2023-2024 Season

deanofdance · January 31

Just a few thoughts on last night’s performance:

1) Fancy Free - I think even the dancers and orchestra are bored with doing this one — it began well — but began to drag from the middle on. And even though this is my favorite of Robbins — the scene when the 3 men take the woman’s red purse is hard to stomach…

2) In the Night — the highlight was Emily and Tyler — now here was a ballet where the dancers could communicate with each other and the audience — what do you want/have to say? Yes, there are the steps and your technique — but is there more in/from you? And I think it helped that these 2 are relatively older than most of their fellow company members — they moved together with a sweet warmth, an emotional gravitas.

3) The 4 Seasons — to me, just a goofy ballet saved by Tiler Peck feeling the need to show off — Thank God! Also — shout out to Cainan!

cobweb · February 1

4 hours ago, abatt said:

I enjoy Furlan's dancing, but these past two years have resulted in a lot of absences. He missed a substantial amount of time due to family problems that required him to return to Brazil. Now he is injured. Quite unfortunate.

Agree with this. He has so so much to offer, and we don't get to see enough of him.

deanofdance · February 1

Just a few thoughts on last night’s performance:

1) Polyphonia — so interesting to see this piece with a new cast (well, 5/8 new) — as it felt flat and a bit messy and off the music — I know parts of the music are “difficult” and brittle, but even then… — and I didn’t sense anything new from the dancers — they appeared to remain in their comfort zone — which is fine — except my memory retains the first cast’s performances. Also, I’m thinking the choreography was changed a bit, with difficult parts removed (most notably with Sebastian and Davide’s duet). And not to harp on Unity — but she seems to be fading artistically — esp. when comparing how bold Alexa’s performance was in the same role.

2) Barber Violin Concerto — Really, one of the goofiest ballets staged by NYCB — usually I sit through this hoping I don’t fall asleep — but this time I sat and marveled at Preston and Miriam performing together. I don’t know how these 2 (along with Alexa and Alec) were able to rise above the goofiness, but they did — and I sense this was a mini breakthrough for Preston — as I had noticed him immediately when he first joined the company and had thought he had the potential for making principal. He had this beautifully proportioned body and a huge stage presence — but has never been able to live up to that potential — well, till last night. Last night he added a slightly hidden grandeur to his performance/dance qualities that blended so well with Miriam’s qualities of gorgeous lines, sweet innocence and all American blond beauty (like the Breck girl!) — which I think culminated in them finally “realizing” this ballet.

3) The Times Are Racing — comparing casts — Peter Walker was less effective than Harrison Coll — his longer body not being able to move as specifically as Harrison’s — and Harrison and KJ are a better combo — their energies are similar. And how can anyone say something negative about Tiler in a role she originated! You can’t — so I won’t — she was wonderful with Taylor Stanley! But I would note that Taylor with Ashton Edwards was wonderful wonderful!

BalanchineFan · February 2

On 1/31/2024 at 5:11 PM, Fernie M said:

Where is Kikta?

Doesn't she have Choleric in 4T coming up?

Edited February 2 by BalanchineFan

cobweb · February 2

I await reports on Tiler’s new piece!

matilda · February 2

4 hours ago, cobweb said:

I await reports on Tiler’s new piece!

I wasn't there, but the New York Times review is very positive: https://www.nytimes.com/2024/02/02/arts/dance/review-tiler-peck-concerto-for-two-pianos.html

Note that Mejia is shown with tape around his ankle in one of the photos, for those of us wondering why he may have pulled out of recent shows.

volcanohunter · February 2

The company just posted this little excerpt.

https://www.facebook.com/share/v/87hWMyw4f7uQTVR5/?mibextid=xfxF2i

Fernie M · February 2

20 hours ago, BalanchineFan said:

Doesn't she have Choleric in 4T coming up?

2x, that’s all

nanran3 · February 2

Tiler's piece looks wonderful! Can't wait to see it in three weeks...

cobweb · February 3

On 1/23/2024 at 8:42 AM, abatt said:

This was one area where I admired what Martins did. There was more fluidity in assigning roles to promising young dancers under his tenure than under the current admin. The current leaders seem to value seniority as the guiding factor in casting to a greater extent than Martins.

Would today's admin allow a teenage ballerina to debut the leads in Agon, Prodigal Son and Titania the way that Martins allowed Miriam Miller to do under his tenure? I doubt it.

