NYCB dancers in the final pose from Robbins' Glass Pieces, photo by Paul Kolnik

Tuesday evening's program at New York City Ballet took the audience on a musical journey from Bach's solo piano and solo cello pieces, to an early twentieth century violin concerto by Alban Berg, to Philip Glass's minimalist music of the 1980s.  The performance was as choreographically diverse as it was musically, which speaks to the talent of choreographer Jerome Robbins.

2 & 3 Part Inventions, set to Bach's Inventions and Sinfonias for piano, was performed by eight advanced students from the School of American Ballet, as it was during its 1994 premiere.  The formal yet light-hearted mood of the piece was nicely conveyed by the dancers, and the clear formations and disciplined movement reflected the uncomplicated music.  I don't think this piece would look nearly as good if it were performed by older, more experienced dancers, because the choreography and simple piano music offer a youthful innocence that can best be captured by students. 

Nicolas Le Riche in A Suite of Dances, photo by Jacques Moatti

The formality of 2 & 3 Part Inventions gave way to a more casual atmosphere in A Suite of Dances, a solo that Mikhail Baryshnikov premiered with his White Oak Dance Project in 1994 (and which I was fortunate enough to see).  The piece has a fun, playful feel as the dancer interacts with the on-stage cellist, reflects on the music, and then seems to improvise a string of movement to complement it.  Nicolas Le Riche, appearing as a guest artist from Paris Opera Ballet, started sitting on the floor at the feet of cellist Ann Kim.  He rose to standing as she began to play selections from Bach's Suites for Solo Cello.  Le Riche was rather heavy on his feet and needed to be lighter and sprightlier in his jumps.  The piece is an opportunity for the male dancer to infuse the work with his own sense of playfulness, and I can recall how successful Baryshnikov was in this respect.  Le Riche, however, looked tired and lethargic, and lacked the finesse that is essential for this role.

The evening took a darker turn in In Memory of..., which is one of several Robbins pieces that addresses death and loss.  Alban Berg composed a violin concerto in 1935 that was dedicated to his friend's eighteen-year-old daughter, who had died of infantile paralysis.  In three distinct sections, Robbins' choreography illustrates the young girl when she was strong and healthy; then shows her illness and death; and finally, portrays her journey to heaven.  Wendy Whelan, in a pale pink dress, was delicate and vulnerable in the principal role.  She danced with youthfulness and joy in the opening duet with Jared Angle, who was an elegant and attentive partner.  Whelan wove through a corps of dancers who appeared on stage, suggesting that she was fully immersed in a community.  In the second section, Charles Askegard was a menacing, powerful death figure that seemed to envelop and nearly suffocate Whelan.  He manipulated her body and pushed and pulled her into different lifts and turns.  She grew more and more lifeless as their duet continued, and at one point, curled her body around his thigh and covered her face with her hands, nearly giving up and allowing death to take over.  The pace and violence with which death consumed her was alarming, but the final section, in which Whelan and the corps were dressed in white, illustrated her arrival in heaven and Robbins' acceptance of mortality as a part of life. 

NYCB dancers in the third section of Glass Pieces, photo by Paul Kolnik

Glass Pieces is one of my favorite Robbins ballets, which has a lot to do with my appreciation of Glass's music for this piece: Rubric and Facades from Glassworks, and excerpts from the opera Akhnaten.  The pedestrian movement in the first section reflected the repetitive structures and momentum of Rubric.  The large corps - with the women dressed in colorful leotards and skirts and the men in satiny tights and shirts - rushed about the stage in a repetitive pattern.  There is a distinct urban feel to the piece as the dancers walked quickly, avoiding one another and focusing on their destination.  Three couples in neon unitards appeared amidst the chaos, soaring with leaps and jumps and carefully maneuvering their way through the crowds.  Rebecca Krohn and Tyler Angle stood out for their precision and clarity.  Every so often, Angle made eye contact with his partner and the other dancers (while the others seemed to avoid any eye contact with their peers), adding a refreshingly human dimension to his performance. 

