New York City Ballet’s Short Stories
January 19, 2010
Ashley Bouder in George Balanchine’s Firebird, photo by Paul Kolnik
New York City Ballet’s winter season includes many full-length narrative ballets, but on Saturday evening, the company performed a triple bill of short stories. Although the newest one, Firebird, premiered in 1949, the ballets told timeless stories: three sailors on shore leave in New York City, bickering over two women; the biblical story of the prodigal son who sins and begs for forgiveness; and a fairy tale in which a brave bird comes to the aid of a prince and his community. Not only have the stories endured, but so have the sets, costumes, and George Balanchine and Jerome Robbins’ choreography, which brought these simple stories to life.
There are no suitable words to describe Ashley Bouder’s performance in Firebird. The magic that she brought to the role in 2000 while still in the corps, when she stepped in at the last moment for an injured dancer, was still present. Flitting frantically to escape the prince’s hold, Bouder embodied the firebird’s vulnerability. Even slight gasps were audible as she yearned for release. Her beautifully arched back, sharp arm flaps, and knowing gaze – one that suggested that this little bird had been in harm’s way many times before – lent themselves perfectly to the role of the firebird. Yet, she was not only a victim, but also a heroine, for she rescued the prince (performed by Jonathan Stafford, who reflected the slight naiveté and clumsiness of a young hunter wandering alone in a forest) and princesses from the attack of fantastical creatures by offering one of her magical feathers to the prince. Marc Chagall’s shimmering sets and costumes emphasized the story’s mythical qualities while providing lush colors, and Stravinsky’s score – his first for a ballet – added depth and drama. A golden glow was cast on Bouder throughout much of her performance, but even without this enhancement, she was truly radiant.
Maria Kowroski in Balanchine's "Prodigal Son", with Damian Woetzel, photo by Paul Kolnik
In the title role of Balanchine’s Prodigal Son, Joaquin De Luz embodied the youthful enthusiasm that this character requires, and later the exhaustion and desperation when the prodigal son falls at his father’s feet and begs for forgiveness. Maria Kowroski drew upon the alluring sections of Prokofiev’s score to convey a seductive, deceptive Siren. She was shaky throughout some of the partnering with De Luz, but still managed to illustrate the Siren’s power over the prodigal son. Just as a pack of creatures enchanted the prince and princesses in Firebird, a freakish clan of bald, drunk men misled the son and his servants. Their stomping and menacing stares were nightmarish yet unforgettable.
In Jerome Robbins’ 1944 ballet Fancy Free, Tyler Angle, Robert Fairchild, and Daniel Ulbricht all had just the right combination of charm and cockiness to portray three sailors on shore leave in New York City. They managed to sweep two women (Tiler Peck and Georgina Pazcoguin) off their feet in one moment, and exasperate them with their immaturity and macho competitiveness in the next. Leonard Bernstein’s vivid, jazzy score provided many opportunities for suspended moments and textured footwork. The three men drew upon these occasions in their solos – especially Robert Fairchild in the hip-swiveling “samba solo” – as did Peck and Angle in their flowing duet. Ronald Bates’ lighting evoked the lazy, laid-back feeling that comes from summer heat, while Kermit Love’s costumes and Oliver Smith’s set designs contributed rich color to the work.
In the midst of a season filled with full-length classics – A Midsummer Night’s Dream just concluded, Romeo + Juliet is currently being performed, and The Sleeping Beauty is up next – it was thoroughly enjoyable to watch City Ballet perform three short story gems.
Daniel Ulbricht in Jerome Robbins’ Fancy Free, photo by Paul Kolnik
New York City Ballet in Glass Pieces, photo by Paul Kolnik
A last-minute program change at New York City Ballet on Saturday evening placed two Balanchine works side by side: one was sharp and sexy while the other was chipper and sweet. Jerome Robbins’ Glass Pieces, which shifts from urban chaos to otherworldly calm, rounded out the evening to create a wonderfully moody triple bill.
Sandwiched between the two darker works on the program was Donizetti Variations, a cheerful piece complete with pink peasant dresses for the women. A few utterly silly moments didn’t contribute much to this breezy ballet, but Megan Fairchild and Joaquin De Luz were in command of the furiously fast footwork and bravura jumps. Fairchild beautifully maintained her composure and sweet expression even during the most technically challenging moments, but she is often cast in roles likes this one – with lots of technical pizzazz and little emotional depth. To see her in darker roles that allow for more emotional investigation would be both interesting and beneficial to her growth as an artist.
