Morphoses: Gala Performance
October 4, 2008
Last year, Morphoses/The Wheeldon Company tried to prove that “Ballet=Sexy” in an attempt to overturn the belief that ballet is all about tutus and dying swans. After watching Wednesday evening’s gala performance at City Center, it was unclear if that’s still Christopher Wheeldon’s goal for the company. True, there were no swans or tutus in the performance, but the program, which included two works by Wheeldon, one by Frederick Ashton, and one by Canadian choreographer Emily Molnar, was lackluster. Setting aside the high expectations for Wheeldon (he’s probably the most sought-after ballet choreographer in the world), the performance wasn’t even a breath of fresh air.
In the opening of Polyphonia, a 2001 piece that Wheeldon created for New York City Ballet, four couples moved at lightning speed to the dauntingly chaotic score by Gyorgy Ligeti. The pace slowed for two duets danced by Wendy Whelan and Tyler Angle, allowing them to more thoroughly and vividly explore edgy, dimensional shapes and lines in a dimly lit, moodier setting. Elsewhere in the piece, Tiler Peck and Gonzalo Garcia performed a flowing waltz in which Garcia swept Peck offstage in a horizontal lift across his shoulder. This image – an unusual and refreshing one in ballet – is repeated at the end of Polyphonia. All of the dancers but one – 15-year-old Beatriz Stix-Brunell, who presented herself well and shows potential – were from New York City Ballet. I’ve seen stronger performances of Polyphonia, but the dancers’ occasional hesitancy might have been due to the stage’s slippery floor or smaller size (compared to the vast NY State Theater stage), causing the dancers to restrain their characteristically expansive movement.
Tyler Angle and Wendy Whelan in Polyphonia, photo by Erin Baiano
Mr. Wheeldon has cited Frederick Ashton as one of his choreographic influences, so it wasn’t surprising to see Ashton’s Monotones II, a 1966 work to Erik Satie’s Trois Gymnopédies, on the program. Two men and one woman (Rubinald Pronk, Edward Watson, and Maria Kowroski), dressed in white unitards and headpieces that looked like swimming caps topped with sparkly pom-poms, contrasted unfolding extensions with their ability to interweave their limbs and dance as one. Perhaps Monotones II made a statement when it was first performed in the 60s at The Royal Ballet, but at City Center, the piece looked dated and out of place on a program that was otherwise very contemporary. Additionally, it lacked the otherworldly mood that would have beautifully accompanied Satie’s serene score.
Emily Molnar’s Six Fold Illuminate, set to Steve Reich’s Variations for Winds, Strings, and Keyboards, was an opportunity for the dancers to rush about and suddenly stop short, twitch, or burst into another spastic phrase of movement. Reich’s score is rhythmically fascinating but very repetitive, and like many other ballets to minimalist scores, the ballet chugged along without ever amounting to anything. In spite of the shifting pools of light, the qualities of the perpetually kinetic movement never really changed. The dancers, however, were all superb. Drew Jacoby stood out for her commanding presence, Rubinald Pronk was fully in touch with the music, and Céline Cassone captivated the audience with her intense focus and edginess.
Edward Watson, Drew Jacoby, and Rubinald Pronk in Six Fold Illuminate, photo by Erin Baiano
Most disappointing was Wheeldon’s new work, Commedia, to Igor Stravinsky’s Pulcinella Suite, which was originally a commission for the Ballets Russes. The set design by Ruben Toledo showed several masks that lit up and changed colors throughout the ballet. After the opening section, the eight men and women removed their colorful capes and masks to reveal white unitards with black diamond patterns, reminding me of some of the costumes from Peter Martin’s Jeu de Cartes (also to Stravinsky). A series of duets, solos, and pas de deux followed that were neither choreographically compelling nor light-heartedly comedic, as I imagine they were trying to be. Stix-Brunell infused the piece with her youthful energy, and although the entire cast was strong, there was a spark missing from their dancing. This, along with the lack of coherence among the various sections of the ballet, resulted in a flat performance. No choreographer can create a masterpiece every time, but it was disheartening to see Wheeldon’s newest ballet pale in comparison to the beautifully complex Polyphonia.
