Holiday Dance: As Regular as the Seasons

Tiler Peck in Balanchine's Nutcracker. Photo: Paul Kolnik

This particular moment in the calendar year is, for a dance fan, a comfortable, cinnamon-scented one. Thanksgiving means the next-night opening of New York City Ballet's Nutcracker, by George Balanchine, with its magnificent tree, authentic-looking snow, and richly detailed party scene. It's a chance to see the varied talents and facets of the magnificent company, from Maria Kowroski as Sugarplum Fairy, cooly radiant and controlled; Tiler Peck (Dewdrop), a virtuosic jazz musician on pointe, able to bend time to her will with her crystalline technique and musical ear; Erica Pereira (Marzipan), precise and delicate; Chase Finlay and Georgina Pascoguin (Hot Chocolate) bold and alluring. And of course, the key—all the well-drilled children as party-goers, little trees, angels, and candy canes. With its lavish sets and costumes, and enduringly rich score by Tchaikovsky, it's a well-burnished holiday tradition.

Linda Celeste Sims, Rachel McLaren, and Alicia Graf Mack. Photo: Andrew Eccles

Beginning Nov 28, Alvin Ailey takes up residence at City Center for the month of December, as usual—always a joyful, invigorating thought. It seems as woven into the fabric of the city's holiday calendar as NYCB's Nut, and now ABT's Nutcracker by Ratmansky at BAM. This year at AAADT, the repertory consists of, appropriately, ever more dances by Artistic Director Robert Battle (four) including a new production of Strange Humors, and what feels like an organic winnowing of dances by Mr. Ailey, including Memoria, Night Creature, Streams, the iron-clad Revelations, plus excerpt medleys of his works called Ailey Classics. 

Other highlights include a world premiere by Kyle Abraham, who blends styles to make his own voice; Jiri Kylian's Petite Mort; From Before by Garth Fagan; and a new production of Ronald Brown's Grace, which remains one of the gems of Ailey's rep. Speaking of: the inimitable, elegant Renee Robinson, who created the central role in Grace, is retiring after a remarkable career, and will be celebrated on Dec 9 at 7:30, as well as by leading all performances of Revelations for the first two weeks of the season. Another retirement of note: Executive Director Sharon Gersten Luckman retires after this season and will be feted on Dec 4; that program includes Ohad Naharin's Minus 16. As long-time Ailey faces move on, the company's performance schedule remains steadfast. 

NYCB—Hyltin nails The Cage

Maria K and Tyler A in Symphony in C. Photo: Paul Kolnik

A fall season-ending visit to NYCB featured a varied program that seemed solid in theory, but perhaps wouldn't hold many epiphanies. The keystone, for me, was Balanchine's Symphony in C, my favorite ballet by him, with its crisp structure, unrelenting technical and spatial challenges, and changing dynamics. 

Younger dancers led three of the four sections. Ana Sophia Scheller, a new principal, showed her signature confidence and solid technique in the first movement, paired with the capable Jared Angle, though I look forward to when she relaxes a little. Erica Pereira sparkled in the lyrical third section, paired with an enthusiastic Antonio Carmena; her compact size reduces the scope of the movement, but it is crystalline. Lauren King, a corps member, and soloist Adrian Danchig-Waring took on the fourth, slightly abbreviated section; she danced with brio, and he jumped higher than anyone. The second movement, the quiet soul of the ballet, was grounded by the ever-deepening partnership between Maria Kowroski and Tyler Angle. They are becoming the new go-to equation for serious duets, and deservedly so.

Brava, Sterling. Hyltin in The Cage. Photo: Paul Kolnik

The thrill of the program, however, was Sterling Hyltin's performance as the Novice in The Cage, a new role for her. This Jerome Robbins oddity has remained a repertory staple in part because its leads offer two women the potential for great dramatic breadth. Hyltin's trademark wavy blond mane was sheathed under a black bob with an apparent effect of liberating her. She is a brave dancer, but I sometimes feel that because of her petite size and her hair, she's cast in soubrette or girly roles. But as the latest initiate in a community of spider-like creatures, she threw herself into attacking the poor guys who crossed her path, including Justin Peck. Peck, one of the more muscular company members, is now known as the next hot choreographer in the wake of the smashing success of his NYCB debut, Year of the Rabbit (review here). Still, in his day job, he was a formidable foe to Hyltin until she unleashed the extent of her powers. The Queen was danced by Rebecca Krohn, a perfect fit. This Myrtha-like role calls for absolute command, both presence-wise and psychologically, which Krohn manages. 

The bill led off with Danses Concertantes (1972), the year of the mythical Stravinsky Festival. Not Mr. B's finest choreography-wise, but it satisifies visually, with gem-tone carnivalesque costumes and hand-painted playful scrims. But it feels as if the movement were created as an afterthought to perhaps satisfy the investment made in the production elements and score commission. The doodlings of four pas de deux carry the work forward flittingly. You only need see Symphony in C to realize the difference in quality, like comparing a merinque to cassoulet... although sometimes you just might want a Pavlova.
   

NYCB—The Great Partnership

Sebastien Marcovici and Janie Taylor in Orpheus. Photo: Paul Kolnik

The fall New York City Ballet season began with a week of Balanchine’s “Greek trilogy”: Apollo, Orpheus, and Agon. I’d never seen Orpheus (1947), and there’s a reason—it’s not his best. There isn’t much dancing. Sebastian Marcovici had the title role; he did a lot of dramatic gesticulating and standing. Janie Taylor was Eurydice; at least she had some more movement to express her ill-fated pleading and coaxing. Jonathan Stafford, menacing as the Dark Angel, was saddled with a proboscis-studded headpiece. And otherwise, there were a lot of fright-bewigged furies with tacky faux-seashell bikinis, designed, shockingly, by the usually sublime Isamu Noguchi. Some of his set elements, however, were lovely, such as the glowing, earthbound stones that shone faintly through the scrim as they ascended, transforming into heavenly bodies.