Going back to abatt's comment from a week or so ago, I have to agree. Take Ballo della Regina. Fairchild is a great dancer, but I'm not sure she's adding anything new at this point. I would rather see fresh faces, such as, in this role, Emma Von Enck or Alexa Maxwell. I wonder, back in the day, what would Martins (or any AD hoping to develop exciting young talent) do in this situation? Fairchild is dancing at the top of her game and delivers sparkling performances, but (at least some of) the audience are eager to see newer faces take on some roles. If, say, Maxwell or Von Enck were cast, that's fewer performances for Fairchild. Or are senior dancers, even when still dancing well, asked to relinquish some roles altogether? I'm not sure what the right, or best, answer is.

Looking at the women's principal and soloist roster, I can't help but think that the development of talent is not going as well as it should. For principals, the only ones I find consistently exciting are Tiler Peck, Sara Mearns, Mira Nadon, and Indiana Woodward. For the rest: Bouder is not dancing and seems unlikely to return. I feel I've seen Fairchild in the same roles for long enough. Unity is a mixed bag, but doesn't seem as exciting as she once did. LaFreniere has had some great performances and great potential, and some botched and inhibited performances as well. Emilie Gerrity is an excellent, consistent dancer but doesn't take it to the next level IMHO. There are three soloists -- Von Enck, Maxwell, and Kikta -- who are more dynamic and exciting than several of the principals. And Ashley Laracey has a far richer artistic maturity than most of the principals. I accept that Laracey's career isn't going to go any further, and that's okay -- she has more than delivered on the assignments she's been given. But Von Enck, Maxwell, and Kikta should be dancing principal roles now. I am confident that Von Enck will get there, but when? She's ready now. And I believe both Maxwell and Kikta could hold their own as principals as well, I'm just not sure they will ever get there.

Edited February 3 by cobweb

vipa · February 3

3 hours ago, nanran3 said:

Tiler's piece looks wonderful! Can't wait to see it in three weeks...

I'm on board with that. I'm seeing it on Thursday, can't wait. I hope Mejia stays healthy.

vipa · February 3

48 minutes ago, cobweb said:

Going back to abatt's comment from a week or so ago, I have to agree. Take Ballo della Regina. Fairchild is a great dancer, but I'm not sure she's adding anything new at this point. I would rather see fresh faces, such as, in this role, Emma Von Enck or Alexa Maxwell. I wonder, back in the day, what would Martins (or any AD hoping to develop exciting young talent) do in this situation? Fairchild is dancing at the top of her game and delivers sparkling performances, but (at least some of) the audience are eager to see newer faces take on some roles. If, say, Maxwell or Von Enck were cast, that's fewer performances for Fairchild. Or are senior dancers, even when still dancing well, asked to relinquish some roles altogether? I'm not sure what the right, or best, answer is.

Looking at the women's principal and soloist roster, I can't help but think that the development of talent is not going as well as it should. For principals, the only ones I find consistently exciting are Tiler Peck, Sara Mearns, Mira Nadon, and Indiana Woodward. For the rest: Bouder is not dancing and seems unlikely to return. I feel I've seen Fairchild in the same roles for long enough. Unity is a mixed bag, but doesn't seem as exciting as she once did. LaFreniere has had some great performances and great potential, and some botched and inhibited performances as well. Emilie Gerrity is an excellent, consistent dancer but doesn't take it to the next level IMHO. There are three soloists -- Von Enck, Maxwell, and Kikta -- who are more dynamic and exciting than several of the principals. And Ashley Laracey has a far richer artistic maturity than most of the principals. I accept that Laracey's career isn't going to go any further, and that's okay -- she has more than delivered on the assignments she's been given. But Von Enck, Maxwell, and Kikta should be dancing principal roles now. I am confident that Von Enck will get there, but when? She's ready now. And I believe both Maxwell and Kikta could hold their own as principals as well, I'm just not sure they will ever get there.

I believe you've summed things up pretty well @cobweb. Fairchild is indeed a fine dancer who delivers, as you say, sparkling performances but she is never going to surprise me with her imagination or musicality. I'm eager to see Tiler Peck in Ballo, not only because I've never seen her do it, but because she will bring something unique and special to it.

Relinquishing roles is an interesting piece of things. Sterling Hyltin spoke of this in interviews as she was retiring. Mearns (as stated in social media) has relinquished Lilac Fairy and Dew Drop, Fairchild - Dewdrop. My feeling is that dancers have roles and respect is given for seniority. For example (again stated on social media) Fairchild could have dropped Dewdrop from her rep this past Dec. but chose to perform it one more year.

