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Metropolitan Classical Ballet guest artists Vilia Putruis and Mindaugas Bauzys in Paul Mejia’s “Cafe Victoria.” Photography by, copyright, and courtesy Marty Sohl.
(The opinions expressed are those of the author and do not necessarily reflect the photographer’s views. In 2011, New York City Ballet’s press office revoked the Dance Insider’s press ticket privileges, a policy it continues to maintain.)
ARLINGTON, Texas — Three ballets into the one-night only season of Metropolitan Classical Ballet July 17 at Texas Hall, I approached Paul Mejia, the company’s co-director and the author of all three dances, and posed the rhetorical question: “What I don’t understand, purely from an artistic standpoint, is what Peter Martins is doing in New York and you’re doing here.” “Well, my family’s here,” Mejia answered, but the question persists: After seeing Mejia succeed brilliantly in three different formats — a group piece and a duet to classical music, then a spicey contemporary work to Astor Piazzolla — in which New York City Ballet chief Martins has consistently failed, one has to ask: How has it come to pass that the house that Balanchine built continues to be maintained by an incompetent architect when there is clearly other Balanchine-bred talent out there that actually understands and is able to perpetuate the Balanchine aesthetic in a way that lives up to his legacy?
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