In the piece's second section, a line of women in silhouette traverse along the back of the stage, their simple pattern of movement reflecting the hypnotic, repetitive rhythm of Facades.  Maria Kowroski was mesmerizing and other-worldly in her pas de deux with Philip Neal.  She floated onto the stage in a lift and seemed to dance a few inches above everyone else.  The two dancers disappeared as seamlessly as they had emerged.  Percussive rhythms of Akhnaten were the focal point of the third section.  My eyes were continually drawn to Adrian Danchig-Waring, the clear leader of the cluster of men who moved as a pack, stomping and making distinct changes in direction.  The stage became more crowded and chaotic as the women entered, and the piece ended memorably with the dancers in silhouette, their arms thrown upward and backs arched.  As thrilling as this section of Glass Pieces is, it would be even more powerful if it included the female opera singing that one hears on recordings of this music.  The high-pitched voice adds an ecstatic energy that I think would only intensify the ballet's finale. 

It was an all-Robbin's program, with the beginning and the end being the best parts of the evening. NYCB opened with "Interplay," a fun, jazzy little piece that I'm adding to my list of favorite ballets. There's even a West Side Story-esque dance-off of sorts during the finale, which I enjoyed, despite everyone noting afterword that it was "falling apart." For the first time, for me, Sterling Hyltin looked so grown up. She's always been a favorite of mine.

"Ives Songs" was the black sheep of the program. Kathryn Morgan, the star from my hometown, danced as one of the children in the opening.

Everyone whined about "Ives Songs" during intermission, and the elderly woman next to me assured me that "I'm Old Fashioned" would be a treat. She was right, it was a treat. Sara Mearns was lovely and carries such an sense of artistry. I've never seen Ashley Bouder do anything petit adagio before, so it was refreshing to say the least.

The guys were stars, especially Adrian Danchig-Waring. Philip Neal and Stephen Hanna were also great enough that I promised myself to view them more this season.

Dione and I had dinner after the show at Cafe Mozart. Her opinions? Amar Ramsar stood out in "Interplay" and "I'm Old Fashioned" is her new favorite too.

Christopher Wheeldon's Rococo Variations - photo by Paul Kolnik

"Here and Now" was a fitting title for a program that featured four contemporary works - the oldest premiered in 1998 - by some of the most sought-after choreographers in ballet today. But I was swept far away from the here and the now, traveling to a different place for each work, particularly the first three on the program. What reminded me that I was watching a contemporary evening of ballet in May 2008 were the unusual points of physical contact that I noticed in all four pieces. A hand over the ribs, a leg stretching over a shoulder, a foot pressed against a chest or knee, a stomach against a back - all struck me as uniquely contemporary images and movements within the realm of ballet.

Christopher Wheeldon's Rococo Variations, set to Tchaikovsky's cheerful Variations on a Rococo Theme for Cello and Orchestra, Opus 33, featured two couples performing a variety of duets that are classically Romantic, but injected with angular movements and intricate partnering. The opening image was most memorable: Sara Mearns pressed her hand against her ribs as she contracted her back and lowered her head. Then Adrian Danchig-Waring appeared and placed his hand where hers was. This was a beautiful, recurring image that indicated the first moment of touch and recognition between the two, while conveying deep emotion. There is a fair amount of floor work in this piece as well as other unusual points of contact, such as when Mearns folded her torso around Danchig-Waring's stomach, or when he carried her off stage, stomach-down, laying horizontally across his back. Sterling Hyltin and Giovanni Villalobos were quick and sprightly in their pas de deux, while Mearns and Danchig-Waring were more grounded and fluid. When the latter couple danced, my eyes were drawn to both of them, as they luxuriated in every phrase of movement. With the other couple, I found that Villalobos lacked the energy to keep up with Hyltin. He needed to show more refinement in his legs and feet, but Hyltin was simply glowing. The gorgeous, chocolate brown knee-length dresses for the women were classically elegant, but the gold embroidery added a contemporary aspect to them.