I too find E. Von Enck, Maxwell, Kikta more compelling dancers that some of the principals. As for Laracey, I've said this before but I think they should have made her a principal, even though she probably doesn't have a lot of years left, and let Gerrity and LaFreniere mature as artists for a couple of years.

I haven't seen any shows yet this season, and am really looking forward to next week. Thank you all who post reviews!

BalanchineFan · February 3

On 2/1/2024 at 12:02 PM, deanofdance said:

3) The Times Are Racing — comparing casts — But I would note that Taylor with Ashton Edwards was wonderful wonderful!

I wish I'd seen them. Did they do the slow/fast duet in the middle? What was it like?

Pepino23 · February 3

In tonight’s performance I found Rotunda to be just as “blah” as I had found it the first time I saw it. There are of course individual moments that are lovely to watch such as Daniel Ulbricht’s solo; but overall not something I need to see again.

Tiler’s piece was a refreshing return to a more “ballet-ey” new work. I have been less than impressed in the last few years with the new works trying too hard and leaving little to no lasting imprint in my mind. Was this piece a genius work? No. But it was entertaining and you can certainly see her style of dancing within the choreography. She showcases Roman well. Crazy jumps, spinning top turns, and a charm that only he has onstage. He honestly looked like more of an ABT male dancer tonight than a NYCB male lead hiding in the female shadow. Mira and Chun make for a lovely partnering match. Very flowy and calm amidst commotion. Emma is spunky and sparkly and every role I see her in I love her more and more. India I truly do not understand the recent spolighting of her. She is stiff, she has no stage presence and I just do not see the appeal. She has of course long legs and long lines, but I don’t see the control within all of that flexibility that I see in other dancers. I was eager going into the piece after reading the NYTimes Tiler Peck interview. I wanted this to be the chance for India to wow me since Tiler mentions how people think she isn’t as technical as other dancers. Unfortunately, I was not convinced. There is getting through a piece and then there is actually dancing and allowing the audience to feel something with the dancing. India just doesn’t have that spark for me. I enjoyed the corps dancers selected for this piece. I thought they did well and it was nice to see some faces I feel like I don’t get to see as often such as Kennard Henson.

Odessa was a lovely surprise for me having never seen it. Megan and Unity did well. Megan talks about how she is rarely is new works or more contemporary works. I think that she did fine here. The one who really shone for me though was Indiana. Precise turns, fast footwork, made it all look like just a ton of fun instead of an asthma attack waiting to happen for all that dancing. Daniel Ulbricht was great in this. He is very underutilized in my opinion. I did enjoy his pairing with Megan and I wonder why they aren’t paired more often. Stop pairing him with Erica Pereira please! Give this guy better partners!

cobweb · February 3

31 minutes ago, vipa said:

As for Laracey, I've said this before but I think they should have made her a principal, even though she probably doesn't have a lot of years left, and let Gerrity and LaFreniere mature as artists for a couple of years.

Agree with this, but also Peter Martins should have made her principal at the same time Lovette was promoted -- or even instead of Lovette. That was in 2015.

BalanchineFan · February 3

3 minutes ago, cobweb said:

Agree with this, but also Peter Martins should have made her principal at the same time Lovette was promoted -- or even instead of Lovette. That was in 2015.

3 minutes ago, cobweb said:

45 minutes ago, vipa said:

As for Laracey, I've said this before but I think they should have made her a principal, even though she probably doesn't have a lot of years left, and let Gerrity and LaFreniere mature as artists for a couple of years.

I didn't think she should have been promoted before, but I think Laracey should be promoted now. Who cares what her age is?

Edited February 3 by BalanchineFan

cobweb · February 3

28 minutes ago, Pepino23 said:

Tiler’s piece was a refreshing return to a more “ballet-ey” new work. I have been less than impressed in the last few years with the new works trying too hard and leaving little to no lasting imprint in my mind. Was this piece a genius work? No. But it was entertaining and you can certainly see her style of dancing within the choreography.

Thanks for the report, Pepino23! I too hope for more "ballet-ey" works, and I'm glad Tiler's taking up that mantle.

Royal Blue · February 3

Ballet companies and dancers should certainly aim high, and audiences expect that they do. Virtually every program in my experience of watching New York City Ballet, nevertheless, provides a refutation of the witty dictum that "Ballet is only good when it is great." The art form would have a difficult time surviving if that were true. And who decides what is "great" anyway?

Wednesday evening's program consisted of Polyphonia, Barber Violin Concerto and The Times Are Racing. Each contains features to inspire and enchant, even if none in its totality can be described as a masterpiece.