Dancers in Wheeldon’s Commedia, photo by Erin Baiano
Short videos shown before two of the ballets should have enhanced the audience’s understanding of the rehearsal process by offering a behind-the-scenes glimpse of the dancers and choreographer at work, but they only highlighted Benjamin Pierce’s adept use at special effects. Before Molnar’s Six Fold Illuminate, a video showed the choreographer counting the music while special effects blurred another dancer’s spinning turns across the floor. Molnar then addressed the cast – all looking tired and rather bored – about the importance of intention and clarity. Before Commedia, even more effects were used to show two dancers and their mirror image rehearsing an excerpt from the piece. Including videos in a dance program is a great idea, but the end result should allow the audience to feel closer to – instead of further from – the creation of a ballet.
Vail International Dance Festival Kicks Off
July 29, 2008
Wendy Whelan and Craig Hall in the 2008 Festival ad
The 2008 Vail International Dance Festival, under the direction of former NYCB principal Damian Woetzel, kicked off Sunday night with a special opening performance. Dancers from Morphoses/The Wheeldon Company, Pacific Northwest Ballet, Martha Graham Dance Company, Paul Taylor Dance Company, and several others were on the program, and composer and pianist Philip Glass performed live with cellist Wendy Sutter. Although opening night featured more established ballet and modern companies, the festival will also present tap, jazz, and ballroom dancers, both on stage and in master classes.
I wish I were in Vail to attend and review some of the performances, but I’m certain that there will be plenty of coverage online and in newspapers. Meanwhile, you can check out the festival’s photo blog, which will be updated daily, to view photos and videos of the dancers rehearsing on stage. You can also watch a video of Damian in rehearsal here. Although he retired from NYCB in June, it looks like he’ll be performing in the festival. The video isn’t the best quality, but it’s still thrilling just to see Mr. Woetzel on stage.
More on Morphoses (Program 2)
October 23, 2007
Program 2 of Morphoses showcased a variety of choreographers, with works by Wheeldon opening and closing the performance. The highlight for me was Morphoses, one of Wheeldon’s signature pieces, originally choreographed for NYCB in 2002. Wendy Whelan and Craig Hall were completely in touch with one another as they moved effortlessly from one unthinkable shape to the next. I had seen this piece performed at NYCB a few times, but this time I was particularly struck by the fluidity of the dancers as they “morphed”. Near the beginning of the ballet, the four dancers hold hands as they flex or arch their backs and use different levels to form twisted shapes and knots. The continuous movement of this part of the piece was amazing, and reminded me of those hypnotic screensavers of a three-dimensional box that changes shapes and colors. Sterling Hyltin replaced Ashley Bouder, and although she performed remarkably well, there were a few moments of strain in the partnering with Edwaard Liang. Overall, the combination of sophisticated dancers and remarkable choreography was superb.
Liang’s Vicisstude, which was also on Program 1, was even more enjoyable after the second viewing. The pas de deux gave both dancers the opportunity to showcase their strengths: for Maria Kowroski, her beautiful, long lines and expressive upper body, and for Tyler Angle, his grace, superb partnering ability, and excellent jump.
Propeller and Satie Stud were two brief pieces that involved a lot of posing and not a lot of movement. I thought that both pieces lacked flow and connections from one shape or pose to the next. While Propeller certainly offered some unusual lifts, the piece seemed to be more about testing the dancers’ physical strength for shock value, rather than about incorporating these unusual lifts into an organic whole.
Slingerland Pas de Deux, choreographed by William Forsythe, was also on Program 1, but this time with Aesha Ash and Gonzalo Garcia performing. They danced with passion and lyricism, and seemed to invite the audience into their dancing. On the other hand, Wendy Whelan and Edwaard Liang performed the piece with more sharpness and precision, and they remained distanced from the audience, making the piece seem more mysterious. I liked both interpretations equally, and think it’s great to see what different dancers bring to a piece.
