tiler Peck turned it into a romantically yearning pdd with Ramasar. Peck's expressive and musical dancing were perfect for the role. The audience seems to be loving Rodeo, as it received thunderous applause at the end of the ballet.

Mearns and Russell Janzen took over the lead parts in Mercurial Maneurvers. It was an excellent performance. I believe these two are the tallest people who have taken on these particular roles. Mearns height and long limbs accentuated the beauty of the numerous extensions contained in Mearns' role. They blended together seamlessly and look great together. Janzen lifted her effortlessly. Excellent debuts.

Link to comment

Tonight was the first in the Art Series program: Serenade, Agon & Symphony in C. The casting was the same as I've seen before this season, except Anthony Huxley took Andie Vyette's role in Agon.

To my surprise, there were more empty seats in the orchestra than on a regular night. Row N, center, was empty except for about 4 people. I guess they saved seats for people who were no shows.

Since I've already reviewed this before just some brief thought. Tess was again wonderful as the Dark Angel in Serenade. She's really having a great season.

In Agon, Anthony Huxley did a very good job (IMO) of filling in for the injured Andie. The PDT and his brief solo looked near flawless. He has great attack. He is a little on the short side but made the partnering work. Maria was great again tonight but Amar had some difficulty in the partnering department. When he lies on the floor and gives resistance to Maria in her penchée, his arm was shaking like crazy. But the audience went wild for them. Megan LeCrone fell off pointe when she was going into a pencheé, supported by Devin Alberda and Daniel Applebaum. At first I thought it was their fault, their arms not being high enough. Now I think their arms were probably correctly placed and she just lost her balance before she could reach them. But it was a minor problem.

La Bouder was, as always, wonderful in the 1st movement in Symph in C. Mearns, likewise in 2nd movement, though she has a bit of trouble keeping up in the finale. The surprise for me was how much I liked Lauren Lovette in the 3rd. I have been disappointed in her recent performances ( I didn't like her performance in this role a few weeks ago, when she slipped) but she was fantastic tonight, maybe the best of the 4 female leads. Brittany Pollack and Adrian Danchig-Waring were again terrific in the 4th movement.

We received a book of photos of Dustin Yellin's work as a souvenir. Puzzlingly (for me) inside the front and back covers are ballet terms with what would seem to be definitions. But they aren't; for saut de chat they have a paragraph that begins "Seek a meaningful relationship with fireman". Déboule is " an intensive cleanse". Pas de cheval: "Locate small, plump white pony; grass fed in the South of France while dressed in red velvet pajamas". And so on.... Is this supposed to be funny? I don't know (I don't have a great sense of humor) but I simply didn't get it. But the inside has nice color photos, many of which are of the art installation on the Promenade.

The evening ended with a kind of party on the Promenade, free beer, loud music, people chatting. All in all a nice evening.

Link to comment
  • Recently Browsing   0 members

    • No registered users viewing this page.
×
×
  • Create New...