Watching Polyphonia was a breeze, on account first and foremost of the comeliness and splendid dancing of Unity Phelan and Indiana Woodward. Replacing Sara Mearns, Sara Adams exhibited affecting loveliness and gravitas in the pivotal sixth segment of the work.

Yearning is as natural as breathing in humans, especially for the artistically inclined. And yearning permeates the music and conceit of Barber Violin Concerto. With the right cast, the substantive first and second sections of the ballet can be dramatic and moving. Unfortunately, notwithstanding his handsome appearance, elegance and strength, Preston Chamblee's football player-type build makes him appear unsuited for ballet. (Even in a work in which he impersonates a modern dance performer.) This is singularly distracting during the Taylor Swift phase of American popular culture history we are currently living through. With her long, lithe limbs, luscious blonde hair either up or down, and gorgeous countenance, Miriam Miller looked as stunning as ever without quite yet conveying the deep yearning and inner passion her role should ideally evoke.

Although a peculiar work for New York City Ballet, The Times Are Racing never fails to thrill in the theater, no matter the cast. On Wednesday, the wonderful lines made by Peter Walker's tall frame were particularly impressive. Of course, the performances by Tiler Peck, Taylor Stanley, Kristen Segin, Mary Thomas MacKinnon, and the rest of the cast were delightful also. (Emilie Gerrity's physique is more symmetrical with the other two women than is Alexa Maxwell's, but that is a minor quibble.) Premiering only seven years ago, The Times Are Racing boasts one of the most rousing finales in New York City Ballet's repertory, which brought the evening to a stirring conclusion.

Kathleen O'Connell · February 3

16 hours ago, cobweb said:

This was one area where I admired what Martins did. There was more fluidity in assigning roles to promising young dancers under his tenure than under the current admin.

I think Martins' record on identifying and nurturing promising young dancers is decidedly mixed. For every Sara Mearns who was ready for the challenge of being thrust into a big principal role from the back of the corps, there's three more who were pushed to prominence in haste and abandoned in leisure. I think many of the dancers he did this to were indeed very promising, but were almost set up to fail by being thrown into big roles—sometimes a lot of them—that they didn't really have the technical or artistic chops for. Martins liked to make a fuss over some new corps member or other every season, but seemed less interested in nurturing their artistry into full bloom afterwards.

Novice123 · February 3

2 hours ago, Royal Blue said:

Ballet companies and dancers should certainly aim high, and audiences expect that they do. Virtually every program in my experience of watching New York City Ballet, nevertheless, provides a refutation of the witty dictum that "Ballet is only good when it is great." The art form would have a difficult time surviving if that were true. And who decides what is "great" anyway?

Wednesday evening's program consisted of Polyphonia, Barber Violin Concerto and The Times Are Racing. Each contains features to inspire and enchant, even if none in its totality can be described as a masterpiece.

Watching Polyphonia was a breeze, on account first and foremost of the comeliness and splendid dancing of Unity Phelan and Indiana Woodward. Replacing Sara Mearns, Sara Adams exhibited affecting loveliness and gravitas in the pivotal sixth segment of the work.

Yearning is as natural as breathing in humans, especially for the artistically inclined. And yearning permeates the music and conceit of Barber Violin Concerto. With the right cast, the substantive first and second sections of the ballet can be dramatic and moving. Unfortunately, notwithstanding his handsome appearance, elegance and strength, Preston Chamblee's football player-type build makes him appear unsuited for ballet. (Even in a work in which he impersonates a modern dance performer.) This is singularly distracting during the Taylor Swift phase of American popular culture history we are currently living through. With her long, lithe limbs, luscious blonde hair either up or down, and gorgeous countenance, Miriam Miller looked as stunning as ever without quite yet conveying the deep yearning and inner passion her role should ideally evoke.

Although a peculiar work for New York City Ballet, The Times Are Racing never fails to thrill in the theater, no matter the cast. On Wednesday, the wonderful lines made by Peter Walker's tall frame were particularly impressive. Of course, the performances by Tiler Peck, Taylor Stanley, Kristen Segin, Mary Thomas MacKinnon, and the rest of the cast were delightful also. (Emilie Gerrity's physique is more symmetrical with the other two women than is Alexa Maxwell's, but that is a minor quibble.) Premiering only seven years ago, The Times Are Racing boasts one of the most rousing finales in New York City Ballet's repertory, which brought the evening to a stirring conclusion.

