Interludes

THE HANGOVER REPORT – Principal dancer Amar Ramasar retires in a spirited A MIDSUMMER NIGHT’S DREAM, concluding City Ballet’s resilient spring season

• By drediman
• May 31, 2022
• No Comments

This past Sunday at the David H. Koch Theater at Lincoln Center, principal dancer Amar Ramasar retired from the ranks of New York City Ballet in a performance of George Balanchine’s enchanting and enchanted A Midsummer Night’s Dream. The performance also marked the conclusion of City Ballet’s tough but resilient spring season (the past few weeks of performances were plagued by both injuries and ongoing Covid infections, which worked their way through many of the company’s dancers and musicians), which has traditionally closed with Balanchine’s rightfully beloved dance adaptation of Shakespeare’s frothy, evergreen comedy. As I’ve noted previously, the last year or so has seen a remarkable turnover in City Ballet’s roster of dancers, with many staple company members deciding to turn over a new leaf post-lockdown (proving that ballet dancers are not immune to the influence of the Great Resignation after all).

Nevertheless, Sunday’s performance was spirited and inspired, featuring a number of exciting performances, particularly from the company’s rising crop of dancers. As the playfully feuding royal fairy couple, newly-appointed principal Unity Phelan as Titania was a revelation (and a dead ringer for the great Maria Kowroski, at least from the torso up) – dancing with a delicate authority that befits a fairy queen – and longtime principal Daniel Ulbricht was effortlessly exultant as Oberon (I’m glad this powerhouse dancer has been given this opportunity to excel in a meatier role). As Puck, Harrison Ball was as sprightly and expressive as can be. And as the romantically incongruous human couples, Isabella LaFreniere, Ashley Laracey, Aaron Sanz, and Peter Walker amusingly acted and mimed up a storm. Special mention must also go to another newly-promoted principal, the sensational Chun Wai Chan, who as Titania’s Cavalier was stylish and pristine in his solo dancing, as well as his partnering. But perhaps best of all were Alexa Maxwell and Emily Kikta, both of whom attacked their showy roles with breathtaking fire and finesse.

But back to the main event, which was the retirement of Mr. Ramasar. Controversies aside, Mr. Ramasar was a dancer of infectious charisma, and his dancing was invariably present and high powered, distinguishing him as one of City Ballet’s premiere male principals. The decision to depart the company in a performance limited to the ballet’s gorgeously choreographed second act pure dance divertissement was an initially confounding but ultimately apt decision. Indeed, as fate would have it, Mr. Ramasar sustained an injury about a week prior to the performance (he tore his quadricep tendon dancing Jerome Robbins’ The Four Seasons). He nevertheless managed to fight through with high spirits and good humor – alongside the always lovely Sterling Hyltin – with nary a jump nor spin in sight (in fact, part of the role was partially danced by Andrew Veyette). Ovations for Mr. Ramasar during the curtain call were ecstatic and seemed to go on forever. Suffice to say, the appearances of Peter Martins and Zachary Catazaro at the farewell celebrations added drama to the whole affair.

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A MIDSUMMER NIGHT’S DREAM
Dance
New York City Ballet at the David H. Koch Theater
2 hours (with one intermission)
Closed