|The ladies of Principia, photo @ Andrea Mohin|
|Principia, photo @ Andrea Mohin|
Justin Peck's best work justifies his role as resident choreographer of NYCB. The Times Are Racing, In Creases, Rodeo are all modern classics and Belles Lettres underrated. But if you've noticed, all of them used danceable, pulsating music. Principia is his fourth collaboration with Stevens and every ballet set to Stevens music gets weaker.
This brief clip of Principia basically sums up the whole ballet. It drops to the bottom of Justin Peck's ouevre, physics pun intended.
|Taylor Stanley in The Runaway, photo @ Andrea Mohin|
|Mearns and Pazcoguin, photo@ Paul Kolnik|
I could go on but the dancing speaks for itself.
One of Taylor Stanley's incredible solos, set to music by Kanye West:
Mearns and Pazcoguin in a female-female pas de deux:
The beautiful, haunting finale to James Blake's "Don't Miss It" which also includes the dancing of Peter Walker, Christopher Grant, Spartak Hoxha and Ashley Bouder:
|Tyler Angle and Tiler Peck, photo @ Erin Baiano|
Herman Schmerman is split into two almost completely separate ballets: the opening quintet and the ensuing pas de deux. In the case of the pas de deux, Tiler Peck and Tyler Angle tried their best, but they are not Wendy Whelan and Jock Soto, or Sylvie Guillem, or any of the freakishly flexible, dominatrix-type dancers that can make this ballet work. Tyler Angle did look nice in the yellow skirt.
Here are Wendy and Jock. They could make this ballet work because they're, well, Wendy and Jock:
|Harrison Ball in Mozartiana|
But there were bright spots: Emilie Gerrity was excellent as both the Dark Angel in Serenade and in the Pas de Trois of Agon. Gonzalo Garcia's second Apollo was better characterized and more smoothly danced, with even sweeter rapport with his trio of muses (Sterling Hyltin, Abi Stafford, Lauren Lovette). Teresa Reichlen and Russell Janzen in Agon got the geometrical severity of the work, if not the crackling sexual tension. And Ask La Cour, Teresa Reichlen, Andrew Scordato and Claire Kretzschmar made a strong case for Orpheus continuing in the repertory.
But really, it was the performance of The Runaway that reminded audiences that at their best, NYCB is still the greatest ballet company in the world.