Interludes

VIEWPOINTS – In the midst of its fall season, NEW YORK CITY BALLET is dancing with a sense of purpose and a terrific spring in its step

• By drediman
• September 27, 2024
• No Comments

Just about at the midpoint of its fall season, New York City Ballet has transitioned into full gear, churning out performances with the precision and reliability of a well-oiled machine. I’m also happy to report that — upon assessment of a trio of programs I attended thus far in the season — the company is dancing with an invigorating sense of purpose and a terrific extra spring in its step, especially impressive after the sustained effort expended on its expansive 75th anniversary season, which collectively celebrated the company’s foundation, evolution, and future.

These three evenings of dance have continued to be representative of the breadth of vision that City Ballet is well-known for. A highlight from the “All Peck” program — curated to celebrate Justin Peck’s 10th anniversary as the company’s Resident Choreographer — included Indiana Woodward in Justin Peck’s meditative sneaker ballet Partita (I did miss, however, the live a cappella singing that accompanied the ballet on its premiere), in which her economy of movement and exquisite expressivity indicated an artist in full bloom. Another high point of the program was Sara Mearns’ performance in Solo, in which the regal principal moved me with her unadorned gravitas and emotional nakedness.

Then there was the “Eclectic NYCB” program, which included the City Ballet premiere of Lar Lubovich’s sweeping duet for two male dancers Each in Their Own Time, in which Adrian Danching-Waring altogether looked like a new dancer — I’ve never seen the poker-faced principal dance with so much vulnerability and generosity than I’m seeing from him this season, and I’m liking it (the same could be said of his performance in Peck’s Everywhere We Go). And I should mention that Taylor Stanley also superlative, as per usual. Also, pretty much the entirety of George Balanchine’s Divertimento from “Le Baiser de la Fée” was sparkling, especially the bright, inspired dancing by the corps de ballet.

Of all the ballets in the “Masters at Work” program, the one that surprisingly stood out was Balanchine’s Duo Concertant. The warhorse pas de deux featured two veterans of the company, principals Megan Fairchild and Anthony Huxley, each sensational interpreters of the ballet. Both possess the same qualities — speed, lightness, and wonderful line — making them ideal partners. Like a fine wine, Fairchild is dancing the best she ever has during this twilight stretch of her career, exuding a sensuality and playfulness that was largely missing when she was a younger dancer. To close out the bill, Jerome Robbins’ Glass Pieces remained the stylish crowd-pleaser it was designed to be.

That’s not to say that everything has been coming up roses. Although a popular favorite amongst ballet-goers, Peck’s Everywhere We Go looked wholly under-rehearsed, despite Dancing-Waring being so memorable in it. Despite being a dazzling ballet, the performance of Tchaikovsky Piano Concerto No. 2 I attended was spotty, at best. And although Megan Fairchild and Anthony Huxley were absolutely smashing in Duo Concertant, it’s probably best that the over-programmed pas de deux be put on the shelf for a while (the same could also probably be said of another ubiquitous pas, Christopher Wheeldon’s This Bitter Earth).

But these are minor quibbles in a fall season that has thus far proven the company’s mettle. And the great thing is, there’s still so much more ballet goodness to look forward to in the weeks to come.

NEW YORK CITY BALLET
Dance
David H. Koch Theater
Approximately 2 hours (without an intermission)
The fall season continues through October 13