Slice to Sharp, choreographed by Jorma Elo, opened the program, putting the audience at the edge of their seats, oohing and awing. This masterpiece of choreograph y makes the top list of technical ballet challenges. The choreography requires advanced agility, with frequent changes from on to off balance positions, fast changes in direction, and extreme coordination and isolation of simultaneous movements. Dexterous footwork and elaborate use of port de bras transformed the ballet vocabulary into a continuous fluid cursive script of dance. Amazing combinations of double and triple turns in varying positions and two-hundred degree battements stunned the audience to attentive silence. I myself became fascinated by some of the skimming movements the ballerinas made with their pointe shoes, at times being dragged off balance by their partners across the floor. I sighed seeing the dancer's legs fanning generously outward as they were suspended aerially by their partners. Joaquin De Luz presented a stunning male solo with impressive articulation of spine. Wendy Whelan wowed the audience with her partner who supported her delicate glisses en pointe around him, then Wendy turned the tables- grasping her partner's head in arabesque, rotating perfectly on balance as he promenaded around her striking position. Teresa Reichlen performed an amazing sequence of attitude turns that looped finger turns and promenades all together with Teresa simply holding her partner's hand as she revolved again and again. Maria Kowroski achieved an unbelievable battement to penche with her back arched and without giving herself a concussion! All the ladies had their legs reaching angles beyond one hundred and eighty degrees easily. Their streamlined physiques served as their costumes, since all they wore were purple leotards, so each sinuous muscle could be seen at work. Jorma Elo created a masterpiece with Slice to Sharp- brilliant interweaving pas de deux work, sharp clean cut choreography performed by dancers that he himself describes as "fierce" and "fearless".
Hallelujah Junction was the second piece of the program, choreographed by NYCB great, Peter Martins. This elegant work centers around a pair of dueling pianos, seen fading into the background. Some dressed in black, others completely in white, the dancers brought the action of the piano keys and the percussive music to life. The choreography was reminiscent of classic Balanchine- long lines, sequences of definite patterns and crisp shapes. Sterling Hyltin, the only female soloist in white, was exceptionally beautiful, giving gracious port de bras with astonishing rang using the graceful arch of her head and neck. The contrast of the black and white was balanced by the changing groupings of dancers who were perfectly synchronized in space and time. Darting piqué turns and tendus in croisé forced over the arch of the front leg were signature moves thrown in by Martins. He also incorporated what I had seen Balanchine have his dancers do in Nutcracker- chaînés straight forward en face! Not an easy feat- and neither was the footwork. Martins created a lovely visual interpretation of the music, building suspense by layering dancers in rippling formations. Hallelujah Junction is a modern classic to be kept in NYCB repertoire.
Melissa Barak, a former NYCB member was asked by Peter Martins to contribute the next piece on the program. A Simple Symphony is a contemporary reconstruction of classical ballet dance. Barak maintained a classical feel through implementing a "fluffy" tutu, yet kept the feeling light, sweet and fun taking inspiration from candy wrappers for the bodice. The light pink of the ballerina's costumes was a lovely contrast in front of a glowing gray backdrop, creating a soothing feel. The ballet as a whole played up modern themes on traditional sequencing in a ballet. Four female dancers lead the soloists -male and female to join in their pas de deux, like the set-up for a blind date. Just when I felt myself drift away in the mystic, fairy tale world of old-style ballet, Barak would throw in a modern twist to wake me to this day and time. At once she did this at the end of a phrase, where often a woman is held in a 5th position sous-sus lean, but this time the women were all upside down! It was very exciting to witness the premiere of this new ballet, which can be seen again performed later in the upcoming spring season. A Simple Symphony is certainly a symphonic delight to the senses, but not simple- it raises the level of technical skill of ballet. The finale sequence was unbelievable, with all dancers in perfect unison.
The final ballet on the program was Mercurial Manoeuvres by Christopher Wheeldon, and interestingly, the last ballet he created for NYCB while still dancing with the company. The bright red and blue colors of the costumes and backdrop gave the work a classic patriotic feel. The ballet was filled with moments of surprise and fun. Wheeldon incorporated the swimming exercise done in Pilates matwork- with the females teter-tottering over the males' shoulders. Another dramatic moment I found quite humorous was a sequence where one man strutted with grandiose port de bras through a group of fallen men maneuvering through deep lunges and crawls. A powerful and sophisticated ballet in all- and perfect for completing an amazing afternoon of ballet!
New York City Ballet proves that ballet isn't dead as some have said, but in-fact evolving. New ballet, as aptly presented by New York City Ballet, is fast-paced, exciting, athletic, abstract, suggestive, inspiring, breathtakingly beautiful.
This show and company is not to be missed! . . . The stuff you'll want to tell your grandchildren about!
Top Left: Mercurial Manoeuvres, Right Middle: Hallelujah Junction
Photos © Paul Kolnik
iDANZ Critix Corner
Official Dance Review by Lea McGowan
Performance: New York City Ballet
Choreographers: Jorma Elo, Peter Martins, Melissa Barak, Christopher Wheeldon
Venue: David H. Koch Theater, Lincoln Center, New York City
Date: Saturday, February 28, 2009, 2:00pm
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