The Gala

Very often, Peter's new ballets don't make much of an impression at first viewing. RELIQUARY and TALA GAISMA were ballets that I came to enjoy, and MORGEN - which I thought was deadly dull at the premiere - has become a favorite. Tonight's RED VIOLIN was formulaic Martins, the usual gestures and partering sequences, nothing really gripping or outstanding but nothing offensive either. I think basically the music is too "big" and too long for 8 dancers - even 8 such fine dancers as we had tonight. Using a corps would fill out the stage picture and absorb the "excess" music. I re-watched the movie last week, not because I thought it would have any connection to the ballet (it doesn't) but just to hear the music; the haunting primary theme doesn't quite find a corresponding choreographic statement. Beautifully played by Kurt Nikkanen (who won a big ovation) and conducted by Andrea Quinn, the score has potential to be a more absorbing ballet than the one Peter has created. All that under consideration, there were many passages that did seem striking, notably a sequence for Andrew Veyette and Sterling Hyltin which made me view them as a very exciting potential partnership. Andrew also had a flashing solo segment which he delivered with brilliance and an airy sense of speed. Tiler Peck brought some of her phenomenal turns over from FRIANDISES, and Sean Suozzi 's clarity & darker personality complimented Veyette's. Jennie Somogyi, looking glorious in her red spaghetti-strap tunic, displayed her agility and speed as well as her vivid stage presence while Sara Mearns, in violet, was softer and most lyrical. Marcovici, always an arresting presence, and the exotic-looking Amar Ramasar brought their assured partnering skills into play. The very large audience - almost a full house - hailed the dancers and the girls received bouquets nicely color-coordinated to their costumes. Peter & Mr. Corigliano were well-applauded. I will see it again next week and may feel differently but right now it's not in the "Good Martins" column.

Wendy Whelan and Albert Evans were remarkable in HERMAN SCHMERMAN. Two of the greatest dancers I've ever encountered, with personalities that soar off the charts, they were sporty, silly, sexy and fascinating in this quirky piece. Starting out in black, they both switch to yellow skirts - which Albert wore with flair and basked in the audience's good-natured laughter. Underneath all the fun, the ballet demands real technical precision. A major hit with the audience, who called my two mega-stars out repeatedly.

I thought Wheeldon's EVENFALL was staggeringly beautiful. A full-scale tutu ballet which blends aching romanticism with a contemporary edge, there is nothing else like this in the rep. Using Bartok's score with an uncanny sense of stage-craft, he moves the varying groups of corps dancers (six couples and six additional girls) with real skill, creating often unusual and musically illuminated phrases. The girls wear shades of grey, gunmetal and faded mauve. Echoes of Swans are everywhere. The boys need to be adept partners and have their own signature - almost stylized - gestures. I can't wait to see this again, and may try to find a third opportunity. The score, a unique meshing of classic and modern modes, was wonderfully played by Cameron Grant and the orchestra under Maurice Kaplow. I could write at length about each dancer on the stage. Individual personalities shone thru even in group movement, and I was especially taken with the dramatic presence of Melissa Barak, luminous Savannah Lowery, the splendid dancing of Faye Arthurs and Amanda Hankes, and two very interesting couples: Kaitlyn Gilliland and William Lin-Yee, and Ashley Laracey and Giovanni Villalobos. Vincent Paradiso is developing an impressive presence and it was good to see Seth Orza back in action; hopefully he can make up for lost time. Adrian Danchig-Waring & Christian Tworzyanski completed the strong sextet of boys, and Scheller led the second group of girls (she is a knockout) which included Dronova, Keenan, Sloan, Piskin & Zungre. Damian Woetzel was in fine form, casually tossing off his bravura combinations and looking so supremely at home on the stage. Miranda Weese has an incredible role here; how wonderful to have a choreographer who can so magnificently show us everything there is to love in Miranda's incandescant dancing. Her pearl-like complexion and jet-black hair are beautifully set off by the deep purple-grey costume. Luxuriating in her trademark flashing turns and being swept into weightless, wafting poses by her partner, Miranda was equally spellbinding standing utterly still, holding Damian in her embrace for moments on end as the corps swirled about them. He would move away and she followed to renew the embace. This signature motif, carried off with such romantic simplicity by this radiant dancer, made me feel like weeping.

It was great seeing all the dancers in party clothes afterwards: Bouder (in a backless black frock), lovely Lauren King and stunning Georgina Pazcoguin, Somogyi in a striking peachy gown, glamourous Jennifer Tinsley; Mr. & Mrs. James Fayette were very attractive, as was Ed Liang  - what a smile - and Angel Corella. Darci in black and Tiler Peck in white; Sloan & Dougie, the darlings of the balletic blogosphere.

The only damper on the evening was noticing that Sarah Ricard's name has vanished from the roster. Ricard and Edge in the same season! Life is unfair.

Comments

[KayDenmark]

Thanks, Oberon, for bringing the gala to those of us who couldn't be there!

Would you say that Evenfall is the "chef d'oeuvre" people have been expecting from Wheeldon for so long?

[philip]

It is hard to say how people will view the new Wheeldon. I'm curious to hear other opinions. It might be too conservative for some tastes (tutus and all) or too romantic. This morning I find the images very strong in my mind. I plan to see two more performances.

Wheeldon hopefully has a long career ahead of him; at the moment I rate SHAMBARDS as his most powerful piece, with POLYPHONIA close behind. I think the latter will endure. In the long run the Bartok might be considered too pretty. But I just loved it.