Tiler Peck and Robert Fairchild in one of the jazzy numbers in Peter Martins' "The Waltz Project." Photo by Paul Kolnik.
Tiler Peck and Robert Fairchild in one of the jazzy numbers in Peter Martins’ “The Waltz Project.” Photo by Paul Kolnik.

Here’s my review of Tuesday’s program at New York City Ballet, which featured the return of Jerome Robbins’ N.Y. Export: Opus Jazz and Peter Martins’ rarely performed Waltz Project.

And a short excerpt:

“I’m always surprised at how sexual Opus Jazz really is – remember, it was made in the fifties – especially the two middle sections, Statics and Passage for Two. In Statics, three guys hang out on a rooftop – denoted by a few chimneys outlined against a dark sky, by Ben Shahn – lunging and sliding, kicking and making fists. They’re gaming for a fight.  The accompaniment is all percussion (by Robert Prince), drums and cowbells, thumping syncopations. Into this hotbed of male adolescent aimlessness saunters Georgina Pazcoguin, super-sexualized and over-confident, taunting them with her curves.”

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