The Natural
"The Sleeping Beauty"
New York City Ballet
David H. Koch Theater,
New York, NY
February 4, 2010
Kathryn Morgan, who was only recently promoted to soloist, made her debut as Aurora, supported by Tyler Angle, also making his debut. They had danced the final pas de deux for the 2009 Dancer's Choice gala with impressive dignity, but a pas de deux is a different animal than a full-length ballet, especially one as technically and emotionally exacting as "The Sleeping Beauty". However, a few minor quibbles aside, it was one of the most promising and satisfying of the many recent debuts.
Some of these quibbles are embedded in Peter Martins' basically sound version, and some will doubtless be smoothed out in further performances. Angle had some technical bobbles, but his overall partnering and ardent presence made up for these hitches. He danced Desire as a student in the SAB program, and stood out even then for his theatrical understanding; I still remember his courteous bow to the King and Queen. Morgan is one of nature's ballerinas; with a perfectly shaped face and body, she doesn't command a stage as much as own it. Her first act Aurora was the daughter every mother wanted, sweet, charming, and unassuming. She didn't go for broke in the Rose Adagio, opting for safety and musicality. With experience, she will probably be able to experiment with some of the phrasing of her solos, but overall, it was an astoundingly accomplished performance.
There were no quibbles at all about Sara Mearns' magnificent Lilac Fairy, which is one of the most vivid performances I have seen. She makes the stage disappear, drawing the audience into the story, which she seems to be living, rather than dancing. She faced a new Carabosse, Marika Anderson. She is a small dancer, and made Carabosse spiteful and almost petty, an interesting, and for me, valid approach. This Carabosse was quite human, and who has not been equally small-minded? The wonderful Kirov revival shows Carabosse being forgiven and invited to the wedding (though heavily guarded). This is much more in keeping with the logical, rational world that "The Sleeping Beauty" so brilliantly encapsulates than the melodramatic destruction of Carabosse--evil and spite will always exist within us, but it can be forgiven and controlled by reason and mercy.
There were other fine performances, including yet another remarkable debut by Chase Finlay in the Gold variation. He just seemed to float, and has one of the richest plies in the company. Ashley Laracy, as Ruby and Lauren King as Emerald sparkled in their delicate after-Petipa choreography. Megan Fairchild was a fine Bluebird, and did her best to phrase the choreography, despite the speedy tempo. The speed affects much of the overall mood, since the dancers often don't have a chance to give the choreography time to breath. This is especially problematic during the Prologue fairy variations, where they rush through their steps (poor fourth variation looks like the Scatterbrained Fairy), and then are shoved off the stage by the next one. But still caught in the spell of that cast, I can't be petty and small-minded, and am grateful for the beauties of that wonderful ballet.
Copyright 2010 by Mary Cargill
