New York Metropolis Ballet’s ‘All Balanchine II’ program

New York Metropolis Ballet (NYCB)’s Balanchine II program options three works that vary from homages to Americana to summary modernism.

Opening this system was Sq. Dance (1957), George Balanchine’s lighthearted tribute to American folks dance. The choreography retains the sq. formations and front-facing associate work of its namesake, though the normal caller is changed by music from Archangelo Corelli and Antonio Vivaldi. Principals Emma Von Enck and Taylor Stanley carry out steps barely forward of the corps, echoing the decision and response of sq. dancing. Von Enck is a petite and delicate dancer who glides by way of house. Stanley achieves the dancer’s phantasm of effortlessness in his jumps whereas additionally bringing a sublime expressiveness within the easiest carry of an arm.

The corps de ballet’s actions are marked by a whimsical prancing step into an entrechat and a step that slides out like a glissade however is extra of a aspect jeté through which dancers shake one leg after which the opposite mid-air earlier than touchdown, making a rippling impact.

This system shifted dramatically with Episodes (1959), an summary work set to the atonal, minimalistic rating of Anton Webern. The percussive and shape-oriented choreography matches the weird counts of 10s and 12s. A standout second was the all-too-brief part, “5 Items, Opus 10,” that includes corps dancers Christina Clark and Owen Flacke. Clad in black and shifting inside a single highlight (lighting by Mark Stanley), the companions shared an depth of focus and a matched bodily angularity, chopping by way of house and hitting the rating’s disjointed notes with precision. When Flacke stands behind Clark and presents his hand at shoulder top, we anticipate her to take it. As a substitute, she rests her head in Flacke’s hand, inverting the normal use of the male dancer’s help.

This system concluded with the crowd-pleasing spectacle of Western Symphony (1954), set to a saloon-inspired rating by Hershy Kay. The choreography is a playful, loosely narrated story of neighborhood and flirtatious amorous affairs, amplified by John Boyt’s Previous West scenic design and Karinska’s riot of colourful costumes.

The primary part, “Allegro,” is filled with enjoyable formations and massive lifts highlighting Soloists Alexa Maxwell and Alec Knight. The second part, “Adagio,” was a cute theatrical flirtation that includes Soloist Olivia MacKinnon and Corps Victor Abreu. After being rejected in pantomime by two dancers, Abreu lastly companions with MacKinnon for a buoyant duet. Their three-quarter time sequence, that includes fast battements, culminates in an exquisite shock: MacKinnon springs into Abreu’s arms after which shortly out once more, by no means breaking the movement of the dance. The finale, “Rondo,” showcased Principal Isabella LaFreniere and Soloist Ryan Tomash. Tomash’s gravity-defying jumps — together with a middle leap and beautiful triple flip en l’air — had been actually celestial. LaFreniere and Tomash are joined by Corps Mary Elizabeth Promote and Devin Alberda in a hoedown, with a contact of cancan. The entire firm dances in a swirl of turns to carry this spectacle to an eye-pleasing finale.

Balanchine’s skill to seize components of the American expertise — from the social dance of Sq. Dance to the modernist structure of Episodes and the saloon motif of Western Symphony — is the spine of NYCB’s historic repertoire. Whereas the corporate is thought for its celebrated principal dancers, this program proved that the brand new era of soloists and principals, in addition to standout corps dancers like Clark and Flacke, will carry this legacy ahead, guaranteeing each efficiency is outstanding.