Amar Ramasar and Tiler Peck in Mauro Bigonzetti's Oltremare - photo by Paul Kolnik

Oltremare, a piece by Mauro Bigonzetti that translates to "beyond the sea", explored the mixed feelings of immigrants as they traveled to a new land and left their home country behind. The costumes and suitcases suggested the late 19^th or early 20^th centuries, but the movement was athletic and intensely physical, filled with creative entrances into jumps and lifts. Bruno Moretti's commissioned score was appropriately dark and eerie, and matched the dynamic, fitful choreography, which clearly evoked conflicting emotions - fear, excitement, loss, and pride. Maria Kowroski was vivid in her pas de deux with Tyler Angle. It began with Angle laying on the floor, and Kowroski hovering over him while standing on his bent knees. There was a push-pull theme in their partnership that emphasized the tension between the couple, and within themselves, as they continued their journey. Andrew Veyette was superb in his brief but thrilling solo, and Georgina Pazcoguin threw herself into the movement and stood out as a leader among the passengers.

Peter Martins' River of Light, which premiered in 1998, transported me to an unknown, other world that was dark yet intriguing. The music by Charles Wuorinen, who conducted the orchestra in honor of his seventieth birthday, was chaotic and complex, with bells and chimes in the score standing out the most. Three couples - in black, white, or red unitards - changed partners as the lighting changed with them. First there was a rectangle of light on the floor, which then moved to another area, and then strips of light shown on the backdrop. Savannah Lowery and Jared Angle were edgy and dangerous in black; Sterling Hyltin and Ask la Cour appeared mature and distant in red; and Teresa Reichlen and Robert Fairchild were lyrical and lithe in white. Reichlen's pas de deux with Angle showed her suppleness as he carried her overhead and allowed her to slowly extend her leg over his shoulder and eventually to the floor. The duet became sexually charged when she intently placed his hands over her chest and hips. While the interaction among the partners was curiously interesting, and the dancers all very dramatic and serious, the ballet as a whole did not build momentum. It fell flat at the end, with no final understanding of how the three couples were related to one another. Additionally, the piece was emotionally vacant - dramatic, yes; but also cold. Perhaps this was intentional, as the piece appeared to be set in an undefined world that is entirely distant from anywhere else. But the dancing would be so much richer if it were instilled with feeling and a sense of interconnectedness among the three couples.

The program closed with the world premiere of Alexei Ratmansky's Concerto DSCH, which stands for "D.Sch.", a German spelling of Dmitri Shostakovich's name. This composer's Piano Concerto No. 2 provided a multi-layered, exhilarating palate for the ballet, and the dancers painted it with virtuosic technique and bits of playful theatrics. Ashley Bouder was light-hearted and flirtatious in her dancing with Gonzalo Garcia and Joaquin de Luz. She tore through a whirlwind of turns, jumps, and balances (one of which lasted just long enough for the audience to gasp) as she went back and forth between the two men, who competed amicably with one another in a series of jumps and somersaults. Wendy Whelan and Benjamin Millepied danced in the more soulful second pas de deux, which featured some interesting lifts and instances in which he gently skimmed Whelan across the stage. There was a sense of community and relationships among the dancers that were reminiscent of those in Ratmansky's Russian Seasons. But in this case, just as the relationships were developing, they seemed to be cut short as the focus returned to the thrilling movement. The stage was very busy, often too busy to fully take in everything that was occurring, which is why this piece deserves another viewing (or two or three). It was certainly a crowd-pleaser, but I think there's much more to explore in this work.

Rachel Rutherford and Craig Hall in N.Y. Export: Opus Jazz, photo by Paul Kolnik

The Jerome Robbins Celebration is well underway at NYCB, now in its fourth week of the spring season.  Although I've already seen several Robbins ballets since the start of the season, Wednesday evening's "Baroque to Jazz" program was the first one that truly exemplified Robbins' choreographic and musical breadth.  He moved smoothly and easily from Baroque to Broadway.  The journey from Brandenburg to N.Y. Export: Opus Jazz successfully illustrated his ability to portray distinctive environments while also conveying different emotions and moods. 

