Program two included works by Mark Morris (Beaux), Alexei Ratmansky (From Foreign Lands), Edwaard Liang (Symphonic Dances) and Yuri Possokhov (Classical Symphony). Thinking about it, I realize that both Beaux and From Foreign Lands represent the un-Wayne McGregor: subtle, quiet, deceptively laid back. They invite you into their world and encourage you to lean in rather than overwhelm you with virtuosity and visual stimulation. Perhaps for this very reason, they did not elicit much response from the audience. Applause was polite at best. But they were the heart of the evening.
Here’s a link to my latest post for DanceTabs, a review of a triple bill at New York City Ballet that included Justin Peck’s smashing new ballet, Paz de la Jolla, as well as Balanchine’s rarely performed surrealist experiment Variations pour une Porte et un Soupir and Alexei Ratmansky’s rollicking Concerto DSCH (still one of his best works).
A short excerpt:
“With Paz de la Jolla Peck demonstrates that he’s no mere flash in the pan. Last season’s Year of the Rabbit, which also returned to the stage earlier this week, is fresh, overflowing with ideas, breathless, complicated. But Paz de la Jolla reveals an even rarer quality: the ability to make a ballet on command, quickly, and to make something significant out of it. The commission was a last-minute stop-gap for another ballet (by Peter Martins) that had to be postponed because of a delay in the composition of the score. Peck rather bravely took the leap. Yes, he had a piece of music in mind, an exuberant work for piano and chamber orchestra by Martinu, Sinfonietta La Jolla, inspired by the Southern California coastline. It just so happens that Peck is from the area.”