Four premieres at City Ballet and a few surprises at Fall for Dance

New York City Ballet had its gala on Sept. 30, featuring new works by four youngsters: Robert Binet, Myles Thatcher, Troy Schumacher, and Justin Peck. Here’s my review for DanceTabs.

New York City Ballet in Troy Schumacher’s Common Ground, with costumes by Marta Marques and Paolo Almeida of Marques’Almeida. Photo by Paul Kolnik
New York City Ballet in Troy Schumacher’s Common Ground, with costumes by Marta Marques and Paolo Almeida of Marques’Almeida. Photo by
Paul Kolnik

Over at City Center, Fall for Dance kicked off with two varied programs, each containing a surprise. See my review here.

Rachelle Rafailedes and L.A. Dance Project in Murder Ballades. Photo by Rose Eichenbaum.
Rachelle Rafailedes and L.A. Dance Project in Murder Ballades.
Photo by Rose Eichenbaum.

 

 

Something Old, Something New

Sterling Hyltin and Andrew Veyette with the company in Justin Peck's <I>Everywhere We Go</I>.<br />© Paul Kolnik. (Click image for larger version)

Here’s my review of the Saturday matinee at New York City Ballet, including débuts by Sara Mearns and Russell Janzen  in Balanchine’s Chaconne and my second look at Justin Peck’s Everywhere We Go, from last season.

And a short excerpt: “[Everywhere We Go] begins well, with a striking duet for two men, or rather for a man and his shadow. This shadowing theme suffuses the rest of the ballet, particularly the complicated relationship between principals and corps. Peck constantly subverts the hierarchies of lead dancers and ensemble. Dancers melt in and out of larger formations; at times the shadow figures become the main event. Peck’s configurations for the ensemble are often asymmetrical, non-frontal, kaleidoscopic, but never less than clear.”

Ratmansky goes to the Pictures

An image from "Pictures at an Exhibition." Photo by Paul Kolnik.
An image from “Pictures at an Exhibition.” Photo by Paul Kolnik.

Last night was the première of Alexei Ratmansky’s new “Pictures at an Exhibition”—yes, set to that score—for New York City Ballet. And it’s a good one. You can read my review for DanceTabs here.

And here’s a short excerpt: “At the risk of sounding like a broken record, is there a ballet choreographer working today who is more imaginative, more wholly himself, than Alexei Ratmansky? The images that music awakens in him are often weirdly unexpected, and yet one is so thoroughly drawn into the worlds he creates onstage that surprise quickly turns into a kind of amazed fascination.”

Ratmansky, Amar Ramasar, and Sara Mearns in the studio. By Paul Kolnik
Ratmansky, Amar Ramasar, and Sara Mearns in the studio. By Paul Kolnik
Ratmansky and Gonzalo García. Photo by Paul Kolnik.
Ratmansky and Gonzalo García. Photo by Paul Kolnik.

 

So many ballets, so many dresses…

New York City Ballet put on its fall gala on Tuesday, with three new works by Liam Scarlett, Justin Peck, and Troy Schumacher (this was Schumacher’s first for the company.) I reviewed the program for DanceTabs, here.

Here’s a short excerpt:

“It’s as pointless to complain about ballet galas as it is to grumble about the weather. They serve a purpose – replenishing the cash drawer – and they keep the plutocrats happy. For the rest of us, there are the new works to look forward to, often unveiled en masse at the opening of the season….As in previous seasons, fashion was the [gala’s] subtext. Each choreographer was paired with a designer whose eye, at least in principle, was called upon to enhance the work. That these designs also create buzz in fashionable circles just adds to their appeal.

A few shots of those dresses:

Justin Peck's Belles-Lettres with designs by Mary Katrantzou. Photo credit Paul Kolnik
Justin Peck’s Belles-Lettres with designs by Mary Katrantzou. Photo credit Paul Kolnik

 

ler Peck and Robert Fairchild in Liam Scarlett's Funérailles, with designs by Sarah Burton for Alexander McQueen. Photo credit Paul Kolnik
Tiler Peck and Robert Fairchild in Liam Scarlett’s Funérailles, with designs by Sarah Burton for Alexander McQueen. Photo credit Paul Kolnik

 

Sara Mearns and Ask la Cour in Peter Martins' Morgen, with designs by Carolina Herrera. Photo by Paul Kolnik.
Sara Mearns and Ask la Cour in Peter Martins’ Morgen, with designs by Carolina Herrera. Photo by Paul Kolnik.

Everywhere He Goes

On May 8, New York City Ballet  held its spring gala, marking fifty years since the opening of the State Theatre. Along with a toast, a short film, and a song from “Carousel,” the evening included two ballets: Balanchine’s whirling “Allegro Brillante” and the première of Justin Peck’s new “Everywhere We Go.”

