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.”