Mary Cargill

The Human Touch

The Human Touch


"Dreamachine", "Eventide", "Esplanade"
Paul Taylor Dance Company
David H. Koch Theater
Lincoln Center
New York, New York
November 1, 2023


The Paul Taylor Company returned to its now traditional Fall Lincoln Center season with a mixture of modern choreographers and Taylor classics.  Lauren Lovette, the former NYCB dancer, was appointed the resident choreographer in 2022, has two premieres, and the season also includes works by Ulysses Dove, Amy Hall Garner, and Larry Keigwin,  It also includes

By Mary Cargill
Looking Backwards

Looking Backwards


"Ballet Imperial", "The Dream"
American Ballet Theatre
David H. Koch Theater
Lincoln Center
New York, New York
October 26, 2023


ABT’s “Ballet Imperial”, familiar to New York audiences as NYCB’s “Tschaikovsky Piano Concerto No. 2”, uses scenery and costumes based on the original Rouben Ter-Arutunian designs for the 1964 NYCB revival of the 1941 ballet when it was still Imperial (the glimpse of old Russia in the background and the elaborate tutus were replaced in 1973 by a

By Mary Cargill
Old Masters

Old Masters


"Concerto Barocco", "Prodigal Son", "Symphony in C"
New York City Ballet
David H. Koch Theater
Lincoln Center
New York, New York
October 7, evening 2023


The works danced on this program are some of the oldest in the company’s repertoire—Balanchine choreographed the youngest one, “Symphony in C”, in 1947.  They were also all originally created for other companies;  “Concerto Barocco”, 1941 for American Ballet Caravan, an early Balanchine company, “Prodigal Son”, 1929, for the

By Mary Cargill
Dessert First

Dessert First


"Tschaikovsky Piano Concerto No. 2", "Apollo", "La Sonnambula"
New York City Ballet
David H. Koch Theater
Lincoln Center
New York, New York
October 8 2023


In a late shift, NYCB switched the program’s order and opened with “Tschaikovsky Piano Concerto No. 2” instead of closing with glorious exploration of Petipa—it was like having dessert before the main meal of “Apollo” and “La Sonnambula” but it was delicious all the same.  Unfortunately, the costume gremlins have been

By Mary Cargill
Westward Ho

Westward Ho


"Western Symphony", "The Unanswered Question", "Tarantella", "Stars and Stripes"
New York City Ballet
David H. Koch Theater
Lincoln Center
New York, New York
October 3, 2023


The bright, generally upbeat program of Balanchine works choreographed to American music was conducted with a brisk, precise, and infectious verve by Andrews Sills, who made the folk songs of “Western Symphony” and the familiar marches of John Philip Sousa used in “Stars and Stripes” seem irresistibly fresh and infectiously bouncy.

“Western Symphony”, for

By Mary Cargill
Variety Show

Variety Show


"Bourrée Fantasque", "Agon", "Slaughter on Tenth Avenue"
New York City Ballet
David H. Koch Theater
Lincoln Center
New York, New York
September 30, matinee 2023


There were a number of debuts in the strikingly varied all-Balanchine program which started with “Bourree Fantasque” a light-hearted and rarely seen bonne bouche, followed by the rigorous black and white “Agon” and ended with a trip to Broadway in “Slaughter on Tenth Avenue”.  “Bourree Fantasque”, choreographed in 1949 to music by the

By Mary Cargill
Easy Watching

Easy Watching


"Western Symphony", "The Unanswered Question", "Tarantella", "Stars and Stripes"
New York City Ballet
David H. Koch Theater
Lincoln Center
New York, New York
September 26, 2023


It is odd to program two upbeat Americana closing ballets on the same program, but the audience didn’t seem to mind the lack of variety; only the brief, darkly mysterious “The Unanswered Question” interrupted the bouncy evening.  There were several fine debuts, including Roman Mejia, NYCB’s boy wonder, exploding as

By Mary Cargill
Voices of Experience

Voices of Experience


Jewels
New York City Ballet
David H. Koch Theater
Lincoln Center
New York, New York
September 22, 2023


In the midst of the many debuts during NYCB’s week-long Jewelathon, NYCB assembled a veteran cast of ballerinas, with Ashley Bouder and Ashley Laracey in “Emeralds”, Megan Fairchild in “Rubies”, and Sara Mearns in “Diamonds”, and showed that experience can be just as exciting as debuts.  There were new faces among the men, though, with Chun Wai Chan (with

By Mary Cargill
More Jewels

More Jewels

"Jewels"
New York City Ballet
David H. Koch Theater
Lincoln Center
New York, New York
September 23, 2023 matinee


This performance of “Jewels” featured two sections with new faces (Indiana Woodward and Emile Gerrity in “Emeralds” and Unity Phelan in ”Diamonds” made their debuts earlier this week) and one familiar one, as Tiler Peck returned to “Rubies”.  “Emeralds” is the most fragile of the three and life, as they say, isn’t fair, and neither, unfortunately is ballet.

By Mary Cargill
Some New Jewels

Some New Jewels


"Jewels"
New York City Ballet
David H. Koch Theater
Lincoln Center
New York, New York
September 21, 2023


New York City Ballet’s all-Balanchine fall season opened with a week of the ever-popular “Jewels”, Balanchine’s salute to mood and style.  The lush romanticism of “Emeralds”, the American cockiness of “Rubies”, and the Russian grandeur of “Diamonds” call for much more than accurate steps, as the dancers need to convey an inner life; these works may be plotless

By Mary Cargill
Daisies Don't Lie

Daisies Don't Lie

"Giselle"
American Ballet Theatre
Metropolitan Opera House
Lincoln Center
New York, New York
July 4, 2023, matinee


ABT celebrated the 4th of July with their solid version of the Russo/French "Giselle", a ballet with few fireworks though with plenty of drama.  The two American leads, Devon Teuscher (in her New York debut) and Aran Bell, gave rich, detailed, and committed performances.  Teuscher, a tall, regal dancer, is not a typical Giselle (she is a stunning Myrta, a

By Mary Cargill
She's Alive!

She's Alive!


"Giselle"
American Ballet Theatre
Metropolitan Opera House
Lincoln Center
New York, New York
July 5, 2023 matinee


ABT's policy of giving as many principals as possible a shot at a role limits the opportunities to explore and to grow into a role--one or two performances of "Giselle" every few years makes it difficult to play around with different interpretations and also means that dancers get cast in roles for which they might not seem suited.  But this policy does

By Mary Cargill