Interludes

VIEWPOINTS – Dance roundup: City Ballet’s Sterling Hyltin retires in THE NUTCRACKER and MICHELLE DORRANCE’s exuberant evening of world premieres

• By drediman
• December 9, 2022
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This past week, I got my dance fix by way of a pair of eclectic performances. Here are my thoughts on them, as always.

NEW YORK CITY BALLET: GEORGE BALANCHINE’S THE NUTCRACKER
David H. Koch Theater
Through December 31

First up last weekend at the David H. Koch Theater, I took in a sterling (pun intended) performance of New York City Ballet’s 1954 production of George Balanchine’s The Nutcracker (RECOMMENDED). The Sunday matinee was a bittersweet affair as it marked the retirement of beloved longtime principal Sterling Hyltin, who performed as the Sugarplum Fairy in the classic holiday production. She danced the iconic role with joy and freedom, her unassuming strength and excellent technique on full display. As her Cavalier, Andrew Veyette muscled through the performance all the while keeping his emotions at bay. Aside from Ms. Hyltin’s lovely performance, the other standout was fellow principal Indiana Woodward – who has come into her own and is dancing better than ever – who attacked Dewdrop’s show-stopping choreography with enthusiasm and impressive musicality. The rest of the production looked and sounded (maestro Andrew Litton was in the pit) as polished and warm as ever – if a tad mechanical in places – much to the delight of the packed house. Suffice to say, the ovations for Ms. Hyltin during the extended curtain call went on and on, and deservedly so.

DORRANCE DANCE
The Joyce Theater
Through December 18

Then down in Chelsea, The Joyce Theater played host to an evening of tap dance world premieres choreographed by Michelle Dorrance (RECOMMENDED). The evening commenced with “Rhythms of Being”, a piece for five dancers which registered little more than a prologue or warmup for the rest of the evening. Then came the teasing duet “A Little Room”, a sort of modern day soft shoe performed with finesse by Ephrat Asherie and Ms. Dorrance. After the intermission came the main attraction, a piece entitled “45th & 8th”. Set to an accomplished original jazz score by Aaron Marcellus – who performed live onstage backed by a wonderful band – the work is an exuberant example of tap dance as an active participant in music-making. Indeed, throughout the piece, the partnership between dancers and the musicians was thrillingly palpable. Created by Ms. Dorrance in collaboration with her dancers – who occasionally showed off their prowess through exciting improvisation – the work displayed a true sense of community and rhythmic discipline. Over the course of the evening, the Dorrance Dance dancers performed with impeccable musicality and cool showmanship.