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 Bouder) and Peter Walker (with Laracey) making their second appearances.

Bouder has always been a powerhouse, with a glorious jump and a dynamic presence, so the sensual, mysterious Verdy role in “Emeralds” might not seem a natural fit, especially since she is, to be honest, not at her best dancing weight.  But, as her multi-faceted Russian girl in “Serenade” has shown, she has the imagination and understanding to integrate the Romantic style into her dancing.  (In 2010 she worked with Carla Fracci on “Giselle” for the Rome Opera Ballet and she was a moving Sylph in Peter Martins’ NYCB production.)

There were, for me, hints of the Sylph in her “Emeralds”, especially in the bracelet solo, where she seemed to be gesturing to the greenery saying “This is my realm”.  She made the brief, behind her back gestures look like wings and she seemed to be beckoning Chan to follow her to that magic kingdom, always a dangerous thing for a human to do.  The idea that Bouder and her attendants lived in a different world made the melancholy finale, where the women fade into the background leaving the men kneeling on the ground with their arms outstretched reaching for the perfect unattainable place as the plangent Fauré music pulled at their hearts, all the more poignant.

Chan was a gracious partner and Bouder seemed to float in the lifts. His solo, with its quick little jumps, sharp changes of direction, and smooth turns, was vibrant and musical; his upper body is especially elegant, with a noble carriage and rounded arms.  He has a warm stage presence, and is able to include the audience without courting them; though he has no SAB in his background (he trained in China and at the Houston Ballet Academy), he has made himself completely at home in NYCB, and his juicy, rich style is a wonderful addition.

Laracey was iridescent as she floated through her solo like a luminous, boneless ghost, looking as if she were walking through cobwebs without disturbing a spoke.  The stage seemed to vanish, and, at least for a moment, the mystical land she saw was real, a moment of unforgettable magic.  Peter Walker, as her partner in the walking pas de deux, seemed to be in the same dream as the audience, feeling rather than seeing her, and their partnership was seamless.  His arched pose in the finale, as his hand swept the floor in a final farewell, seemed to freeze time.

There is nothing frozen about “Rubies”, especially with Mira Nadon as the soloist.  She danced with an almost old-fashioned glamour, as if she were waving a cigarette holder and wearing long white gloves.  She had astounding control, able to shift her long, gorgeous limps in any direction without apparent effort. At times she appeared to be the hostess making sure all to greet all the guests—I was especially struck by the little welcoming smile she gave to the lead couple as the entered for the finale.

That couple, Megan Fairchild and Anthony Huxley, are old “Rubies” hands, and danced with an exhilarating freshness.  Fairchild was a sunny and sweet ruby, without the wry, sly wit of some other dancers, but her openhearted joy had a natural radiance that gave her dancing a wonderful lilt.  Huxley too was on the lighthearted side, dancing with a clean and crisp flair; this  approach complemented Fairchild’s.  

Sara Mearns shared “Diamonds” with Russell Janzen in his penultimate performance (he is retiring on September 24 in “Diamonds,” so for those of us not able to go, this was his farewell).  This was obviously bitter-sweet, especially as it was clear from his impeccably danced solo, with beautifully controlled turns, that he is not retirement age.  His solid partnering and dignified elegance were a perfect foil for Mearns’ dramatic approach.  She is a dancer who lives in the present, with each step almost vibrating with emotion. The opening of the pas de deux as they walked somewhat warily towards each other was almost a whispered dialog that the audience could sense without words.  Mearns gave the role an underlying sadness, especially in the soft backward falls into Janzen’s arms; “Swan Lake” without the swans, just the distilled essence of some inevitable tragedy.  She was emotion without narrative; her intensity, almost but never quite falling into melodramatic scenery chewing, was absolutely gripping.  Her dancing was, as usual, lush and full, with generous extensions and semi-reckless turns, caught perfectly by Janzen.  It was a breathtaking performance.

© 2023 Mary Cargill