In Midsummer Night’s Dream, Balanchine does what he does best: tells a story, then gives us its abstract expression. See my review of New York City Ballet’s final performances here, at DanceTabs.
…after seeing an all-Balanchine/all-Stravinsky quadruple bill at New York City Ballet in this opening week of the spring season. See my review for DanceTabs here.
This week, NYCB is bringing back “Harlequinade,” Balanchine’s 1965 remake of the Petipa ballet “Les Millions d’Arlequin,” with Joaquín de Luz in the title role. Like his “Nutcracker” and “Coppélia,” “Harlequinade” is a nostalgic look at another age, the cozy world of 19th century fantasy ballets. And like those other works, it’s full of children. See my review of last night’s performance here.
My review of Justin Peck’s new ballet, set to Aaron Copland’s “Rodeo,” is here. It was performed in a program that also included Christopher Wheeldon’s “Mercurial Manoeuvres” and Alexei Ratmansky’s “Pictures at an Exhibition.” Here’s an image from the latter ballet:
Alexei Ratmansky’s Namouna, a Grand Divertissement, is back at New York City Ballet. And what a ballet it is: witty, intelligent, sophisticated, joyous, bubbling over with steps. If you haven’t seen it, you should. (It will be performed again on the evening of Oct. 10, and Oct. 12 at 2.)
I review it here, for DanceTabs. And here is a short excerpt from that review: “Some ballets improve with age, or, to be more accurate, our eye evolves and we learn to see them better. I remember being befudled at the New York City Ballet première of Alexei Ratmansky’s Namouna, A Grand Divertissement in 2010. By the second viewing, I had started to warm to its oddball charm. And by the end of that season, I was smitten. Tonight, revisting this ballet for the first time in three years, it was clear that it is the best new work the company has commissioned since, well, Ratmansky’s Concerto DSCH (2008).”