New York City Ballet celebrates its 75th season, returning to London, for the first time in 16 years. The company showcases a mixed bill ranging from 1972 to 2022. Versatility of curation is reflected through the presentation of new works by an emerging new generation of performers, alongside a classic piece by George Balanchine.
In the first performance, ‘Rotunda’, Justin Peck’s dynamic choreography captures the essence of cheerful play and curiosity, as the dancers seamlessly transition from position to position, spreading apart like liquid on material, before drawing together into satisfying geometric formations. The choreographer, celebrated for his contribution to Spielberg’s recent remake of ‘The West Side Story’, seems to depart from the conventional synchronicity of ballet, as he incorporates chaotic and seemingly random motions, punctuated by moments of order, continuously engaging the viewer. The dancers’ expressions and perpetual movement convey a gentle, childlike excitement, with groups dividing and forming audiences to crouching figures, engaging in animated conversation. Enhancing the atmosphere of relaxed playfulness, Reid Bartelme and Harriet Jung’s costumes of casual pastel create the impression that the dancers could be immersed within a studio practice session.
Choreographed by one of the most influential figures in the 20th century world of dance, Balanchine’s ‘Duo Concertant’ portrays a neoclassical duet in which the performers and musicians interact and inspire each other. Igor Stavinsky is played live on piano and violin. Ronald Bates’ masterful lighting is strategically used to accentuate and elevate the performance. At times, the use of spotlight, as the sole light source, captivates audience into intense moments of physical contact between the pair.
The following original post-modern piece, first premiered in 2019, ‘Gustave le Gray No. 1’, is choreographed by the New York based Pam Tanowitz. Portraying four dancers, in bright crimson unitards dancing sharp and spontaneous, create an enigmatic visual experience. Similar to the previous performance, the captivating relationship between movement and sound converges, with performers infusing the underscore with their physicality. Moreover, the choreographer’s choice to direct dancers to push the piano across the space, amongst other such gestures, reiterates the symbiosis.
The final performance, rounding out the programme, is Kyle Abram’s ‘Love Letter(on shuffle)’, described in the programme as “ a mixtape of life”. Here London-born musician James Blake’s music is used to complement the fast paced contemporary choreography. The underscore used is a harmonious blend of piano and rap embodying the company’s progressive approach to ballet. With a pair of male dancers engaged in a romantic duet, the performance introduces aspects of modern day life whilst still paying tribute to the classical art, as seen in Giles Deacon’s costumes. Here elements of the past and present blend, with costumes made of lycra embellished with ruffles, bows and tutus: reference the evolution of ballet costume.
New York City Ballet presents a fascinating repertoire through a contemporary presentation of ballet, pushing boundaries and challenging conventions, whilst also honouring the rich heritage of the form.
Featured Image: Christopher Grant and Peter Walker of New York City Ballet in Kyle Abraham’sLove Letter (on shuffle).Photo credit Erin Baiano
Review by Teodora Wollny
Teodora is a recent A-level graduate, having studied Art History, Drama, Philosophy and English Literature. Being both a performer and an avid writer, she enjoys attending a range of entertainment, including theatre performances and art exhibitions. Whilst currently on a gap year, she intends on pursuing Visual Art and Film studies.
Read Teodora’s latest Review: Nachtland – an unsettling discovery of a painting by Hitler in the attic; a comedic approach to a contemporary conundrum – Young Vic, until 20 April – Abundant Art
Visit Sadler’s Wells and New York City Ballet to know more about their upcoming programmes.
