NYC BALLET GALA
May 21, 2012
Dance was main the event at NYC Ballet’s Gala. There were no curtain
speeches, no special gala ditty or honorary awards cluttering the
evening’s camera-popping proceedings.
Celebrities and ballet supporters flocked into the David H. Koch
Theater, stopping for glamour shots and toasting each other on the
But once the audience settled into their seats, eyes focused on two
world premiers by Peter Martins and Benjamin Millipied and George
Balanchine’s extra starry “Symphony in C.”
A French theme of sorts united the evening’s pieces. Martins designed
a spacious piece to the music of Marc-Ancldre Dalbavie, French born
Millipied made his dance “Two Hearts” to a commissioned score by the
contemporary American composer Nico Muhly, and Balanchine’s grande
“Symphony in C” glided over a score by Goerges Bizet.
Wide expanses of space are consumed by the dancers wearing filmy netting tops over
strong geometric patterns and brightly colored under-slips by Gilles Mendel in Martin’s “Mes Oiseaux ."
arms and flash leaps spray across the stage hurtling the three females
– Lauren Lovette, Ashly Isaacs and Claire Kretzschmar in an orbit
around the sole male, a highly composed Taylor Stanley.
the females rippled through repeated movement phrases that eventually merged into
unison comments. When Stanley enters, his legs circle in long arcs,
torso leaning back and arms floating out to the side. Martins
challenges his dancers’ technical skills with Lovette finessing the
material to her advantage while Isaacs and Kretzschmar demonstrated
more forced concentration. Although the spotlight falls primarily on Stanley,
Martins’ dance opinions flourish inside his complex partnering
choices—choices often lost on the eye as bodies pass swiftly from
shape to grip.
"Two Hearts" pulls its emotional content from the woeful 18th century
Appalachian folk song about a tragic love triangle sung by the soulful
Dawn Landes. Strongly invested in every step, Tiler Peck and her
partner Tyler Angle rotate and in away from each other in a duet
exuding a poignant love. A robust corps of six men and six women snap
out images of buoyant camaraderie and youthful trills. Muhly's extremely
listenable and danceable score dove into spooky David Lynch territory
trumpeting the final devastating ballad. The finely-tuned dancers looked fresh and sleek in Laura and Kate Mulleavy’s
black and white outfits, while Millipied clearly wore his newly opened heart on stage.
Festivities closed on a starry wave of brilliantly white tutus studded in Swarovski crystals. Returning ballet to its grand and royal roots,
George Balanchin'es 1947 "Symphony in C," complements Bizet's upturned melodies while Mark Happel's new
costumes catch the bright lights and expectations for an exceptional season.
EYE ON THE ARTS, NY -- Celia Ipiotis