Brandenburg, the final ballet that Robbins created, in 1997, is set to several of Bach's intricate Brandenburg Concertos.  The opening section looked lively as the dancers masterfully executed the demanding choreography and continuously changing formations, both of which reflected the clarity of the music.  Megan Fairchild (replacing Ashley Bouder) and Gonzalo Garcia were energetic and in tune with one another, but lacked crispness and expansion in their upper bodies.  After their pas de deux, the ballet seemed to suddenly shift gears.  The elegant Baroque feeling that I sensed in the opening was replaced by youthfulness and childishness that clashed with Bach's concertos.  The dancers repeatedly trotted backwards, skipped in circles, and skittered across the stage in a juvenile manner.  It was not particularly endearing, especially after seeing the dancers looking so elegant and mature in the first section.  As a result of the contrasting themes, the pas de deux for Janie Taylor and Philip Neal was a combination of graceful romance and young flirtation.  Taylor was reserved in expression but fully committed to the movement, while Neal was an attentive partner.  Several dancers were nicely featured in the "Menuetto-Polacca" section, including Adrian Danchig-Waring and Rebecca Krohn, who both stood out for the fluidity and ease in their upper bodies.  There were passages of eye-catching choreography and a refined quality to many of the dancers' movement, but Brandenburg seemed to have an identity crisis as it floated between Baroque sophistication and child's play, without fully committing to either.

In the Night, set to Chopin's mysteriously beautiful piano nocturnes, swept me into an entirely different environment from the first piece on the program.  Three couples performed deeply private duets under a starry sky, each one reflecting a distinctive mood or impulse.  I felt like an outsider getting only a glimpse of each relationship while the dancers carried on, completely unaware of anyone else.  In the first duet, Tyler Angle and Rachel Rutherford were enchanted by one another as they moved slowly and delicately through the various lifts and turns.  They maintained eye contact and rarely acknowledged the audience as they were wrapped up in their own world. Near the end of their duet, the back of Rutherford's long lavender tulle skirt got caught in her hair.  In character, Angle carefully pulled the skirt away from her hair, and then lifted her overhead as he glided serenely off stage.

 Tyler Angle and Rachel Rutherford in In the Night, photo by Paul Kolnik

Sara Mearns and Charles Askegard, in the second duet, were sharper and seemed more mature than the young love in the first duet.  They conveyed hints of attitude as they occasionally turned away from each other, but always quickly returned to their waltzing.  The fierce orangey-red of Mearns' dress also contributed to the older (and perhaps wiser) feeling in their duet. 

The most tempestuous and moody of the duets was for Wendy Whelan and Jared Angle, who filled every ounce of music with their emotions.  Whelan conveyed indecisiveness as she continually turned toward and then away from Angle, first throwing herself into his arms and then desperately trying to get away, with her limbs kicking in every direction.  At one point, she scrambled off stage, only to return and gaze longingly at him.  Moments later, he behaved the same way.  Although their relationship was unsteady, Whelan and Angle were fully committed to the lightning-quick choreography.  I've never seen Whelan dash about the stage so frantically and yet with so much control and precision.  Her black and silver tulle gown was very flattering, and reflected the moodiness of her character.  Each couple seemed completely separate from the other two, but they all eventually came together to acknowledge one another's presence - and their differing relationships.  Then, the men gracefully lifted the women overhead as the couples exited in different directions. 

The romantic evening was replaced by New York City's lively streets for N.Y. Export: Opus Jazz.  Sixteen young dancers united to celebrate the jazzy rhythms of Robert Prince's music.  Program notes from the 1958 production, performed by Robbins' Ballets: USA, explained that "the young have so identified with the dynamics, kinetic impulse, the drives and ‘coolness' of today's jazz steps that these dances have become an expression of our youth's outlook and their attitudes toward the contemporary world around them."  The piece certainly had a 1950's feel to it, and the influence of Robbins' West Side Story for Broadway (which he completed about eight months before N.Y. Export premiered) was apparent in much of the choreography.  However, the emotions and relationships among the dancers were timeless ones to which anybody could relate.

