NYCB All Balanchine Review
April 23, 2024 | David H. Koch Theater – New York, NY, USA
As New York City Ballet continues to celebrate its 75th Anniversary in its spring season, there is no doubt the company is unparalleled for perpetuating a legacy.
Even the most classical ballets such as The Sleeping Beauty and Swan Lake have morphed and developed to change with the centuries – and after 75 years New York City Ballet is staying true to its signature Balanchine style and repertoire. The company kicked off its spring season at the David H. Koch Theatre at Lincoln Center with an All Balanchine repertoire night on April 23.
Balanchine is known for creating these ballets inspired by the leading dancers themselves. As new generations of performers carry on the legacy and the knowledge is passed further and further away from its original state, how can they live up to recreating such treasured recordings of these iconic ballets? How are these young dancers adapting movement created on another dancer’s body?
After the evening’s performance, I happily concluded that Balanchine répétiteurs are allowing new performers to breathe individual agency and autonomy into their past stage personas.
NYCB All Balanchine Review
The evening opened with Bourée Fantasque, a four-movement Balanchine tutu ballet that premiered on December 1, 1949, set to music composed by Emmanuel Chabrier. The principal cast included Emily Kikta partnered by KJ Takahashi, Emilie Gerrity partnered by Gilbert Bolden III, and Alexa Maxwell partnered by Victor Abreu.
The cast delighted the audience with their precise, vibrant Balanchine technique and flirtatious, subtle eye movements. Likely due to a combination of a slippery stage, extreme height differences in partnering couples, substitute casting changes, and opening night nerves, the dancers had a handful of slips and stumbles. However, the fortitude of the ensemble ensured the spirited piece had a strong, joyful, and unified finish.
NYCB’s Emilie Gerrity and Gilbert Bolden III in George Balanchine’s Bourrée Fantasque. Photo by Erin Baiano.
The cast delighted the audience with their precise, vibrant Balanchine technique and flirtatious, subtle eye movements.
Likely due to a combination of a slippery stage, extreme height differences in partnering couples, substitute casting changes, and opening night nerves, the dancers had a handful of slips and stumbles. However, the fortitude of the ensemble ensured the spirited piece had a strong, joyful, and unified finish.
Erica Pereira and Anthony Huxley were enchanting in their lively characterizations of a doll and toy soldier in Balanchine’s The Steadfast Tin Soldier, which premiered on July 30, 1975, set to music by Georges Bizet from Jeux d’enfants.
The plot is a simple concept to follow throughout the brief pas de deux: the soldier falls in love with the harlequin doll who is coquettishly blowing kisses under the Christmas tree.
Pereira dazzled as the doll with sharp and light pointework and jumps. Her ability to express such emotion with her eyes while keeping her face still in a doll-like manner was as equally impressive as her lightning-piqué manège which twirled her into the roaring fire to bring a melancholy conclusion to the otherwise light-hearted duet.
NYCB’s Erica Pereira and Anthony Huxley in George Balanchine’s The Steadfast Tin Soldier. Photo by Paul Kolnik.
Farrell premiered Tzigane on May 29, 1975, choreographed by Balanchine for the Maurice Ravel festival, and the ballet has a rich history intertwined with the ballerina’s entrances and exits from the company.
Tzigane was last performed in New York City Ballet’s repertoire in 1993, and Farrell was invited back to restage the ballet as Errante for the 75th season.
Mira Nadon was cast in Farrell’s role and was partnered by Aarón Sanz. Nadon tackled the five-minute-long opening solo with stoic and proud charisma. She wove the abstract narrative of the persona around her by utilizing expressiveness through her fingertips and captivating épaulement. It was refreshing to see the touch of Farrell’s words of wisdom in Nadon’s movement, but that she was still able to find her individuality while recreating the steps.
The Easter Egg of the evening for New York City Ballet history gurus was the revival of Errante, formerly Tzigane, which was created on - and has now been re-staged by - Suzanne Farrell, known for her long limbs, elegance, and unparalleled presence.
NYCB’s Mira Nadon and Aarón Sanz in George Balanchine’s Errante. Photo by Erin Baiano
Finally, the program concluded with another all-white Balanchine tutu ballet, Symphony in C, featuring Megan Fairchild partnered by Joseph Gordon, Sara Mearns partnered by Tyler Angle, Emma Von Enck partnered by Roman Mejia, and Alston Macgill partnered by Harrison Coll.
Symphony in C is set to a four-movement piece by George Bizet and premiered on July 28, 1947, for the Paris Opera Ballet.
NYCB’s Sara Mearns in George Balanchine’s Symphony in C. Photo by Erin Baiano.
With the dancers bedazzled head-to-toe in Swarovski crystals, this staple Balanchine classic places his quote, “Ballet is woman,” in bold.
The men take a back seat as the four leading women seem to express and explore different proud, feminine personalities. Despite all training under the signature Balanchine Style, Fairchild, Mearns, Enck, and Macgill all have contrasting approaches to movement, and their strengths were majestically showcased.
On occasion, while watching choreography from the Balanchine repertoire, I find myself feeling as if the dancers onstage are too indistinguishable from one another, and watching these stunning leads take the stage in harmony felt like sampling the most delectable dessert tray and wanting to come back for seconds.
Featured Photo for this NYCB All Balanchine review of Mira Nadon in George Balanchine’s Errante. Photo by Erin Baiano .