Busy? Sebastien again, in Agon with Maria Kowroski. Photo: Paul Kolnik

Apollo was in fine shape in a cast led by Chase Finlay, who seemed born to dance the role, at least in its wide-eyed, headstrong, young interpretation. The muses were danced by Maria Kowroski, Teresa Reichlen, and new principal Rebecca Krohn, all relatively tall and magnetic, yet Finlay—elegant and economical in his movement—held his own. Kowroski and Reichlen also danced in Agon (subbing for Whelan and Bouder). Kowroski, who danced the Pas de Deux with Amar Ramasar, was more than electric ever, her reliably impressive technique infused with urgency. As excellent as she and Reichlen are, it would have been nice to see two different principals in Agon, what with more than a dozen female principals from which to choose.

The black & white program was blue chip Balanchine-Stravinsky, the sweet spot for NYCB. Leading off with Stravinsky Violin Concerto (1972), Krohn—cool and noble—danced with Sebastien Marcovici, looking gallant and energetic; the sly, riveting Janie Taylor paired with Robert Fairchild, one of the jazziest, most improvisational men. Three short ballets comprised the second act. Kowroski and Ask la Cour danced Monumentum Pro Gesualdo (1960); she partnered with Marcovici in the twin piece Movements for Piano and Orchestra (1963). Again, Kowroski looked phenomenal; she seems to have discovered a renewed focus to go along with her under-trumpeted fundamentals and sublime physical gifts. In the perennially charming Duo Concertant (1972), pianist Susan Walters and violinist Arturo Delmoni performed onstage as Megan Fairchild and Chase Finlay alternately observed them and danced. When Finlay offered his hand to her, the coy first shake of her head before agreeing made me love Balanchine even more. Charming humor in ballet is rare.

Chase Finlay and Megan Fairchild in Duo Concertant. Photo: Paul Kolnik

Symphony in Three Movements (1972) is a big, fast, kinda crazy ballet featuring three primary couples and some incredible stage geometry (the opening scene diagonal line of white-clad women is on the season’s poster). Daniel Ulbricht barrelled onstage as only he can; the equally buoyant Tiler Peck joined up with him as they swapped leaps and he lifted her in splits. Sterling Hyltin (who danced with Amasar) excels at allegro; her small frame seems to better deal with fast steps without losing pace or clarity. The statuesque Savannah Lowery is often cast in “Amazon” character roles in which she excels; she was paired somewhat incongruously with the athletic yet refined Adrian Danchig-Waring, who continues to look more relaxed in featured roles.

There’s a section toward the end, after a section break, when the music's pretty much just a strong drum beat. You realize how modern Stravinsky was, how his music was the perfect complement to Balanchine’s equally modern ballet, and how neither the dance nor the music dominated in their collaborations, but supported one another while being completely unique. It's surely one of the great artistic partnerships ever, vibrant and fresh at NYCB.

Balanchine's Swinging '60s Hits

Jared Angle and Wendy Whelan in Liebeslieder Walzer. Photo: Paul Kolnik

Balanchine's Liebeslieder Walzer is back in New York City Ballet's repertory after several years on the shelf, 51 years old and 51 patiently-paced minutes long. It captures the polished surfaces and clandestine romantic intrigue of the ballroom salon, with live onstage singing by a quartet. Satin full-length ballgowns, tails, low-heeled shoes rather than pointe shoes, and white gloves, designed by Karinska, set a formal tone, while Brahms' lieder lent a poignant intimacy. 

The casting structure features four couples, yet there is no supporting corps. Balanchine avoided the predictable turn-taking formula, at times focusing on two couples alternating dances in sequence. In the May 22 performance, Ashley Bouder and Tyler Angle made a somewhat surprising pairing, his inherent cool elegance sanding the sometimes abrasive edges of her hypercompetence. Jared Angle attentively and briskly partnered an evanescent Wendy Whelan, running in tight circles to support her. Jonathan Stafford swept Maria Kowroski in extended-leg lifts, and Janie Taylor and Sebastian Marcovici produced the occasional spark. 

The singers' prominent downstage right positioning distracted, although having the dancers continually observe and react to the singers logically supported the ballet's premise. (Clotilde Otranto conducted from the pit.) The extreme vibrato of the singing style, particularly with soprano Caroline Worra, holds little appeal for me, hiding the note rather than leading with it. But the overall intimacy and special occasion feel was mildly intoxicating.


Brahms-Schoenberg Quartet (choreographed by Balanchine in 1966) featured two newly-appointed principals: Rebecca Krohn and Ana Sophia Scheller. (Hmm, both were recently featured in marketing materials—any relation there? Like the reverse of the Sports Illustrated curse, I guess.) Krohn, somewhat reserved, danced with Chase Finlay, eager and devoted. The warm, if underutilized Gonzalo Garcia paired with Scheller, crisp and dutiful. We trust that these two newest principals bring fresh gifts to the company, as have so many of its current stars; they're not precisely clear just yet.


Tiler Peck, perhaps the most all-around skilled, versatile female principal at the moment, danced with the muscular Justin Peck, and cool customer Teresa Reichlen (subbing for the injured Sara Mearns), balanced the Broadway pizzazz of Amar Ramasar in the final movement.