Tuesday May 8, 2012 - New York City Ballet put forth an exciting all-Robbins programme this evening and peopled it with some fascinating dancers. Above: composer Frederic Chopin whose works provide the score of IN THE NIGHT which opened the evening.
Any evening at the ballet which begins with Janie Taylor stepping onto the stage is a grand evening in my book. Partnered by the poetic and tenderly astute Tyler Angle, Janie's dancing managed to be both ethereal and vivid at the same time - that's the Janie Taylor paradox. What's her secret? I don't know and I don't want to know. I just want to watch and be transported. And that's exactly what happened. In the second duet which has a more formal feeling to it, Maria Kowroski was at her most lyrically persuasive and looked radiant in her Autumnal gown (designed by Anthony Dowell, no less). I liked the Kowroski/Andrew Veyette partnership a lot and especially enjoyed the subtle shifts of impetus that they caught in Nancy McDill's playing of the Chopin melody. As the tempestuous third couple Wendy Whelan (stepping in for Sara Mearns) and Jared Angle - ever the gallant cavalier - showed us a relationship on the brink of a breakdown but one in which - in the end - the lovers cannot resist each other. Wendy continually seeks to break free of constraints, even to rushing offstage, but she is always drawn back. As the three ballerinas swept into their deep curtsies for the bows, I was wondering which perfumes Mr. B would have brought back from Paris for Janie, Maria and Wendy.
Twenty minutes later, Wendy Whelan was back onstage in one of her signature roles: the Novice in THE CAGE. In a masterful mixture of movement and expression, Wendy was fascinating as this creature of the night who is momentarily drawn to the Intruder but who ultimately embraces her destiny as a killer. Rebecca Krohn danced vividly as the Queen and Sean Suozzi was the pale, vulnerable first victim. The powerful physique of Sebastien Marcovici seemed capable of withstanding any assault - he partnered Wendy with total authority - but once the women went into attack mode he didn't stand a chance.
In the pit, principal bassoonist Harrison Hollingsworth took up the baton and led a finely-judged performance of the Stravinsky String Concerto in D which comprises the score of THE CAGE. After a brief pause, Harrison resumed his seat for the Tchaikovsky which followed: a lovely performance of the romantic duet ANDANTINO in which Tiler Peck and Gonzalo Garcia were debuting together; they danced beautifully, their partnership smooth and refined.
In the concluding IN G MAJOR, Sterling Hyltin was zestful in the jazzy passages and wonderfully winsome at the start of the long pas de deux which becomes romantic though it retains its airy spaciousness. Adrian Danchig-Waring, godlike of physique and presence, was Sterling's tower of strength in the long adagio; they are an inspired and inspiring partnership and I hope they continue to be cast together in other ballets. The corps of twelve danced with sunny energy before stylized Summer-blue Erte backdrop.
So good to run into Lourdes Lopez, Max van der Sterre and Craig Salstein on the Promenade, and to have a quick hug from Ms. Whelan as she headed up Broadway after the show, looking more gorgeous than ever.
Tuesday Evening MAY 8, 7:30 PM
ALL ROBBINS
IN THE NIGHT: Taylor, Kowroski, Whelan, T. Angle, Veyette, J. Angle [Solo Piano: McDill]
THE CAGE: Whelan, Krohn, Marcovici, Suozzi [Guest Conductor: Hollingsworth]
ANDANTINO: *T. Peck, *Garcia [Conductor: Sill, Solo Piano: Moverman]
IN G MAJOR: Hyltin, Danchig-Waring [Conductor: Otranto, Solo Piano: Walters]