Playing favorites gets a bad rep. In fact, it’s a parental rule that moms love all their children equally. Every mother knows that this is hooey; there is always one who stands a little closer to the heart.
My connection to New York City Ballet (@nycballet) goes back many years to the company’s residency at City Center. Over the half-century plus that I have been partial to NYCB, I have had many favorite dancers.
Among the current crop of primas, Sara Mearns is a stand-out favorite. This in no way diminishes the rest of the NYCB troupe who all delight and dazzle. I often find myself loving best the one who is near, as Ado Annie might; I like the NYCballet.
Nonetheless, on my Mearns watch, I find myself fortunate enough to have tickets for one of her performances of the new Bourne (music by Bernard Hermann) ballet, The Red Shoes at City Center starting October 26th. (This time, we will not be sitting in that very last row from which I saw so many of Balanchine’s dancers dance his dances long ago.)
Matthew Bourne has come out of his career catnap to produce his first dance in four years. The Red Shoes, based on the movie that is based on the Hans Christian Andersen fairy tale, is the ultimate dancers’ story. It is also a caveat against overreaching. I can’t wait to see La Mearns in the title role of Victoria Page.
George Balanchine, like Paul Taylor, was a catholic balletmaker, finding the arcane in the ordinary. An “All Balanchine” program at NYCB can range over a wide field, landing here in an utterly classical mode, there in the folkloric.
The one we just witnessed included La Valse, in which Sara Mearns was seduced by death (Amar Ramasar, another beloved NYCB Principal) while her original partner, Tyler Angle, is dejected and dismayed.
Robert Fairchild, in his penultimate performance with NYCB, danced Duo Concertant with Sterling Hyltin. The dance is one of Balanchine’s so-called black and white ballets, set to music for piano and violin written by his friend Igor Stravinsky. It is a sad and luxurious work.
Two of the pieces on the program blended classical with the quotidienne. Square Dance is elegant, and forthright, a very striking and simple ballet, with a hint of the folk dance of its title. Cortege Hongrois, on the other hand, is elaborate. It uses a populist vernacular, blending the czardas with processionals.
La Valse and Duo Concertant are over for now, as is of course the opportunity to catch Robert Fairchild as a New York City Ballet Principal Dancer.
You will be able to catch Cortege Hongrois again on a program this winter. Square Dance will be on another one as well.
New and upcoming favorites in the NYCBallet Company appear with each new season. Peter Walker and Lauren Lovette are dancer-choreographers who are classically trained with next gen sensibilities. We are the witnesses to a company that is full of life, and movement, and is always moving forward. Lucky us.