THE HANGOVER REPORT – CITY BALLET engages Andrea Miller and Sidra Bell, in collaboration with fashion designers, to create new ballets for its fall season (to mixed results)

Last week at the David H. Koch Theater at Lincoln Center, New York City Ballet premiered a pair of new ballets for its Fall Fashion Gala. Instead of looking for in-house talent to champion, the company – in a refreshing shift in strategy – chose to look externally for established choreographers from which to commission new work. Although I wasn’t at the gala on Thursday, these new pieces – both by women choreographers – are also a part of this fall season’s “Innovators & Icons” program, which I was able to attend this weekend. Here are my thoughts.

New York City Ballet performs Andrea Miller’s “Sky to Hold” at the David H. Koch Theater.

First up was was Andrea Miller’s Sky to Hold (RECOMMENDED), which features colorful, flowing consumes by designer Esteban Cortázar. Continuing Ms. Miller’s fascination with the natural world – which was evident in her outdoor aquatic work for her memorable You Are Here – the ballet allegedly tells the story of a seed who falls in love with a storm. But really, this official narrative is only suggested by the defined social hierarchies and relationships that Ms. Miller has skillfully formulated for the piece, which in and of themselves can be transposed to a number of storylines. Perhaps the star of the work is the seductive score by Lido Pimienta (who soulfully accompanies the ballet with live singing), which provides Ms. Miller lush tempos and sensual melodies with which to work. However, despite the pleasing fluidity of the movements, the choreography never fully lives up to the promise of the music, often working against it with half-formed choreographic thoughts and by altogether ignoring its Latin flavors. In the primary roles, estimable principals Sara Mearns (as the storm) and Taylor Stanley (as the seed) – both in absolutely terrific shape – danced with their usual command and distinct brand of passion.

New York City Ballet performs Sidra Bell’s “Suspended Animation” at the David H. Koch Theater.

Then came the Sidra Bell/Christopher John Rogers collaboration, Suspened Animation (SOMEWHAT RECOMMENDED). Where to start with this one. First off, there’s no denying the eye-catching, larger-than-life nature of Mr. Rogers designs, which pop from the stage as if from a glossy fashion magazine. However, Ms. Bell’s decidedly underpowered choreography, especially when paired with the relentlessly dull music selections (compositions by Nicholas Britell, Oliver Davis, and Dosia McKay), negates any of the costumes’ inherent flair and theatricality, resulting in a performance that felt overlong and an unfortunate waste of the company’s precious resources. Although the City Ballet dancers moved with refined sense of self-containment (Megan Fairchild and Teresa Reichlen were particularly exquisite in this regard), Ms. Sidra’s ballet seems just an excuse to pose in extravagant, tulle-heavy costumes. Indeed, with its glacial progression of chic stage stage pictures, Suspended Animation ultimately registers as limp instead of stately.

Despite my reservations on yesterday’s performance, I nonetheless find value in the company’s decision to engage external choreographers, especially those with diverse, established aesthetics. In my mind, it’s a wonderful opportunity to showcase the versatility of the company, giving dancers and audiences innovative new choreographic vocabularies to process and indulge in, in addition to the company’s classic but well-worn repertoire. Yesterday’s program concluded with a spirited rendition of Balanchine’s buoyant Western Symphony, which brought welcome balance and additional variety to the program.

NEW YORK CITY BALLET
Dance
David H. Koch Theater
1 hour, 30 minutes (without an intermission)
Fall season runs through October 17

Categories: Dance

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