Here‘s my review, for DanceTabs:

And a short excerpt:

“Peck has the mind of a mathematician; he finds ways to subdivide the stage and keep the eye continually guessing. Shapes appear momentarily and dissolve, only to reappear again somewhere else. Soloists weave in and out of the ensemble. The body is also subdivided in surprising ways: sometimes only the arms move, in complex phrases combining staccato and stretched combinations; other times, just the torso, or just legs.”

 

“Ballet 422,” or the Hard Work of Art

BALLET422_PRESS_01Having just returned from a screening of Ballet 422 at the Tribeca Film Festival I can say that it is one of the finest dance films I’ve seen, far surpassing the director Jody Lee Lipes’ previous foray into the genre, New York Export: Opus Jazz. Heretical as it may sound, I found it better than Frederick Wiseman’s documentary La Danse, the film it most closely resembles, partly because much of the choreography in that documentary was so dire. (At almost three hours, it was also excessively long.) Like Wiseman, Lipes doesn’t identify the characters, my one complaint. But he does well to focus his film on a single subject, the creation of a ballet, from start to finish. It’s a nailbiter.

The ballet is Justin Peck’s Paz de la Jolla, made for New York City Ballet last winter. (It was the company’s 422nd work, hence the movie’s title.) I was there for the première in January and can attest to the fact that it was a pretty thrilling event; the ballet is fast-paced, full of detail, imaginative, and deeply musical. It also includes a real coup, a convincing underwater dream-ballet. A couple (Amar Ramasar and Sterling Hyltin) falls asleep on the beach; the woman rises and is drawn ever deeper into the waves. The dancers’ bodies, intertwined and intricately patterned by Peck, become the sea’s eddies and foam. Peck has a knack for creating vivid, and very specific, imagery with groups of dancers. It’s not just pretty pretty.

BALLET422_PRESS_03 (1)-1

The film shows the process from the very beginning, as Peck works alone in the studio, listening to Bohuslav Martinu’s Sinfonietta la Jolla on a boom box and video-taping short phrases of movement with his IPhone. These ideas are translated into sketches drawn with stick figures and dots representing floor patterns and shapes. There’s no talking, no voiceover, just work. Rehearsals are periods of intense creativity, experimentation, and problem-solving, but also of close observation and rigorous imitation. Peck doesn’t let anything slide. In one scene he corrects a young dancer who is trying to recreate a complex set of movements for the arms. She does it again and again. Each time he says “no,” not unkindly, but unwilling to settle for anything less than what he has in mind.

The sheer amount of work is staggering. At several points in the film, one or another dancer, including Peck (then in the corps de ballet) looks almost inhumanly tired. The work is also mentally exhausting, requiring precise imitation, memory, analysis, instant playback. In one of the most fascinating moments in the film the dancers do nothing more than count out the beats in the music, figuring out how the steps fit into the notes. There’s no artificially-constructed melodrama here—the drama is the work itself.

We see fabrics being dyed and cut, hairstyles being sprayed rigidly into place, tempi adjusted by the conductor, musical dynamics discussed, lights experimented with. (The one thing we don’t see, oddly enough, is the company’s artistic director, Peter Martins.) I chuckled at the sight the mustaches for Vienna Waltzes, all pinned up on a board, each labeled with a dancer’s name. The film-makers have been given remarkable access, even to the inner sanctum of company class, where wan-faced dancers in motley rehearsal gear sweat and go through their daily paces. The backstage areas are unadorned, even dingy. This is the factory-floor where illusions are created.

BALLET422_PRESS_02

Peck is involved in every aspect of the production: costumes, lighting, musical interpretation. Calm, blank-faced, mouth slightly open, he watches, scouring details, and then goes home—we see him taking the elevated subway line to his small apartment where a portrait of Jerome Robbins hangs on the wall—to watch rehearsal videos and fine-tune some more. At only twenty-five (now twenty-six) he shows surprising self-assurance and composure. The only time he seems to lose his nerve is during a slightly awkward interaction with the orchestra—certain boundaries are not be crossed.

As opening night approaches, tension mounts, faces become strained. It’s surprising how few smiles one sees. A few people manage to keep their good humor and spread it around: Cameron Grant, the pianist, with his perfect hair and calm demeanor, is an unflappable, fatherly presence. Amar Ramasar, the male lead in the ballet, seems to be in a perennial good mood. Moments before going onstage, his tense ballerina asks if they should run through their duet one last time. He smiles and says, with gusto, “don’t worry, I’m just going to grab those hips.” Her jaw relaxes ever so slightly.

Ballet 422 is about as close as many of us will ever get to the creation of a new work of art. The dancers are revealed for what they are; phenomenal technicians, willing and intelligent collaborators, tired bodies. At the screening I attended, the dancing, especially by Tiler Peck (no relation) drew gasps from the audience. But another thing also shone through: a kind of loneliness at the heart of the process. At the end of the day, it all comes down to one person, creating something out of nothing.