The opening was filled with finger snapping, hip swivels, and Robbins' signature leg extension to the side with one arm overhead and fingers splayed, as the dancers showed off for one another in a friendly yet sexually charged competition.  The ensemble had tremendous verve and pizzazz, and the brightly colored tops they wore - with matching sneakers - and colorful cityscape backdrop designed by Ben Shahn further enhanced the piece's energy.  Sean Suozzi, Amar Ramasar, and Georgina Pazcoguin truly felt the rhythms and captured the youthful energy of N.Y. Export, and they looked like they were having a ball. The slow, intense duet for Rachel Rutherford and Craig Hall explored the tension in their relationship.  For the original cast, Robbins chose a racially mixed couple (present in this performance, as well), which probably created tension for the 1958 audience.  The duet was the darkest and most sensual part of the piece, suggesting the deep emotions beneath the youths' tough, rowdy exteriors.  The dancers came together in the end - now wearing white tops and sneakers that indicated their youthful innocence and solidarity - to emphasize one last time how much they truly bond over and relate to the jazzy rhythms. 

The program opened with “Mother Goose," a short-form version of “Sleeping Beauty,” with Tiler Peck as "Princess Florine," and Gwyneth Muller her "Good Fairy." No objections there.

A few other characters from fairy tales make cameo’s in Princess Florine’s dreams, like “Beauty and the Beast,” with Kathryn Morgan as the beauty and Adrian Danchig-Waring as her beast, my personal favorite among “Hop o’my Thumb,” and “Empress of the Pagodas,” lead by Savannah Lowery and Jason Fowler.

Robbins’ iconic “Afternoon of a Faun” followed on the program, danced by Janie Taylor and Damian Woetzel. Their pairing was successful, but their approaches differed. Janie seemed to draw her movements from a natural place, being at times, vulnerable but genuine. Damian danced more with his head, it seemed, aiming even his solo moments at placement perfection (if you’ve ever seen Nureyev place himself in fourth position preparation for a pirouette, the idea is the same). I wanted to see him more organic; more in the moment.

As I wrote earlier “Afternoon of a Faun” satisfies because the elements fit so well. Robbins decision to retain the name of Debussy’s work as the title of the ballet leaves the plot is in the air and comments on the lead females character as an innocent, beautiful, and youthful creature. After the Damian kisses her delicately on the cheek she simply glides away, coincidentally stepping off en pointe—her legs spindly and long like a fawns.

Rachel Rutherford, Rebecca Krohn, Sara Mearns, and Teresa Reichlen danced in “Antique Epigraphs.” Robbins obviously drew on Greek art as an inspiration, even ending each variation with a casual vase-like pose. I’m biased toward Rachel Rutherford, she performed so much where I’m from that watching her feels like home. Sara Mearns is extremely potent in everything she’s cast, but in some instances her upper and lower body disagree (i.e., she’s fluid on the bottom, more restrained on top).

Wendy Whelan and Philip Neal lead the last work, “In G Major.” The Wendy Whelan fan club was in full force among the second and third rings. She merely set her foot on stage, and they burst into applause and did so again at her every entrance and exit.

“In G Major” makes a lot of cute remarks and nifty shapes but not something you’d retain days after viewing. It’s pas with Wendy and Neal is nice, but long. Wendy for me is still an enigma; I watch her in an effort to define her craft, but never can.

This was a fitting way to begin the evening's "Symphonic Balanchine" program, which opened with Balanchine's purely classical Symphony in C, to Bizet's score of the same title. Four different couples dance in the four distinct movements, along with a large corps, with the women wearing white tutus and the men in shiny black tights and long-sleeved tops. The first section is bright and cheerful, danced with charisma and dynamism by Abi Stafford and Jonathan Stafford (siblings). In spite of the rapid footwork and pirouettes, Abi looked relaxed and utterly happy to be on stage.

Most striking and memorable (for both the dancing and the music) was the slower, more dramatic second movement of the ballet. And luckily, the audience was treated to the gorgeous, lush dancing of Sara Mearns, along with Charles Askegard. Her limbs extended endlessly, filling every ounce of Bizet's symphony, and her upper body was like liquid as she arched back several times into Askegard's arms. One of the more exquisite moments of this section was when Askegard pressed his hands against Mearns' torso, opened his arms quickly and gracefully to the side, and then Mearns slowly fell backward into his arms. The momentum for this phrase of movement clearly started with Askegard's hands on her torso, and continued seamlessly through her fall.

