Relationships, Shallow & Wise: When a Body Meets a Body at New York City Ballet

By Alicia Chesser
Copyright 2000, 2019 Alicia Chesser

(Editor’s note: Chesser, connecting ballet to life. Can ballet be relevant? You bet. First published on the DI on June 2, 2000.)

NEW YORK — When non-balletomanes ask me what makes dance valuable in the modern world or how it could have any relevance anymore, I often say that it’s important for us because of its unique ability to teach us about human relationships. We are, after all, beings who live in space and time; we know each other first by meeting a body, and we want to know more the moment that body — the eyes, the hands, the smile — responds to ours. These are the simple realities of human interaction about which dance has something to tell us. Last night at New York City Ballet, there were three statements put forward about such matters: Balanchine’s “Agon,” the premiere of Kevin O’Day’s “Swerve Poems,” and Jerome Robbins’s “I’m Old Fashioned.” It was an inspired bit of programming: I learned something about what a shallow relationship looks like by looking at a couple of wise ones.

The O’Day piece showed its youth in more ways than one. It’s actually a rather pretty ballet (O’Day was standing behind me at an intermission, telling someone not to worry, it’s a very light piece) — simple blue costumes and bare legs, with Arch Higgins and Albert Evans in ballet-class skirts for some reason; pigtails on some of the women and a shock of short red hair on Stacey Calvert; lovely lighting; and a minimalist set composed of a big black curtain upstage and a smaller white one stage left that kept moving up and down at random. The opening trick is a fun one, featuring a sort of cliff-edge at the back of the stage. Tom Gold starts out the piece as the spastic sprite amidst a company of very swervy kiddos who begin in a big group hug; he’s zipping and leaping every which way, and suddenly he slides backwards on his stomach and disappears (audience gasps!) into the floor. He’s the life of the party, the fun equivalent of what Peter Martins gave Damian Woetzel to do in “Slonimsky’s Earbox.” (See Flash Review 2, 5-4: Tears for the Ballet.) Then it’s many minutes of woozy tripping from the kids, grouped in twos or fours or sixes — they really did remind me of the people at the parties I used to go to in high school, where everyone was a smidge tipsy and trying awkwardly to get each other over to their side of the couch.

There was lots of very cool dancing here — the astonishing Abi Stafford and Carrie Lee Riggins got the moves and the groove especially well — and lots of steps, lots of moving in and out and popping up and being dropped and carried (plus some rather blatant “echoes” of steps I’d just seen minutes before in “Agon,” a lift lifted straight from “Serenade,” and a “West Side Story” bit for the marvelous boys). But one question kept coming to mind: What’s the reason for these steps? Why this way rather than that? Most of all, what are these people doing together? I couldn’t see a mind behind the ballet, couldn’t see any logic to the progression of events. Wendy Whelan and Philip Neal looked like the chaperones of this party; Whelan seemed to be aching for more time, more space to move in, for the bustle to quiet down for just a second so she could reflect. I was feeling much the same way. These wispy relationships, this periodical hugging, this randomness dressed up to look like a savvy comment — enough. This is what the depressing Gen X phenomenon known as the hook-up looks like set to music.

Actually, John King’s music (for violins, viola, cello, and bass clarinets) was the star of the show; it reminded me of Philip Glass’s harsh, tender string quartets, strangely moving in a way that O’Day’s dance never quite came to be. The audience, incidentally, knew it should have been over about seven minutes before it was. Gold reappeared and did his sliding thing again, the crowd started clapping in recognition of a nice full-circle ending, but then there came more slurpy boys and girls, until there was another false conclusion and yet more pretty slurping (this time, God knows why, unacccompanied) before they finally just sort of ran out of steam and stopped dancing. Don’t get me wrong: This is a perfectly lovely, if long and increasingly boring, ballet with some truly touching moments (I’m thinking here of Calvert and Evans lying on the floor, she on her side on top of him on his side in a sort of fetal position). But it’s a ballet with a teenager’s sensibility about human relationships: tender, smart, and beautiful in its way, but lacking a center and a purpose.

“Agon” presented a group of human beings who had somewhat more to say to each other, and somewhat more with which to say it. It was an unusually lively and endearingly imperfect performance. This wasn’t the normal cast, and there were definitely some unsure moments, most surprisingly from Damian Woetzel, who’s usually so sure of himself it’s scary. Here, in the Sarabande, he lacked Peter Boal’s expansiveness and picture-perfect poses; instead we got a solo with lots more slinkiness. Jennifer Tinsley and Deanna McBrearty were refreshing in the Gailliard; McBrearty especially was wonderfully flirty, her head peeking out from under her arm from time to time, her little jumps purring and winking. She’s a very expressive dancer, without being obvious. It was Kathleen Tracey in the Second Pas de Trois where we usually see Whelan or Maria Kowroski. Tracey looked like she was trying to move with Whelan’s force in those potent opening leaps, but it just wasn’t working. She couldn’t get any propulsion, and the effect was jarring. The men were, well, competent, if a little slow to respond.