The performance closed with Mesmerics, a Wheeldon piece for three men and three women, with six cellists on stage playing Philip Glass. The piece involved a lot of changing pairings, with one couple exiting the stage and quickly being replaced by another. Adrian Danchig-Waring of NYCB definitely stood out because of his power, intensity, and incredibly expansive arms. He also looked more grounded than in the past, dancing with the floor rather than a few inches above it.
The expectations for Morphoses were high, perhaps too high. Rather than saying that my expectations were or weren’t met, I would say that overall I was impressed with the choreography, the balance of the programs, and the artistry and technique of the dancers. More importantly, I think the performances showed raw, emotional physicality and choreography that’s sexy, which is exactly what Wheeldon wants Morphoses to be.
Ballet is Sexy.
October 22, 2007
The publicity Wheeldon has received from The New York Times, New York Magazine, the BBC and others has consistently emphasized that Wheeldon seeks to prove that ballet=sexy. Most people think of ballet as tutus and a rather dull presentation of meaningless movement. Morphoses is pure prowess of movement and the ability of that movement to pique a viewer’s aesthetic interest and emotional reaction.
Evan wrote at length about some of the pieces in Program One- There Where She Loved, Vicissitude and Slingerland. We’d seen Wheeldon’s choreography at New York City Ballet and in Miller Theater’s 2006 New Ballets, so we weren’t surprised by the ingenuity of Wheeldon’s works, particularly the creativity he brings to partnering. What was surprising was seeing Dance of the Hours, the “mockery ballet” danced by Ashley Bouder and Gonzalo Garcia. This is what most non-aficionados probably associate with ballet- cheesy smiles and bejeweled tutus. The piece ends with Gonzalo doing a bunch of grande pirouettes à la seconde with Bouder circling him with piquè turns. This is the ballet equivalent of a novel ending with “and they lived happily ever after” in that it’s trivial and tired.
Evan turned to me at the end of Dance of the Hours and said, “Well, now we know how Christopher Wheeldon really feels about classical ballet.” Indeed we did, but we were both unsure how we felt about Wheeldon incorporating this ballet in his repertoire. Did we need to pay to see a ballet that highlighted his opinion that most classical storybook or operatic ballets lack depth?
The next and last piece of the program, Fools’ Paradise confirmed that yes, its inclusion was paramount. The juxtaposition between Hours and Paradise proved that ballet can be unquestionably sexy. Paradise began with shiny paper (Evan says petals but I thought they looked silver) falling behind the scrim, eerily illuminated by boom lights. The movement was delicate and profound and ended with all nine phenomenally beautiful dancers attached to one another in a pyramid like sculpture of legs, pointe shoes, arms and fingers, all lifted and interlaced. Joby Talbot’s ‘Dying Swan’ orchestration added an overwhelming elegiac quality to the entire piece.
Wheeldon proved with Paradise that ballet is not just sexy, ballet can be a patois more powerful than language. Watching a beautiful ballet like Paradise can feel like finding your center when it’s otherwise lost. It can be an expression of sentiments so intensely intimate they cannot be expressed to family, a close friend, or a lover. This is dance. Wheeldon undoubtedly accomplishes this in his ballets and the debut of Morphoses is not only an extraordinary success but a true ‘Revolution in Tights.’
- Watch a slideshow narrated by Christopher Wheeldon and accompanied by the Joby Talbot score
- New York Times slideshow
Give me Mor(e)phoses
October 21, 2007
On Friday evening, Allison and I headed to City Center to see the first program of Morphoses after much anticipation and what felt like a very long wait. Rather than write a full review, I’d like to share some thoughts on the performance – still rather lengthy, I know.