The third and fourth movements were both allegros that required precise musicality from the dancers, and at this they were successful. The exciting finale included the entire cast on stage, in neat formations, completing a series of pirouettes, jumps, and lifts. This is one of Balanchine's more technically challenging ballets, but he reminds the audience of the importance of simple classroom exercises when the corps does a series of tendus, extending one leg along the floor to the front, side, or back.

Symphony in Three Movements, which premiered on the first night of the 1972 Stravinsky Festival, is a more neoclassical work that captures the complexity and jazziness of Stravinsky's score. The piece features turned-in legs, pedestrian walking with pumping arms, and flexed feet. Since this is a "leotard" ballet, the corps wore simple white leotards, while the three lead women wore various shades of pink, all with their hair in high ponytails instead of the more classical bun. Sterling Hyltin and Daniel Ulbricht's turned-in jumps were athletic, powerful, and high! Everyone gasped at Ulbricht's first big jump. I sensed that he and Hyltin were competing to "outjump" each other. Adrian Danchig-Waring was an excellent, reliable partner for Savannah Lowery (making a role debut), and he danced with his usual striking poise as well as a refreshing confidence and ease. Wendy Whelan and Albert Evans's pas de deux reflects Balanchine at his quirkiest, with a series of flexed limbs, angular shapes, and contracted lifts. But rather than appearing merely peculiar, this section seemed to be thoughtful and sincere because of the slower tempo and melodic solo for flute. Whelan infused the movement with a combination of athleticism, grace, sharpness, and fluidity - and a youthfulness that I hadn't noticed when previously seeing her in this role.

Western Symphony was delightful. And fun! It had been at least ten years since I last saw this ballet - a tribute to American folk dancing - and I forgot how enjoyable it is, and how much fun the dancers seem to be having. With Hershy Kay's orchestrations of classic American folk songs, the dancers moved in square-dance formations, kicked their legs overhead, and promenaded with their partners. Kathryn Morgan debuted in the second movement, partnered by Adam Hendrickson. The two engaged in a playful flirtation, danced together, and then separated at the end as Morgan bourréed off stage the same way that she entered. Morgan's timing was excellent, allowing her to hold arabesques for just a second longer than I thought possible. The highlight of the piece, however, was Teresa Reichlen and Damian Woetzel in the ballet's final movement. Their duet is sassy, flirtatious, and showy. Reichlen seemed much more confident in her sassiness and acting abilities than in the past (she performed similar flirty roles last season in Union Jack and "Rubies" from Jewels), while Woetzel, in spite of his noticeably graying hair and upcoming retirement, looked as youthful and flirtatious as ever. There was no lack of energy in their dancing, and Reichlen's solid fouettes near the end of the ballet wowed the audience.

I only heard positive remarks about the program as I left the theater. Allegra Kent, who I had the pleasure of sitting next to for the performance, was smiling broadly and seemed generally pleased with all of the dancing. NYCB's spring season is off to a wonderful start.

For another review of the performance, check out Philip's post.

This person reported that Daniel Ulbricht and Sara Mearns were the highlights in an otherwise uneven performance of Robbins' "Four Seasons." Also noting that Robbie Fairchild was "a total triumph as 'Tony' in 'West Side Story Suite,'" and that "the dancers of the entire company deserve high praise for keeping up with the improper tempi throughout the evening!" I like having friends with good eyes that I can live vicariously through.

Philip, over at Oberon's Grove,  sent me an e-mail letting me know that tonight, the star from my hometown, Kathryn Morgan will be debuting in "Western Symphony." Readers, please send her good vibes.

I'm little stressed at the moment, and a little busy with work. I wanted to see City Ballet in Saturday's matinee to celebrate my graduation from college next week, but I doubt I'll make it.