Kowroski appeared, all legs and eyelashes, with Jock Soto in the pas de deux. This was a dance between an older man and a young nymphette: she was challenging and teasing him, he was downright intoxicated. There was a great moment where Soto, having grasped the point of Kowroski’s shoe, just let go of it suddenly in a gesture that said, “wow, what IS this girl?” Kowroski was enjoying the attention; when she had to reach waaay down to get hold of her ankle so she could lift her leg waaay up behind her, you could tell she was taking her time for the sake of his agitated pleasure. It was the first time in a while that she’s been fun to watch. And I saw something new in the final movements: a floor full of deranged court dancers. That’s how it should look! All the way through, the dancers looked a bit like people playing dress-up, and in an odd way it worked. These are court dances stripped down, sped up, turned inside out, and gone a little batty in the halls of modernity — you see the old-time arrangements of courtly manners radicalized, and most of all you see the blood beneath the forms.

If “Agon” shows human relationships at their most extreme — exposed, anxiety-ridden, trying to keep a hold on things — then “I’m Old Fashioned” shows us the grace. It’s been a long time since I was as moved at the ballet as I was during Whelan and Nikolaj Hubbe’s pas de deux last night. Here, at last, were adults encountering each other in the fullness of who they were — pensive, cautious at times, a little goofy, totally in love. What made it so moving was that she, this whole woman, was responding to him, this whole man, and vice versa; because we could see them thinking, their gestures had depth and purpose, and their smiles when they looked at each other were all the more welcome and authentic. They were ENGAGED; you could see them really meeting each other in the moment. An extraordinary moment it was, too — I’ve rarely seen Whelan so deep and alive, as if she was letting us into her secret world. How wonderful it was, at the end of the evening, to be told a story about dignity and respect and graciousness, a story of adults encountering each other, and one that, in its very simplicity, whispered a truth in the ear of the audience, and carried us away. That’s ballet with a soul, ballet for OUR souls, and it couldn’t be further from the sweet immaturity of Kevin O’Day.

But first, a Patron of the Arts: Lincoln Kirstein finally gets his due at MoMA

Moma Kirstein CadmusChampion of the eight-hour, unbutchered version of Sergei Eisenstein’s “Que Viva Mexico,” art critic and essayist, avid collector of the photographers Walker Evans and George Platt Lynes, ardent admirer of the sculptures of Elie Nadelman and Gaston Lachaise, Lincoln Kirstein was much more than the co-founder, with George Balanchine, of the School of American Ballet. A font and funder of the New York Modern Art scene, he fervently acquired Latin American art for the Modern Art Museum, notably by Antonio Berni and Raquel Forner. Now Lincoln Kirstein, Patron of the Arts is finally getting his due, in an exhibition running March 17 through June 30, 2019 at MoMA and featuring more than 200 works, including, above, Paul Cadmus (American, 1904–1999), set design for the ballet “Filling Station,” 1937. Cut-and-pasted paper, gouache, and pencil on paper, 8 × 10 7/8″ (20.3 × 27.6 cm). The Museum of Modern Art, New York. Gift of Lincoln Kirstein, 1941. © 2018 Estate of Paul Cadmus.

Back to the Future: How to access stories on the Dance Insider & Arts Voyager

Returning to its roots as a Direct E-mail List — as the most effective, efficient way to serve our subscribers, writers, advertisers, and readers — the DI will heretofore make all new content, as well as reprints from our 20-year archive of more than 2,000 exclusive reviews by 150 writers of performances on five continents, plus news, commentary, art, and the Jill Johnston Archive, available strictly by e-mail. To subscribe to the DI and access both this new content and archived stories, for just $29.95/year individuals or $49.95 institutions, just designate your PayPal payment in that amount to paulbenitzak@gmail.com, or write us at that address to find out about payment by check or in Euros. (In the latter case, the payments will be directed to our European correspondents.) You can also contact us at that address to find out about limited, well-integrated e-mail advertising options.

From Marie-Agnes Gillot and the Paris Opera Ballet, Heart and Technique in Balanchine, Robbins, and Preljocaj

By Paul Ben-Itzak
Copyright 2000, 2018 Paul Ben-Itzak

In tonight’s return to the Paris Opera Ballet repertoire of Maurice Bejart’s “Bolero,” Marie-Agnes Gillot will dance the lead role. Gillot retires from the Opera March 31.

PARIS — For as long as I’ve been covering dance intensely, I’ve been hearing what a brilliant dude this guy Balanchine is. So much so that he doesn’t even require a first name on first reference — kinda like “God.” So I’ve not broadcast that many of Mr. B’s ballets leave me cold. But I had a nagging sense — mostly from seeing the work performed by Dance Theatre of Harlem and Suzanne Farrell’s companies — that it didn’t need to be so, and may have just been the tepid presentations by New York City Ballet, only selectively amended by San Francisco Ballet’s clean executions of the 1950s black and white dances. Well, Saturday night at the Palais Garnier, courtesy of Paris Opera Ballet dancers Jean-Guillaume Bart, Agnes Letestu, Delphine Moussin, Karin Averty, Beatrice Martel, Aurore Cordellier, and Dorothee Gilbert, I was re-educated: It ain’t necessarily so. Balanchine does not have to be coldly rendered. The abstract, architectural beauty of his ballets can be inhabited in a way that gives them life. Elsewhere on Saturday’s mostly winning mixed program, Manuel Legris provided a reminder of how Jerome Robbins humanized the dance, Marie-Agnes Gillot and Clairemarie Osta rendered Angelin Preljocaj’s stark world with warm humanity, and dancers no less talented than all these could not save the evening’s one premiere, Lionel Hoche’s “Yamm,” from making me want to yell, “J’accuse!” (As I don’t yet know how to say, “Make it stop!” or “Oy!” in French.)