Although I usually do not like ballet accompanied by opera singing, I enjoyed Wheeldon’s There Where She Loved. There was a lot of detail in the partnering, which included unusual lifts and assemblages of three and sometimes four dancers. The opening section, entitled “The Wish”, had a lot of posing and less flow as the four male dancers lifted and manipulated the woman. One of the more memorable sections for me was “Spring”, danced by Sterling Hyltin and Gonzalo Garcia. The opening was particularly interesting, with Hyltin and Garcia weaving in and out of each other’s paths along the floor. I also enjoyed the final section of the ballet, which showed Maria Kowroski and Michael Nunn involved in a fragile relationship that showed lust and desire in one instance, and pain and manipulation in the next. Throughout the ballet, the male characters dominated the women, and I wish that the women’s characters had more depth and perhaps more integrity. Setting aside the plots and characters’ emotions – which the dancers clearly conveyed – I think it’s important to point out how clean and polished this piece looked. The dancers were in top form and it showed.
While Morphoses performed at Sadlers’ Wells this past August, apparently a critic from the Sunday Telegragh wrote that Wendy Whelan’s costume in Forsythe’s Slingerland Pas de Deux looked like “a giant Pringle”! That is certainly not what I thought of when I saw Wendy in the piece. And I am a little shocked that a critic could come up with such a bizarre comparison while watching what I thought was an exquisite and beautifully executed pas de deux. I was really captivated by the movement, and Forsythe’s lighting, which occasionally showed the dancers in silhouette, added to the mysteriousness of this piece.
I think that the use of video before Dance of the Hours was an excellent way of giving the audience a behind-the-scenes look at the making of a ballet. Audiences are so used to seeing a finished project, with little or no idea of what the rehearsal and creative process is like, that it’s refreshing to get a glimpse of the effort that goes into a ballet. Furthermore, as live dance struggles to find a younger audience, I think the use of video footage from rehearsals makes ballet – and all dance forms for that matter – more accessible. In this week’s NY Magazine, Wheeldon said, “One of the things I want to do is help audiences get over the idea [that] ballet has some mysterious code they can’t decipher”. Accomplishing this will take more than showing a video of rehearsals, but it’s a start. If there were video clips from rehearsals at every ballet performance I attended, I would not object.
Dance of the Hours was originally choreographed in September 2006 for the Metropolitan Opera, for Act III of La Giaconda. The music for this is well known because of the dancing hippos in Fantasia and the tune “Hello Mother, Hello Father”. Wheeldon’s Dance had sparkly, puffy tutus and a lot of cheezy, over-the-top choreography. Ashley Bouder was a perfect choice because of her sweet, innocent look and pure technique. About three minutes into the piece, I thought, “This is a joke, right?” By the end of the ballet, I was quite sure that this was Wheeldon’s way of expressing how he really feels about classical ballet. He has made clear that Morphoses is a contemporary ballet company that will be sexy and show raw, emotional physicality. Perhaps he included Dance of the Hours on the program to show the difference between classical and contemporary ballet. At least, I hope that’s why it was on the program.
The evening ended with Fools’ Paradise. I don’t want to write too much about it because I really feel like I need to see this piece again in order to fully take it in. The falling rose petals along the back added a constant movement and flow to the stage, without feeling too busy or chaotic. The petals, along with Joby Talbot’s hauntingly beautiful music (now on my ipod), added a soothing and peaceful quality to the piece. Overall, Fools Paradise stood out from this evening’s other ballets because of the interesting shapes that the dancers created with their bodies. One repetition I saw throughout the piece was a lift in which Craig Hall had Wendy Whelan horizontally across his shoulders. Her legs were bent at different angles, with feet pointed and her back arched, and Hall’s arms spread in different directions. I was mesmerized as they slowly spun in circles and then moved about the stage. This piece certainly showed Wheeldon’s abilities at their best. He excels at creating unthinkable shapes and moving sculptures with the body – that is, with two or more bodies working together. I’m looking forward to seeing the second program on Sunday.
