New York City Ballet

"Jewels"
New York City Ballet
David H. Koch Theater
Lincoln Center
New York, New York
September 19, 2018

The second night of New York City Ballet's fall season featured several debuts in the ever-popular "Jewels", as well as luminous performances by the established gems, Tiler Peck, Sterling Hyltin, and Sara Mearns.  Though not credited, Mimi Paul, Patricia McBride, and Edward Villella  provided some extra coaching, and presumably they deserve some of the credit for the delicate

"Concerto Barocco", "Agon", "The Four Temperaments"
New York City Ballet
David H. Koch Theater
Lincoln Center
New York, New York
June 3, 2018

The final performance of New York City Ballet's spring season had several debut and farewell performances, and in the case of corps member Cameron Dieck's role in "Agon", both happened at once.  Long-time soloist Savannah Lowery said goodbye dancing the second violin in "Concerto Barocco" and the Bransle Gay in "Agon"; it is

"Coppélia"
New York City Ballet
David H. Koch Theater
Lincoln Center
New York, New York
June 1, 2018

by Mary Cargill
copyright © 2018 by Mary Cargill

Ashley Bouder's first "Coppélia" was part of a busy final week of New York City Ballet's Spring season, which saw a number of debuts, including that of her Frantz, Joseph Gordon.  With her forthright stage presence and radiant classical technique, Bouder would seemingly have been a natural for the spunky

"Coppélia"
New York City Ballet
David H. Koch Theater
Lincoln Center
New York, New York
May 25, 2018

Though New York City Ballet is renowned for its one-act plotless ballets, it is exceptionally satisfying to watch a character (and a dancer) develop and change over several acts, as Tiler Peck and Joaquin De Luz showed in their magnificent "Coppélia".  Story ballets also give dancers a chance to show that ballet is richer than a collection of steps and

Taking it Easy

"The Four Seasons", "Circus Polka", "Easy", "A Suite of Dances", "Something to Dance About"
New York City Ballet
David H. Koch Theater
New York, New York
May 3, 2018

New York City Ballet's Spring gala celebrated Jerome Robbins' 100 birthday with three of his works, a premiere by Justin Peck, and a lavish compilation of Robbins' Broadway choreography.  Maria Kowroski introduced the evening with a gracious speech and reminded the audience that she is the

“Glass Pieces”, “Fancy Free”, “The Four Seasons”
New York City Ballet 
Opera House
The John F. Kennedy Center for the Performing Arts
Washington, DC
March 31, 2018 (matinee performance)

The New York City Ballet’s second 2018 program at the Kennedy Center this past Saturday paid homage to the legendary choreographer Jerome Robbins by showcasing three of his ballets which varied greatly in style, yet presented a consistent, unique performance quality. The charisma of the dancers, while partly due

"Glass Pieces", "Fancy Free", "The Four Seasons"
New York City Ballet
Opera House
The John F. Kennedy Center for the Performing Arts
Washington, DC
March 30, 2018

Jerome Robbins' classic "Fancy Free" is a character ballet. The three women in it wear heels, not toe shoes. Do any of its men snap into 5th position other than for comic effect? Yet this early (1944) work by the choreographer snares the audience's attention and satisfies expectations from beginning to middle

Mozart "Divertimento No.15", "Zakouski", Stravinsky "Pulcinella Variations",
"Tchaikovsky Pas de Deux", Stravinsky "Symphony in 3 Movements"
New York City Ballet and Kennedy Center Opera House Orchestra
Opera House
The John F. Kennedy Center for the Performing Arts
Washington, DC
March 26, 2018

A formidable feast, a menu of five different ballets, was served by the New York company for the first of its two 2018 programs in Washington. All the works shared an aesthetic: to take

"Romeo + Juliet"
New York City Ballet
David H. Koch Theater
New York, New York
February 21, 2018.

Like Tchaikovsky's final act music for "Swan Lake" Prokofiev's score for "Romeo and Juliet" has protected a number of choreographers by providing a rich emotional resonance no matter how lame the choreography. Fortunately for Peter Martins' "Romeo + Juliet" the balcony scene and suicide music always wraps the audience around the drama and his ballet, despite its repetitive, hyperactive steps and bizarre

“Romeo + Juliet”
New York City Ballet
David H. Koch Theater
New York, New York
February 13, 2018

Peter Martins’ version of “Romeo and Juliet,” which premiered in 2007, was never an inspired production. Titling the work “Romeo + Juliet,” Martins went on to whittle down the narrative to two compressed acts, never worrying much about logic, let alone nuance. But that is all water under the bridge. As most of the dance world knows, Martins, heretofore ballet master in chief of

“Divertimento No. 15,” “The Four Temperaments,” “Chaconne”
New York City Ballet
The David H. Koch Theater
New York, New York
January 30, 2018

The winter 2018 season of the New York City ballet opened with two all-Balanchine programs back to back. During that first week the air in the Koch Theater was suffused with a combination of relief and jubilation. The company was back, having lived through the retirement of Peter Martins, its longest serving artistic director, and Balanchine

"The Red Violin", "dance odyssey", "Russian Seasons"
New York City Ballet
David H. Koch Theater
New York, New York
February 1, 2018.

New York City Ballet's New Combinations Fund, inspired by Balanchine's quote "There are no new steps, only new combi- nations", funds new choreography, and supported Peter Walker's new ballet "dance odyssey" which premiered between Peter Martins' "The Red Violin" and Alexei Ratmansky's "Russian Seasons". Both of those works were choreographed in 2006 as part