To receive the complete article, first published on October 23, 2000, subscribers please contact publisher Paul Ben-Itzak at paulbenitzak@gmail.com. Not a subscriber? Subscribe to the Dance Insider & Arts Voyager for just $29.95/year ($99 for institutions gets full access for all your teachers, students, dance company members, etc.) by designating your PayPal payment in that amount to paulbenitzak@gmail.com, or write us at that address to learn how to pay by check. Subscribers receive full access to the DI/AV Archive of 2,000 exclusive reviews by 150 leading critics of performances and art on five continents from 1998 through 2015. You can also purchase a complete copy of the Archives for just $49 (individuals) or $109 (institutions) Contact Paul at paulbenitzak@gmail.com. Sign up by March 1 and receive a FREE Home page photo ad.

Downtown Decoys: Trisha Brown, and Liebeslieder Walzing with George Balanchine, at the Paris Opera Ballet

By Paul Ben-Itzak, with contribution by Lisa Kraus
Copyright 2003, 2017, Paul Ben-Itzak & Lisa Kraus

PARIS — Why does Trisha Brown have to cross the Atlantic Ocean to find a major ballet company to undertake her choreography? Why does New York City Ballet refuse to look below 42nd Street for additions to its repertoire, instead padding its Balanchine and Robbins legacy with filler from Peter Martins and others? I fumed over these questions last week at the Palais Garnier, as I exalted over the Paris Opera Ballet’s breathless interpretations of two newly acquired American masterpieces, Brown’s 1979 “Glacial Decoy,” with photography, sets, and costumes by Robert Rauschenberg, and Balanchine’s 1960 “Liebeslieder Walzer,” to Brahms.

To receive the complete article, first published on December 30, 2003, subscribers please contact publisher Paul Ben-Itzak at paulbenitzak@gmail.com. Not a subscriber? Subscribe to the Dance Insider for just $29.95/year ($99 for institutions gets full access for all your teachers, students, dance company members, etc.) and receive full access to our Dance Insider Archive of 2,000 exclusive reviews by 150 leading dance critics of performances on five continents from 1998 through 2015. Just designate your PayPal payment in that amount to paulbenitzak@gmail.com, or write us at that address to find out about payment by check. You can also purchase a complete copy of the Archives for just $49 (individuals) or $99 (institutions) Contact Paul at paulbenitzak@@gmail.com .

Serenades, plainspoken and otherwise, from Balanchine & Millepied

ringer repost cover

New York City Ballet’s Ask la Cour with, left to right, Rebecca Krohn, Jenifer Ringer, and Ashley Bouder in George Balanchine’s “Serenade.” Photo ©Paul Kolnik and courtesy NYCB.

Copyright 2010, 2017 Harris Green

NEW YORK — City Ballet broke with several traditions by beginning its new season with four weeks of early fall performances (September 14 – October 10). The traditional opening-night gala was delayed until the middle of the fourth week so seats that first evening could go for the special introductory prices of $50 and $25. Repertory included such novelties as the New York premiere of Benjamin Millepied’s recent “Plainspoken” on October 7 and revivals of Peter Martins’s rarely performed “Grazioso” (2007) and “The Magic Flute” (1982). Also out of the ordinary was an aggressive merchandising campaign built around a posh 9-by-12-inch booklet filled with studio portraits of principal dancers which was available for the taking in the theater lobby. Photographer Henry Leutwyler filmed everyone in casual poses and garb a la People Magazine. Most of the men are sporting the scraggly beards the guys insist upon growing between seasons. Daniel Ulbricht, however, is not only clean shaven, but the one dancer whom Leutwyler captured performing an actual step: a soaring 180-degree split leap, with ballerinas Teresa Reichlen, Sterling Hyltin and Sara Mearns seated on the floor behind him. (Yes, seated.) Letters to the editor and postings online promptly deplored the devastation such informality wreaked upon the dancers’ images as golden, gifted beings, so unlike us folks out front. Frankly the only dancers’ images that matter to me are those they create onstage.

To receive the rest of the article, first published on November 3, 2010, including lots more photos, subscribers please contact publisher Paul Ben-Itzak at paulbenitzak@gmail.com. Not a subscriber? Subscribe to the Dance Insider  and receive full access to our Dance Insider Archive of 2,000 exclusive reviews by 150 leading dance critics of performances on five continents from 1998 through 2015. Just designate your PayPal payment to paulbenitzak@gmail.com, or write us at that address to find out about payment by check or in Euros. Through June 30 it’s pay as much as you can subscriptions. (Minimum $12.)