Interludes

THE HANGOVER REPORT – A pair of closing performances displays the highs and lows of dance

• By drediman
• January 4, 2016
• No Comments

Yesterday afternoon at Lincoln Center’s David H. Koch Theater, I was lucky enough to squeeze in the final performance of New York City Ballet’s much admired (and rightfully so) version of The Nutcracker (HIGHLY RECOMMENDED) choreographed by the great George Balanchine. Despite a lengthy month-long holiday run, it’s a pleasure to report that the City Ballet dancers looked as fresh as ever. For this final performance, the principal casting was to die for. Sara Mearns, who at this high point in her career seems to control time and space whenever she’s onstage, danced the Sugar Plum Fairy to creamy, exultant perfection. Even in stillness, Ms. Mearns exudes an otherworldly, almost divine quality that casts a deep spell on whomever gazes upon her. In the exciting role of Dewdrop, the always exceptional Tiler Peck once again did not disappoint. Ms. Peck is similarly dancing better than ever. At every turn, her precise, rapid-fire delivery thrilled with its unparalleled virtuosity and musicality. All-in-all, this was one of the finest performances of The Nutcracker I’ve seen.

Later that evening, I also caught the final performance of Michael Flatley’s Lord of the Dance: Dangerous Games (SOMEWHAT RECOMMENDED), which concluded its limited Broadway stint at the cavernous Lyric Theatre. If City Ballet’s The Nutcracker represents dance at its most luxuriously refined, Michael Flatley’s approach to dance-making borders on ludicrous in its unabashed commercialism and pomp. You know you’re in trouble when one of the biggest applauses of the night arrives when the male dancers strip their shirts off. The other big cheer comes when Mr. Flatley himself – in allegedly his final live New York appearance – makes a brief cameo at the show’s celebratory conclusion. Despite all this garishness (which extends from the embarrassing computer-generated production design to the generic score), James Keegan manages to be sexy and commanding as the “lord of the dance”. Although clearly lacking in variety, there’s undeniable primal excitement in Mr. Flately’s choreography, especially whenever his large ensemble of young dancers assembles itself in its entirety and rousingly stomps their heart out.

GEORGE BALANCHINE’S THE NUTCRACKER
David H. Koch Theater
2 hours (with one intermission)
Closed

LORD OF THE DANCE: DANGEROUS GAMES
Lyric Theatre
2 hours (with one intermission)
Closed