Sterling Hyltin in "Stravinsky Violin Concerto", photo by Jeff Gurwin
Stravinsky Violin Concerto was the more enticing Balanchine work on the program. While the opening Toccata and closing Capriccio are playful and upbeat, the first and second Arias evoke deeper moods. Debuting in the first Aria, Rebecca Krohn and Amar Ramasar gave a nuanced performance that emphasized Balanchine’s intricate partnering and the spirituality of Stravinsky’s score. Sterling Hyltin and Robert Fairchild brought dramatic flair to their performance in the pricklier second Aria, which is filled with sexual tension and tangled limbs. They’ve mastered one of the signature moments of this ballet: Fairchild dramatically places his hands over Hyltin’s knees as she, standing on pointe with arms extended overhead, turns in her legs and pliés so her knees are touching. Such riveting, innovative partnering has never looked better.
Jerome Robbins created the rhythmically pulsating Glass Pieces in 1983. Although the ballet was most likely named because of the three works it includes by composer Philip Glass, perhaps Robbins considered the large ensemble in the first and third sections to be shattered pieces of glass, each one set out on its own course while still part of a larger chaotic engine. The corps de ballet’s pedestrian walks in the first section reflect the repetitive structure of Rubric while establishing a chaotic streetscape. Three couples in neon unitards emerge, soaring through the space as cool, unearthly creatures that are utterly distinct from the chaos. They provide a preview of the second section’s slower duet to the eerie, hypnotizing sounds of Facades. While a line of women in silhouette rhythmically traverse along the back of the stage, Kaitlyn Gilliland (debuting in her role) floats across the stage with Sébastien Marcovici. Dramatic poses are interspersed with more fluid extensions and lifts that look mysterious under Ronald Bates’ golden lighting. Gilliland was occasionally reserved and cautious, but over time she will undoubtedly grow into this role. The third section is a return to chaos as a pack of men stomp to the percussive sounds of Akhnaten and the stage is flooded with bodies moving in every which way. The scene abruptly halts and there is a brief moment of calm before this thrilling ballet – always a powerful end to an evening of dance – comes to a close.
Tragic Love, Live from Lincoln Center
May 19, 2009
Sterling Hyltin and Robert Fairchild rehearsing Romeo + Juliet, photo by Paul Kolnik, 2007
On Thursday evening, May 21, “Live from Lincoln Center” on PBS will broadcast New York City Ballet’s production of Romeo + Juliet, choreographed by Peter Martins. Check your local listings for the exact time of the broadcast.
In spite of all the hype and wonderful behind-the-scenes videos leading up to the May 2007 premiere of Romeo + Juliet, I was disappointed with the production when I saw it at that time. Unexceptional choreography and dreadful costumes weaken the ballet, while its youthful dancers are its primary strength (Sterling Hyltin and Robert Fairchild, who created the title roles, both received well-deserved promotions shortly after the premiere). I remember feeling particularly frustrated by the choreography’s hazy portrayal of the plot. Some critical moments in the ballet, such as when Friar Laurence marries the star-crossed lovers, were so rushed and insubstantial that they were lost to the audience. Considering that I had this problem from an orchestra seat, I imagine that the plot looked even blurrier to audience members in the balconies.
Although I don’t plan on attending a performance of R+J this season, it might be worth tuning in for the televised broadcast, which will probably remedy (or at least conceal) some of the ballet’s problems by utilizing a combination of close-ups and wide angles in order to convey both plot and movement. A Playbill article by Pia Catton discusses the process of transferring the live production to the screen, which involves collaboration among Martins, “Live from Lincoln Center” executive producer John Goberman, and director Alan Skog. As it turns out, eight cameras will be placed throughout the theater so that the director can choose from a variety of vantage points throughout the ballet, with input from Martins. Catton writes:
“Each shot is transcribed into a camera script and given a number so that each cameraman will know his role in the sequence. But at this stage, it’s all written down in pencil: Even though it may look good to the director, the choreographer gets to have his say. Skog and Martins go over the ballet shot by shot to see if there are trouble spots or if a change in the choreography is needed.”