The 1988 piece Ives, Songs, choreographed by Jerome Robbins, is a retrospective ballet filled with joy, gloom, memory, and nostalgia. The eighteen songs by Charles Ives were sung beautifully by Philip Cutlip, with Cameron Grant at the piano. A lone elderly man, played by former NYCB principal and guest artist Robert LaFosse, walked in and out of scenes depicting various phases in his life, including childhood games, young love, fighting in a war, and parenthood. Kathryn Morgan stood out as one of the children, wearing a ribbon in her hair and a short, frilly dress. She has that rare ability to embody innocence, which lends itself perfectly to this role, while also dancing with a maturity beyond her years. Wendy Whelan and Charles Askegard danced in a haunting and somber - but all-too-brief - pas de deux that portrayed an older couple transitioning from one stage of life to another. Whelan was memorizing, as always, as she floated across the stage. The corps of men looked well-rehearsed and solid in the section danced to Tom Sails Away. Justin Peck and David Prottas were standouts, and Adrian Danchig-Waring was noticeable throughout the ballet for his poise and grounded movement quality. Although this piece was a little too long, it was touching and depicted universal themes to which any audience can relate.

The main reason why I attended this program was to see Robbins' West Side Story Suite, one of my favorite Robbins pieces, and also one of my favorite pieces in the NYCB repertoire. I've seen it countless times and always get a thrill from the energetic dancing, the story, and the incredible score by Leonard Bernstein. Seeing it again on Wednesday didn't fail to please. This 1995 piece is a more dance-centered version of Robbins' 1957 musical West Side Story, which is based on Shakespeare's Romeo and Juliet. Robert Fairchild played Tony (the modern-day Romeo) while Andrew Veyette was Riff, the leader of the Jets. Just like in Peter Martins' Romeo and Juliet, Fairchild showed here that he excels at portraying a hopelessly-in-love young man. Damian Woetzel has been dancing in the role of Tony for years, so it's nice to see a rising dancer take over the role. I think Fairchild will continue to develop into Tony and make it his own. Veyette proved that he can sing in "Cool", while Georgina Pazcoguin stole the show when she sang in "America", along with Gretchen Smith as Rosalia. Part of what I love about West Side Story Suite is that the dancers - the men in sneakers and jeans, the women in characters shoes and 1950s skirts - appear to be having a blast, especially as they dance the mambo in "Dance at the Gym". It must be a refreshing and much-appreciated change from pointe shoes, tutus, and leotards, which they wear for the majority of the NYCB repertoire. Every time I see this piece, I sense the dancers' sheer energy radiating to the audience. I'm certain I'll make a point of seeing West Side Story Suite each season that it's performed.

It was great chatting and people-watching with Philip and Taylor during the intermissions. You can read their reviews of the program here and here. After the three-hour long program, we exited the theater to see tons of people standing around the boarded-up fountain and staring at the sky. A few moments later, Taylor and I joined the crowd of ballet-goers to marvel at the lunar eclipse. It was a stunning ending to a wonderful evening of dance. This marked my last NYCB performance for the winter season.

In Balanchine's Raymonda Variations, Andrew Veyette replaced Benjamin Millepied, and I have a feeling this was a last-minute substitution because he was stiff and did not look comfortable with the choreography. Although he and Ashley Bouder danced well together, his solos were rushed, and at times, possibly improvised. Ashley was in top form (when isn't she?), with suspended balances and solid pirouettes. She clearly has superb technique, but it's important to point out her ability to engage the audience. She "speaks" with them, not just at them. Sara Mearns' variation was memorable for the harp music and her gorgeous, lush movement quality.

Balanchine's adorable The Steadfast Tin Soldier, based on a Hans Christian Andersen fairy tale, tells the story of the love between a ballerina paper doll and a tin soldier. Megan Fairchild was a sweet and innocent little doll with sharpness in her steps and a lively face throughout this short ballet. Daniel Ulbricht proved that he can morph seamlessly from an eager sailor in Fancy Free (a few weeks ago), to the Prodigal Son, and on Thursday to a sharp, dedicated toy soldier. It is a tender and somewhat nostalgic ballet, suggesting a desire to return to youthful innocence. How heartbreaking when the wind blows the paper doll right into the flames of the fireplace, and the toy soldier is left alone in the festive living room.

