A New Paquita by Ratmansky

Sara Mearns and Chun Wai Chan and company in the Grand Pas in Alexei Ratmansky’s Paquita. Photo: Erin Baiano

Alexei Ratmansky’s new Paquita, premiering at New York City Ballet on February 6, at the outset feels formal and a bit dry. There’s no set or projection, unusual for new productions, but evocative of many of Balanchine’s ballets where dance is the sole focus. David Gabriel partners Erica Pereira and Emma Von Enck in the first part, the Minkus Pas de Trois by Balanchine, breaking apart for duets and solos. They hit their marks in the demanding phrases, dotted with moves proving their technical chops (particularly Gabriel, dealt a long chain of double tours en l’air plus pirouettes, and later cabrioles landing on one leg and held). I warmed to the dancers, shaking off some residual resistance to the Grand Prix competition feel of the start.

The second part, the Grand Pas, begins, with groups of women in Jérôme Kaplan’s lovely black tutus with gold satin chest bands and yellow and rose-hued underlayers; eventually 15 join forces in varying groups or solos. Sara Mearns enters, set apart by a white satin camisole band. Of course the dancing is luscious and indulgent—it’s Mearns. (There are two others who perform the role on other nights.) But we really understand that she’s The Ballerina when Chun Wai Chan strides on, his noble carriage and laser-like focus on Mearns revealing his purpose. Until that moment, the dance seemed to be primarily a technical showcase. Now, it’s a romance with passion and intrigue waiting to unfold.

Indiana Woodward in Paquita. Photo: Erin Baiano

With NYCB since 2021, Chan has been a wonderful addition. In general, NYCB’s men are shadows of the women, in part because Balanchine’s work (and ballet in general) revolves around the ballerina, but also in terms of self-regard and presentation. It’s as if men have never been completely encouraged to carry themselves with authority, demanding to be seen; it’s likely subliminal. (Again, I’m generalizing; there are exceptions.) It’s not a bad thing, more of a company philosophy. But because Chan came from Houston Ballet, and before that Guangzhou Art School, modesty doesn’t seem to be an entrained trait. He is bold and assertive even while simply walking, expressed in his confident stride and proud carriage. It’s more the bold attitude of an entitled prince than a support character. And a captivating, and physically daring, dancer like Mearns requires an equally magnetic partner such as Chan. He’s strong as well, smoothly pressing her overhead in numerous lifts. Mearns catches at the heart with her vulnerability and physical daring, nearly always nailing a dramatic rendition. Ambition, daredevilry, drama, and skill.

Back to the women in Paquita. There are six variations following the pas de deux, each dynamically and emotionally different. And each is danced by a principal or soloist, infusing the entire final third of the ballet with a sparkle and snap. Indiana Woodward could barely contain her elation, hitting each beat with precision. Olivia MacKinnon, a lovely dancer now in major roles with regularity; Emily Kikta, with a velvety precision and riveting presence. Unity Phelan, who merits an Iron Woman award for dancing lead roles in the evening’s three dances. Plus the ensemble, who impart the challenging sections with confidence and brio.

Erica Pereira, David Gabriel and Emma Von Enck in Balanchine’s Minkus Pas de Trois from
Alexei Ratmansky’s Paquita. Photo: Erin Baiano

Paquita allows Ratmansky to indulge his wonkery, plunging into historical documents and ballet’s long history, and making it anew. But is it what audiences want to see? Given his success at City Ballet with new works, viewers are eager to sample whatever he offers in his prodigal return to the fold. In any case, the dancers are primed for works like this, even if it could benefit from more rehearsal and finesse. Let’s see what Ratmansky presents next.