It should be interesting to see if a televised version of this production is more coherent than the live performance. The costumes probably won’t be any less distracting, but the ability to zoom in on the action might more effectively convey the plot. Tune in this Thursday, May 21.
NYCB: 21st Century Movement
March 3, 2009
Tyler Angle and Abi Stafford in "Mercurial Manoeuvres", photo by Paul Kolnik
A wrap-up of New York City Ballet’s winter season, written by Alastair Macaulay, appeared in the NY Times a few days ago. His assessments of current dancers – both positive and negative – are mostly accurate, and he is correct that too many dancers are pigeon-holed “along the lines established by the ballerinas of Balanchine’s last decade.” The review uses Darci Kistler’s approaching retirement – during the 2010 season – as a starting point for evaluating some of the younger female dancers, but what about the men? True, Macaulay notes the company’s “gifted male dancers” while also criticizing Nilas Martins’ pitiful performances in just two ballets this season, but the rest of the article evaluates the strengths and weaknesses of many female principals and soloists. Surely a review of the season should devote equal space to critiquing the company’s men and women. I wonder what this review suggests about the value placed (or not placed) on male ballet dancers.
In fact, it was the men’s performances that were most memorable in last Saturday evening’s program, 21st Century Movement. The quadruple bill, which includes works by Jorma Elo, Peter Martins, and Christopher Wheeldon along with a new ballet by Melissa Barak, is not a particularly strong advertisement for the future of ballet. There are far better ballets in the repertoire that could have made a more significant statement about what distinguishes 20th and 21st century movement – that is, how ballet choreography has evolved and how choreographers’ contributions are redefining the art form. But in each ballet, the men brought life to the works much more so than the women. It’s unfortunate that Macaulay did not shed some light on their contributions throughout the season.
NYCB in "Slice to Sharp", photo by Paul Kolnik
Robert Fairchild performed brilliantly in Jorma Elo’s Slice to Sharp, despite this ballet’s shortcomings. The high-speed, athletic choreography does not allow for many pauses – either for the audience to linger over a moment or for the dancers to play with timing (although Fairchild manages to stretch out some of the phrasing). This is frustrating, along with Elo’s heavy reliance on arm gestures, manipulative partnering, and the “wow” factor. Rather than highlighting subtleties of the Baroque selections from von Biber and Vivaldi, Elo crams each moment with as much lightning-quick movement as possible. The dancers are able to keep up, but only Fairchild looks inspired.
Peter Martins’ Hallelujah Junction also lacks inspiration, which becomes more noticeable as it drags on with little direction. The opening, however, is striking: two pianists (Cameron Grant and Richard Moredock), playing a score by John Adams on raised platforms upstage, appear to be floating in the darkness. To the music’s rhythmic variety, the dancers – dressed in black and white – move rapidly through Martins’ typically intricate choreography. Like many of Martins’ ballets, this work never gains momentum, but Daniel Ulbricht’s performance adds pizzazz as he elegantly soars on and off stage with effortless jumps.
Unlike Hallelujah Junction, Christopher Wheeldon’s Mercurial Manoeuvres builds as it progresses – in a rather unexpected way. It begins with a brooding solo for Gonzalo Garcia, who embodies the complexities of Shostakovich’s Piano Concerto No. 1 in C minor, Opus 35. As a large corps of dancers crisscross in vertical and diagonal lines, red lighting creates an ominous atmosphere. But after a lyrical, mysterious duet for Abi Stafford and Tyler Angle – who has a much more commanding presence than Stafford – the mood drastically shifts. The corps is now playful and cheeky, but Wheeldon still infuses the movement with intricacies.
Sara Mearns and Jared Angle in "A Simple Symphony", photo by Paul Kolnik
In contrast to the other works on the program, A Simple Symphony serves as a reminder that Balanchine’s influence is still significant in the 21st century. This new work by former NYCB dancer Melissa Barak includes a corps of six women along with two demi-soloists and cavaliers, and a leading couple. Set to Benjamin Britten’s score of the same title, the corps is cheerful as they frequently change formations (all very exact), while the lead dancers, Sara Mearns and Jared Angle, are moodier and romantic in their pas de deux. There is nothing unpleasant about this ballet, but the movement so precisely reflects the music that it never surprises the audience or offers something unexpected. Jared Angle is intriguing, but Mearns has yet to make this role her own. She dances with clarity and lyricism, but her performance is unmemorable when compared to her wide range of roles.
