Interludes

THE HANGOVER REPORT – NEW YORK CITY BALLET premieres a promising new work by star principal Tile Peck, alongside pieces by Justin Peck and Ratmansky

• By drediman
• February 2, 2024
• No Comments

New York City Ballet’s winter season continued the momentum of its 75th anniversary at Lincoln Center’s David H. Koch Theater with a New Combinations program, which this past Thursday unveiled Tiler Peck’s new ballet. Entitled Concerto for Two Pianos, the ballet mark’s the beloved star principal’s first choreographed work for City Ballet. The world premiere was sandwiched between a couple of 21st century ballets by resident choreographer Justin Peck (of no relation to Tiler) and artist in residence Alex Ratmansky.

Happily, Peck’s new work stacks up admirably against those established choreographers, bringing contrasting composition and style to the mix. Peck has smartly set her ballet to Poulenc’s piano concerto, an imminently danceable piece that begs to be moved to. Unsurprisingly, the ballet features bright musicality and a symmetrical structure, but not in the most obvious of ways. Thankfully, the piece shies a way from relying on “Tilerisms” (unlike her promising New York choreographic debut Thousandth Orange, which I caught at City Center roughly two years ago), instead displaying a broader choreographic curiosity – an homage to City Ballet’s distinct aesthetic.

As a dancer in the company herself, Peck has also chosen an inspired opening cast – both to elevate the work, as well as to best showcase the talents of her colleagues (more so for the principals and soloists than the corps). Indeed, they brought abundant personality to the choreography of Concerto for Two Pianos, even when the steps seemed more interested in demonstrating technical prowess than transcendence. I have no doubt that the poetry and the mystery that makes dance so alluring will come in due time – if not here, then in forthcoming works (which I am sure will be commissioned).

Although the obvious focal point during premiere night was the luminous Mira Nadon (looking ravishing in a ruby red dress by costumer designer Zac Posen), Roman Mejia’s rock solid and robust anchoring of the piece is not to be underestimated. If anything, the ballet seemed to revolve around this dynamic young dancer. Radiating outward, other standouts included the regal Chun Was Chan, providing a playfully dueling counterpoint to Mejia’s sturdy central performance. But perhaps showcased most brilliantly was the pairing of India Bradley and Emm Von Enck in mirroring roles that most sync up with Peck’s abilities as a dancer.

Opening the program was Justin Peck’s 2020 Rotunda. A sort of reboot of Balanchine’s Agon, the low key work – set to a sedate Nico Muhly score and presenting the company as if in rehearsal – gives ample opportunities for individual dancers to take the spotlight, setting the scene well for Peck’s more vibrant ballet. The evening’s closer was Alexei Ratmansky’s brilliant 2017 Odesa, which was danced to pungent music by Leonid Desyatnikov. Performed essentially by the same excellent cast as Rotunda, the piece provided the evening’s richest insight into the human experience. In terms of the dancing, I’d like to single out Indiana Woodward, who is currently dancing with complete command of her considerable talents, as well as Daniel Ulbricht, who is performing with newfound excitement and magnetism.

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NEW YORK CITY BALLET
Dance
David H. Koch Theater
Approximately 2 hours (with 2 intermissions)
City Ballet’s winter season continues through March 3