I'm not a Taylor Swift fan, I don't listen to her music but she's to blame for the decline of ballet?

deanofdance · February 3

Just a few thoughts on last night’s performance:

1) Rotunda — Nico Muhly’s music keeps me from REALLY liking/enjoying this piece — It’s fine enough, but not very fine. Last night Sara Mearns’ energy/aura just seemed to be blue — a bit downcast, a tad sullen — the steps were there, but no smile, no vibrancy, no sharpness — which was not the case with Sara Adams and Indiana — they just beamed (Sing out Louise!). Also, missed Jovani’s flexibility and extensions.

2) Concerto for 2 Pianos — just a lukewarm response on this viewing. But then again, I realized that I’m a tough crowd to please when it comes to choreographers — which I think is the most difficult of art forms. And I tend to think that choreographers either have IT from the get go (remember Gianna Reisen — she had IT at 18) or they don’t. To be fair, I won’t past judgement on Tiler’s choreographic talents until she has done a couple more pieces — but I wasn’t feeling IT last night. Also, I had thought that since Tiler knows Mira so well, that Tiler would create an individual show piece that highlighted Mira’s dance qualities (I know, she has many) — but I didn’t sense that Mira’s dance imagination (a rare quality) had an opportunity to take root and bloom (I know, a missed opportunity). Also, India and Emma were lovely and I am glad that India was given this chance — I’d like to see her get more! Note: parts of the Poulenc music reminded me of Shostakovich and Ratmansky’s Concerto DSCH — which highlighted in a way Ratmansky’s choreographic flourishes even when seeing Tiler’s piece — Dance, it’s funny that way.

Royal Blue · February 3

2 hours ago, Novice123 said:

I'm not a Taylor Swift fan, I don't listen to her music but she's to blame for the decline of ballet?

I do not blame Taylor Swift for anything, in part because I do not know much about her. Nor do I blame Travis Kelce, football, or football fans. But that all these have been on the news a lot recently is, I think, undeniable.

Preston Chamblee does have an unusually hefty build for a ballet dancer, and that is why I made a reference to all the above in my post. In my opinion, this type of appearance and ballet do not mix very well on the stage.

Casting Preston Chamblee in any work is not an indication of the decline of ballet (for me anyway). And why should I assume that he is deserving of any fewer opportunities to perform than any other dancer?

More to the point, I have absolutely nothing on other authorities of ballet who witnessed New York City Ballet from the 50s to the 80s, American Ballet Theatre, the Royal Ballet, the Paris Opera Ballet, the Bolshoi Ballet, the Mariinsky Ballet and other ballet companies in past years on the subject of the decline of the art form.

In fact, I suspect that at least some other members of BA who happen to read what I write look askance at the praise I tend to heap on particular works and performances by dancers in my posts. That happens because I am only motivated to write when I see something I like. (And I would add that by no means do I always post about what I have enjoyed seeing.) In sum, however, no one who has read what I have written would have any indication about a decline of the art form. The decline of the audience as represented by me, though, yes. 🙂

cobweb · February 3

Report from today's matinee. First off, I skipped Fancy Free. I have a lot of respect and affection for Fancy Free, absolutely nothing against it, but I've seen it more than enough times for now.

On the other hand, I had not seen In the Night before this season (or if I did, I've forgotten it). I'm enjoying it and hope they keep it in rotation for awhile. But, I wonder if they have thought about re-costuming this piece. The only outfits that I like are for the first couple (he's in a cream-colored jacket and she wears a lilac gown). The second couple is saddled with a very unappealing shade of rust orange, and I find that the woman's costume in the third pdd, very black with a hot-pink underlay, kind of makes the woman hard to see. Also I don't get what period these costumes are supposed to be, or why they have to be period costumes at all. I think something simpler and elegant, retaining long dresses for the ladies for sure, would make this piece more appealing and more accessible as pure dance. I enjoy Robbins' penchant for heart-stopping lifts. The way the women are carried off in sudden, beautiful lifts reminds me of Dances at a Gathering. For today's performance, Indiana Woodward and Joseph Gordon were absolutely spellbinding, dancing this piece like it was made for them. Emilie Gerrity and Tyler Angle danced with a comfortable familiarity, and I particularly noticed the beauty of Gerrity's port de bras. In the third couple, Tiler Peck and Gilbert Bolden make a dynamite team. Very dramatic and compelling. In the group section, with great partnering and the long dresses billowing out, the women seemed to literally be sailing around the stage. Overall a lovely performance.

2023-2024 Season

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