Posted on

Balanchine x 6

Here’s my review of the Jan. 20 and Jan. 22 programs at New York City Ballet, which included six works by Balanchine: Serenade, Agon, Symphony in C, Donizetti Variations, La Valse, and Chaconne. Not bad for two nights at the ballet.

A little excerpt:

“These Balanchine evenings quickly establish the company’s core values: musicality, speed, lightness of touch, spaciousness, style. They also impress upon the audience the vast range of balletic modes in which the choreographer worked…. The ballets are not only worlds in themselves but, taken as a group, they seem to encompass most of ballet.”

Teresa Reichlen in Serenade. Photo by Paul Kolnik.
Teresa Reichlen in Serenade. Photo by Paul Kolnik.

The continues through March 1.

Posted on

Gala Fare–NYCB Salutes Fashion, and, yes Ballet

Craig Hall in Iris Van Herpen's design for Neverwhere, by Benjamin MIllepied.
Craig Hall in Iris Van Herpen’s design for Neverwhere, by Benjamin MIllepied.

New York City Ballet held its fall gala on Thursday (Sept. 19), at which it introduced three collaborations between choreographers (Justin Peck, Benjamin Millepied, and Angelin Preljocaj) and designers (Prabal Gurung, Iris Van Herpen, Olivier Theyskens). The focus of the past few galas has fallen—thanks to Sarah Jessica Parker, who’s on the board—mainly on the fashion side, and less on the side of intriguing choreography. The three works had their merits, but all the fuss seemed to be about the costumes. It’s clear that the tactic is meant to attract and entice the gala patrons, who get two thrills for the price of one: new choreography, big-name designers. But one wonders if they really feel they are getting a good deal? The applause at galas is always on the polite side, so it’s hard to tell. The evening looked sold out. So much the better. But will these ballets merit viewing and re-viewing?

Here’s my review of the evening for DanceTabs.

Posted on

Opening Night at New York City Ballet

Janie Taylor and Anthony Huxley in Ivesiana. Photo by Paul Kolnik.
Janie Taylor and Anthony Huxley in Ivesiana. Photo by Paul Kolnik.

The company kicked off its spring season — a.k.a. the American Music Festival — on April 30, with an all-Balanchine program. (The date also marked the thirtieth anniversary of Balanchine’s death.) On the program: Who Cares?, Tarantella, Stars and Stripes, and the revival of that most mysterious ballet, Ivesiana (not performed since 2004). The cast of Ivesiana was mostly new, and included Ashley Laracey in her first big role since being promoted to soloist int the spring. And what a striking, chilling ballet it is. You can read my review (for DanceTabs) here.

And here’s a short excerpt:

“Made in 1954 (the same year as Western Symphony, of all things) for a cast of dancers that included Janet Reed, Allegra Kent, Tanaquil LeClercq, Francisco Moncion, and Todd Bolender, Ivesiana is one of Balnachine’s simplest, and most unnerving, compositions. Four ideas, four sections, not many steps, and no pointe-work – except in the crazed third chapter, “In the Inn,” which is crammed to the gills with steps and performed on pointe…. The entire thing is steeped in an atsmophere of suffocating irresolution, of irratonal occurrences and otherworldliness.”