|The Exchange. Photo: Paul Kolnik|
In a sense, it was business as usual at NYCB’s fall fashion gala, “the most important night of our year,” as Teresa Reichlen put it in pre-show remarks at the Koch Theater on Sep 26. Somehow it felt more trite than that in the wake of the departure of Peter Martins last spring, and more recently three male principals, leaving the company in limbo both leadership-wise (currently four company members share that role) and with a shortage of tall leading men. Three new dances focused around fashion designs were hardly the headline.
Reichlen’s speech alluded to the departures: “We won’t allow talent to sway our moral standards.” There’s no dispute this is moral high ground, and yet who among them—us—are unimpeachable, morally? And yet in the face of powerful figures falling each day, the high ground seems to be the only safe spot.
Those remarks set the tone for three premieres which felt, as the evening passed, increasingly what the future will look like for new repertory for NYCB, apart from by now stalwarts Justin Peck and Chris Wheeldon. Matthew Neenan’s The Exchange seemed to pit the old against the new, or conservative vs. liberal, religious vs. atheistic, etc. In any case, a group of rule-bound people (the women in Gareth Pugh’s Martha Graham-esque long red gowns; the men in drum major reds and blacks; all wear red chiffon head covers) move in an orderly fashion, before the rebels (in short tablecloth, diagonal-drape dresses; the men in strappy harnesses and gaucho pants) move in and shake things up. The Dvorak accompanying it set a mostly solemn tone, with hints of Slavic dash.
|Lauren Lovette & Preston Chamblee in Judah. Photo: Paul Kolnik|
|Taylor Stanley in The Runaway. Photo: Paul Kolnik|
|Sara Mearns, Georgina Pazcoguin, & Ashley Bouder in The Runaway. Photo: Paul Kolnik|
In some ways, Abraham’s fluid, heady mix of styles evoked William Forsythe, who has underscored the physical intelligence of dancers to transform them into incredible alien beings. In the end, Stanley resumed his bowed position alone. Fittingly, the work began and ended with him, currently one of the most exciting dancers in a temporarily depleted troupe that is facing revolution on several fronts.