"David H. Koch Theater" tag
New York City Ballet in Liebeslieder Walzer.© Paul Kolnik. (Click image for larger version)

New York City Ballet – Prodigal Son, Liebeslieder Walzer – New York

★★★✰✰   Liebeslieder Walzer is one of the most precious of all Balanchine’s ballets; within its fifty-minute span it seems to contain a world of emotion, both profound and infinitely civilized.

Sara Mearns and Jared Angle in Jerome Robbins' In the Night.© Erin Baiano. (Click image for larger version)

New York City Ballet – Robbins bill: Interplay, In the Night, N.Y. Export: Opus Jazz – New York

★★★✰✰   There was virtually nothing to fault with “In the Night” on Saturday — each couple was well matched, and Robbins’ unique capacity to imbue classical form with the richness of human experience again seems unparalleled

Tiler Peck in Justin Peck’s Principia.© Erin Baiano. (Click image for larger version)

New York City Ballet – Herman Schmerman, Principia (new Peck), The Runaway – New York

★★★✰✰   Major draws were the new Justin Peck and a revival of William Forsythe’s 1992 commission Herman Schmerman, not seen in full since the 90s…

Ashley Bouder and Joseph Gordon in Tschaikovsky Piano Concerto No. 2.© Paul Kolnik. (Click image for larger version)

New York City Ballet – Serenade, Mozartiana, Tschaikovsky Piano Concerto No. 2 – New York

★★★✰✰   One of the earliest things I appreciated about Balanchine is that he made me feel okay about liking Tschaikovsky (as NYCB likes to spell it)…

Gonzalo Garcia in Apollo.© Paul Kolnik. (Click image for larger version)

New York City Ballet – Apollo, Orpheus, Agon – New York

★★★★✰   Nothing revives a repertory like new casting. So we can be grateful to the interim leadership at New York City Ballet for reconsidering who gets to dance some of the company’s most elemental repertory: Agon, Apollo, Serenade.

Tiler Peck, Indiana Woodward, Brittany Pollack and Taylor Stanley in George Balanchine's Apollo.© Erin Baiano. (Click image for larger version)

New York City Ballet – Apollo, Orpheus, Agon – New York

★★★★✰   There has been a generational shift at New York City Ballet, that much was clear last night in a program of Stravinsky ballets that included two major débuts and several smaller ones…

Tenzin Niles and Ines Gout in George Balanchine’s The Nutcracker.© Erin Baiano. (Click image for larger version)

New York City Ballet – The Nucracker – New York

★★★✰✰   Come hell or high water, George Balanchine’s The Nutcracker will return to New York City Ballet, filling the theatre night after night. Balanchine made a ballet built to last, and it has not disappointed.

ABT in Jessica Lang's Garden Blue.© Rosalie O'Connor. (Click image for larger version)

American Ballet Theatre – Fall Gala + Symphonie Concertante & Garden Blue 3bills – New York

★★★✰✰   The fall season is too brief, particularly because it always feels as though it takes the company a few days to warm itself up. The dancing at the gala on Oct. 17 was a little slapdash, but by Friday things had begun to settle.

Taylor Stanley in Kyle Abraham’s The Runaway, in costumes by Giles Deacon.© Paul Kolnik. (Click image for larger version)

New York City Ballet – Fall Gala: The Exchange, Judah, The Runaway – New York

★★★✰✰   No evening of new works is perfect; the excitement lies in the hope that at some point some magic will happen. And in that solo for Taylor Stanley by Kyle Abraham, we got a glimpse of that magic.

New York City Ballet in Symphony in C.© Paul Kolnik. (Click image for larger version)

New York City Ballet – Jewels & All Balanchine 4bill – New York

★★★★✰ The company seemed to be dancing with a special ferocity, as if to prove its worth and convince the world that this enterprise is, indeed, worth preserving and saving.

Tiler Peck in Coppélia.© Paul Kolnik. (Click image for larger version)

New York City Ballet – Coppélia – New York

★★★★✰   Tiler Peck, with her quick feet and sassy musicality, is perfectly suited to the role of Swanhilda. Her choreography has copious amounts of pointework, quick steps, requires adroitness in petit allegro and excellent mime technique – all of which Peck has in abundance.

New York City Ballet in The Concert.© Paul Kolnik. (Click image for larger version)

New York City Ballet – All Robbins No. 4 bill – New York

★★★★✰   It was a good night for Afternoon of a Faun, in particular. Chase Finlay, débuting in the role of the young dancer sensually lolling about a ballet studio, brought back the eroticism this ballet often lacks.

New York City Ballet in Warren Carlyle’s Something to Dance About.© Erin Baiano. (Click image for larger version)

New York City Ballet – All Robbins No. 2 and Tribute to Robbins bills – New York

★★★★✰   The centenary celebration bills are more than enough to give a sense of Robbins’ breadth, theatrical savvy, stylistic curiosities, and, perhaps most unique of all, his ability to present dancers as human beings onstage.

New York City Ballet in Dybbuk.© Paul Kolnik. (Click image for larger version)

New York City Ballet – All Robbins No. 1 – Bernstein Collaborations bill – New York

★★★✰✰   One of Robbins’ great talents was sniffing out the style of his time, but this inevitably places a date stamp on his work.

Ask la Cour in The Four Temperaments.© Paul Kolnik. (Click image for larger version)

New York City Ballet – Concerto Barocco, Agon, The Four Temperaments – New York

★★✰✰✰   Last week, on Thursday night, with the exception of The Four Temperaments, the company’s thoughts appeared to be elsewhere…

Laura Halzack and Michael Trusnovec in Mercuric Tidings.© Paul B. Goode. (Click image for larger version)

Paul Taylor American Modern Dance – David H. Koch season – New York

★★★★✰   Even in stillness, Taylor dancers hold immense power in their bodies, the energy potential within them more nuclear than solar.

Tiler Peck and Zachary Catazaro in Peter Walker’s Dance Odyssey.© Paul Kolnik. (Click image for larger version)

New York City Ballet – Dance Odyssey, The Red Violin, Russian Seasons – New York

★★★✰✰   Like Walker’s first work for the company “Dance Odyssey” shows a lot of promise. It has warmth and humor, a good grasp of stage geometry and a sensitive musicality.

Adrian Danchig-Waring, Tiler Peck and Ashly Isaacs in George Balanchine’s Apollo.© Paul Kolnik. (Click image for larger version)

New York City Ballet – All Balanchine No. 1 & 2, 21st Century Choreographers bills – New York

★★★★✰   After much tumult over the holidays, New York City Ballet has begun its first post-Peter Martins season. If you’re just catching up, the company’s “ballet master in chief” – ie artistic director – of over thirty years retired on New Years Day, in the midst of an investigation into allegations of physical abuse and sexual harassment.

American Ballet Theatre in I Feel The Earth Move.© Rosalie O'Connor. (Click image for larger version)

American Ballet Theatre – Souvenir d’un Lieu Cher, I Feel the Earth Move, Daphnis and Chloe – New York

★★★✰✰   The choreographer and L.A. Dance Project director Benjamin Millepied is a mover and a shaker, a clever curator, a man of taste, a force in the dance world. But is he good choreographer?

Gillian Murphy in Her Notes.© Rosalie O'Connor. (Click image for larger version)

American Ballet Theatre – Her Notes, Symphonic Variations, Other Dances, Serenade After Plato’s Symposium – New York

★★★✰✰   The program opened and closed with the most recent works: Jessica Lang’s Her Notes and Alexei Ratmansky’s Serenade after Plato’s Symposium. Both premiered at ABT in 2016, and both are works whose inspiration largely comes from their scores.

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