It’s unfortunate that a program devoted to the future of ballet was lackluster, but this is certainly not true of the men’s performances. They added life to these works when the choreography looked tired, and deserve more credit than they’re given.
New York City Ballet’s Tribute to Nureyev
February 5, 2009
NYCB dancers in Douglas Lee’s Lifecasting, photo by Paul Kolnik
George Balanchine is a lucky man. Every year he receives a new ballet on his birthday, January 22, from New York City Ballet. This year, the company not only honored Mr. B. on its “New Combinations” program, but also launched the Rudolf Nureyev Fund for Emerging Choreographers with a matching grant from the Rudolf Nureyev Dance Foundation. Nureyev never danced with NYCB; in fact, Balanchine told him, “You do not know how to dance the way we dance in our company.” However, Nureyev performed Balanchine works elsewhere, as the audience saw in some video clips before Tuesday evening’s performance. The program included works by choreographers from Russia, England, and France – the three countries most closely associated with Nureyev’s career.
The pas de deux from August Bournonville’s Flower Festival in Genzano was a pleasant opening to the performance. Abi Stafford and Gonzalo Garcia moved smoothly through the variations. They are both modest dancers, and their breezy movement quality lent itself well to Bournonville’s combinations of jumps and turns. The other pas de deux on the program, from Christopher Wheeldon’s After the Rain, was suspended between heaven and earth. To Arvo Pärt’s Spiegel im Spiegel for a solo piano and violin, Wendy Whelan and Sébastien Marcovici moved seamlessly and tenderly, luxuriating in each drawn-out moment. Her ethereality and his grounded quality balanced one another. Watching this heart-achingly beautiful movement made me forget that I was watching ballet in a large, indoor theater.
Balanchine’s birthday present this year was Lifecasting by Douglas Lee, a British choreographer and principal dancer with Stuttgart Ballet. After just one viewing, this ballet left me puzzled. It felt reminiscent of other angst-filled ballets with edgy movement and minimalist music (this piece was set to Steve Reich and Ryoji Ikeda), but was still intriguing and certainly deserves another viewing. A cluster of suspended stage lights and sleek, gold costumes created a desolate, eerie world controlled by the dancers. Robert Fairchild was explosive in his opening solo as he curved his spine and rapidly spun his arms, and Ashley Bouder approached every movement with ferocity. The series of duets, solos, and ensemble work never fully cohered, and sometimes there was so much occurring simultaneously that I had trouble taking it all in. This performance of Lifecasting did not particularly speak to me, but another one (or two or three) probably will.
Angelin Preljocaj’s La Stravaganza (photo at left by Paul Kolnik) had the opposite effect. It said too much too clearly, without allowing for any mystery. Yet, the concept was imaginative and the dancing was riveting. Six people dressed in modern-day clothing danced briskly to Vivaldi, but as a black curtain rose at the back of the stage to the sound of striking electronics, six dancers dressed in Renaissance attire appeared. Their stiffness and seriousness triggered curiosity from the modern-day dancers, and what began as tentative mingling developed into more ominous confrontations with violent undertones. Robert Fairchild, one of the “ancient” dancers, returned to his own world with Rachel Rutherford, a modern-day dancer. In the end, she re-entered her own world as an outsider, only observing from a distance. Preljocaj’s story of two worlds colliding is vivid and dramatic, but would have been just as effective – and more mysterious – without providing every detail.
The program closed with Balanchine’s Theme and Variations, set to Tchaikovsky Suite No. 3. This ballet is an exercise in classicism, with sparkly tutus, a court setting, and inventive choreography rooted in classical ballet technique. Tiler Peck and Joaquin De Luz are relaxed, effortless technicians who breezed through the trickiest pirouettes and jumps. They are also both very musical, which made their performance a joy to watch.
The three contemporary works sandwiched between two classical ballets created a diverse program. Balanchine would be proud to see such innovative choreographers – and talented dancers – at his birthday celebration.
