Justin Peck Saddles UP

Sara Mearns and Amar Ramasar in Justin Peck's "Rodeo, Four Danced Episodes." Phot by Paul Kolnik.
Sara Mearns and Amar Ramasar in Justin Peck’s “Rodeo, Four Danced Episodes.” Phot by Paul Kolnik.

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:

Ramasar, Mearns, and Sterling Hyltin in Alexei Ratmansky's "Pictures at an Exhibition." Photo by Paul Kolnik.
Ramasar, Mearns, and Sterling Hyltin in Alexei Ratmansky’s “Pictures at an Exhibition.” Photo by Paul Kolnik.

Evergreen–Why Balanchine’s Nutcracker never Gets Old

Tiler Peck as Dewdrop in the Waltz of the Flowers. (photo by Paul Kolnik.)

Last night I saw my umpteenth performance of Balanchine’s Nutcracker at New York City Ballet, and was once again impressed by the construction, power, and fluency of this version. Yes, it was a particularly tight performance, without a weak link—even the kids were especially lively. But it’s not just that. There is something in the way the choreographer paced the action, the dancing, and the music that both streamlines and enlarges it. I talk about it some more in my review for DanceTabs.

And if you just can’t get enough, here is an excellent piece by Laura Jacobs about the history of the ballet, from Vanity Fair.

Exit Whelan

Wendy Whelan and Alexei Ratmansky in the studio. Photo by Craig Hall.
Wendy Whelan and Alexei Ratmansky in the studio. Photo by Craig Hall.

I wrote a little tribute to Wendy Whelan for the New Yorker’s Culture Blog. You can read it here. This picture is from one of the rehearsals for Christopher Wheeldon and Alexei Ratmansky’s new piece for her farewell performance, on Oct. 18. Wouldn’t miss it.

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.”

Bringing Balanchine Back

Teresa Reichlen in Movements for Piano and Orchestra. Photo by Paul Kolnik.
Teresa Reichlen in
Movements for Piano and Orchestra. Photo by Paul Kolnik.

New York City Ballet has been going from strength in a series of all-Balanchine programs. I review ballets with music by Stravinsky and Tchaikovsky here. A short excerpt:

“On the Stravinsky program (Sept. 25), Robert Fairchild returned to Apollo…He has relaxed into this challenging role and is now able to take risks, tilting dangerously (and excitingly) off-balance and pushing the tempo to create moments of surprise and wildness. Like the unruly young god he depicts, Fairchild tests his strengths and weaknesses before us on the stage.”