THE HANGOVER REPORT – City Ballet showcases its diversity and depth with recent performances of Balanchine’s “Diamonds”, as well as Wheeldon’s “Liturgy” and “Carousel (A Dance)”

Last week, New York City Ballet streamed the penultimate week of its Digital Spring Season. As I was quick to point out last week, the folks at City Ballet have done a fabulous job of curating its current “season” by highlighting the company’s astonishing versatility, as well as the depth of its bench. Since each program this spring was captured on film during City Ballet’s recent seasons, what we’re seeing online during the city’s ongoing lockdown is a close proximation of the talent pool currently at the world-renowned dance company. Hopefully, we’ll get to experience their magic live at some point in the near future (perhaps as soon as the company’s annual The Nutcracker run later this year?).

Sara Mearns and Russell Janzen of New York City Ballet in George Balanchine’s "Diamonds". Photo by Erin Baiano.

Russell Janzen and Sara Mearns of New York City Ballet in George Balanchine’s “Diamonds”. Photo by Erin Baiano.

Tuesday’s program was comprised of a luxurious 2019 performance of Diamonds (with music by Tchaikovksy), the final segment of George Balanchine’s sublime Jewels. Last spring’s staging of the ballet was notable for having incorporated input from Suzanne Farrell, the legendary Balanchine muse for whom Diamonds was created. Guided by Ms. Farrell’s intimate knowledge of the ballet, principals Sara Mearns and Russell Janzen were regal and expansive in their portrayals. The highlight of the performance was their sumptuous pas de deux, in which Ms. Mearns and Mr. Janzen magnificently exuded both the grandeur of imperial Russia, as well as intimacy and lush romanticism. The corps de ballet, it goes without saying, was dazzling in their bookend contributions.

Maria Kowroski and Jared Angle of New York City Ballet in Christopher Wheeldon’s "Liturgy". Photo by Paul Kolnik.

Jared Angle and Maria Kowroski of New York City Ballet in Christopher Wheeldon’s “Liturgy”. Photo by Paul Kolnik.

Then on Friday, a pair of Christopher Wheeldon ballets, Liturgy and Carousel (A Dance), were presented. Set to a haunting, eastern-inspired score for strings by Arvo Pärt, Liturgy was originally choreographed in 2003 as a pas de deux for former City Ballet stars Wendy Whelan and Jack Soto. Liturgy is a poetic progression of poses, very much in the same vein as After the Rain Pas de Deux, a later work by Mr. Wheeldon which was also tailored for Ms. Whelan and Mr. Soto. The 2017 performance of Liturgy streamed last week featured the company’s sensational current elder stateswoman, Maria Kowroski, as well as fellow principal Jared Angle. It’s always an event to behold the stunning Ms. Kowroski, who strikes me as an ideal torchbearer of Ms. Whelan’s legacy – both are regal and statuesque beauties from whom you can’t take your eyes off. Ms. Kowroski’s dancing has always been intentional and clear, but in recent seasons, her performances have taken on a majesty that has consistently beguiled me. Suffice to say, both she and Mr. Angle cast a mysterious, mesmerizing spell here.

Lauren Lovette and Tyler Angle of New York City Ballet in Christopher Wheeldon’s "Carousel (A Dance)". Photo by Rosalie O’Connor.

Lauren Lovette and Tyler Angle of New York City Ballet in Christopher Wheeldon’s “Carousel (A Dance)”. Photo by Rosalie O’Connor.

I consider Mr. Wheeldon’s 2002 Carousel (A Dance) – as well as his propulsive, modern DGV: Danse à Grande Vitesse – to be among the choreographer’s strongest pure dance compositions (Mr. Wheeldon has of late dabbled in choreographing and directing for legitimate musical theater). Set to Richard Rodgers’ thrilling “Carousel Waltz” from the classic Rodgers and Hammerstein musical Carousel, Mr. Wheeldon isn’t the first major choreographer in the modern era to have tackled the material; Sir Kenneth McMillan and Justin Peck choreographed the musical’s last two Broadway revivals. Although Mr. Wheeldon hasn’t worked on a full major production of the musical, his work here captures the essence of the piece without literally transcribing its plot. The 2018 performance was led by principal dancers Lauren Lovette and Tyler Angle. The petite and willowy Ms. Lovette was perfectly cast as Julie Jordan. Happily her portrayal was vital – both girlish and as fresh as springtime. As for Mr. Angle, both he and his brother (who was featured in the aforementioned Liturgy) have over the years provided sturdy, reliable partnering – even if they’ve occasionally lacked the showmanship of some of their peers. Nevertheless, the overall performance was stirring.

HIGHLY RECOMMENDED

 

 

NEW YORK CITY BALLET
Dance
Digital Spring Season
Each program begins streaming on Tuesdays and Fridays and is available for 72-hours

Categories: Dance

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