Christopher Wheeldon's The Nightingale and the Rose was equally heartbreaking. There are no words to describe the beauty of Wendy Whelan's breathtaking opening solo, with dimmed yellow lighting and the faint chirping of birds in the background creating a tranquil environment. It gave me the chills. She is a powerful but solitary nightingale, who eventually sacrifices herself in the name of love. As she gives her blood to a rose to stain it red, the thorns of the rose bush prick her and toss and turn her body until she lays lifeless. This is beautifully portrayed by Whelan and sixteen men, led by Adrian Danchig-Waring and Sean Suozzi. Like many of his other ballets, this one demonstrates Wheeldon's talent at creating interesting, unusual pas de deux.

I've seen Robert Schumann's Davidsbundlertanze several times before, and I'm usually bored by this lengthy ballet. But on Thursday, I was deeply moved by the music (wonderfully played by Cameron Grant at the piano), and reflected on what this ballet conveys about Schumann's life. The many duets depict both the joy and depression that marked his personal life and career. I hope I'll continue to appreciate the beauty of this piece. Unfortunately, Darci Kistler was unable to perform a lot of the quick partnering without losing her technique. She looked weak and uncomfortable. Sara Mearns, who danced in the role that "belongs" to Kyra Nichols, dazzled the audience with her poise, grace, and maturity. Kudos to her on performing brilliantly in three ballets in one evening! Philip and I agree that Davidsbundlertanze needs a scenery update. The hideous, faded pink backdrop, which depicts cliffs along a seashore, as well as the chandeliers in the ballroom, look dated and really detract from the dancing.

Ashley Bouder of NYCB, along with Matt Murphy of ABT (who has his own blog and also contributes to the Winger) and 209 more dancers are enrolled in the NY extension of LEAP, Liberal Education for Arts Professionals, an academic program in partnership with Manhattan College that offers bachelor of arts degrees in performing arts. This program and several others in the city allow professional dancers to earn a degree while working around their demanding performing schedules. While many dancers stay in the dance field after retiring from the stage, I'm sure that just as many head in new directions. It's exciting to hear that Adrian Danchig-Waring of NYCB (and one of my favorite corps dancers) is interested in environmental architecture (so cool!). Thinking about life after performing is something that all professional dancers should consider, and with more higher education opportunities available, it's even easier and more encouraging for them to do so.

*Note: The photographs in the online article show Kyra Nichols with James Fayette, which I think is an error considering there is no mention of Nichols and very little mention of Fayette in the article. The photographs in the actual paper are of Ashley Bouder, which makes more sense given the article's focus on her academic studies.

Liang’s Vicisstude, which was also on Program 1, was even more enjoyable after the second viewing. The pas de deux gave both dancers the opportunity to showcase their strengths: for Maria Kowroski, her beautiful, long lines and expressive upper body, and for Tyler Angle, his grace, superb partnering ability, and excellent jump.

Propeller and Satie Stud were two brief pieces that involved a lot of posing and not a lot of movement. I thought that both pieces lacked flow and connections from one shape or pose to the next. While Propeller certainly offered some unusual lifts, the piece seemed to be more about testing the dancers’ physical strength for shock value, rather than about incorporating these unusual lifts into an organic whole.

Slingerland Pas de Deux, choreographed by William Forsythe, was also on Program 1, but this time with Aesha Ash and Gonzalo Garcia performing. They danced with passion and lyricism, and seemed to invite the audience into their dancing. On the other hand, Wendy Whelan and Edwaard Liang performed the piece with more sharpness and precision, and they remained distanced from the audience, making the piece seem more mysterious. I liked both interpretations equally, and think it’s great to see what different dancers bring to a piece.

The performance closed with Mesmerics, a Wheeldon piece for three men and three women, with six cellists on stage playing Philip Glass. The piece involved a lot of changing pairings, with one couple exiting the stage and quickly being replaced by another. Adrian Danchig-Waring of NYCB definitely stood out because of his power, intensity, and incredibly expansive arms. He also looked more grounded than in the past, dancing with the floor rather than a few inches above it.

The expectations for Morphoses were high, perhaps too high. Rather than saying that my expectations were or weren’t met, I would say that overall I was impressed with the choreography, the balance of the programs, and the artistry and technique of the dancers. More importantly, I think the performances showed raw, emotional physicality and choreography that’s sexy, which is exactly what Wheeldon wants Morphoses to be.