The curtain rises on the New York City Ballet's (NYCB) second act, aptly named "The Evolution." This six-week extravaganza, culminating on March 3rd, is a captivating exploration of the company's rich history and a bold leap into its dynamic future. Following the "The Foundation" season, which paid homage to co-founder George Balanchine's visionary legacy, "The Evolution" offers a kaleidoscope of diverse voices and styles.
Seven meticulously curated mixed bills weave together decades of artistic tapestry. Balanchine's timeless masterpieces share the stage with the innovative creations of Jerome Robbins, another co-founder, and contemporary choreographers who have pushed the boundaries of ballet since Balanchine's passing.
This season is not just a retrospective; it's a springboard for innovation. NYCB, under the artistic leadership of Jonathan Stafford and Wendy Whelan, commissioned two world premieres, infusing fresh energy into the company's repertoire.
Tiler Peck, a principal dancer, takes the choreographic reins for the first time with "Concerto for Two Pianos." This energetic ballet pulsates with life, featuring three captivating women and two men alongside a vibrant ensemble. While Roman Mejia shines with his electrifying leaps and powerful presence, Mira Nadon, despite her stunning costume, doesn't quite soar in Peck's choreography, which sometimes leaves her awkwardly partnered.
In stark contrast, Alexei Ratmansky's "Solitude" casts a spellbinding shadow. This haunting ballet, dedicated to the children of war-torn Ukraine, resonates with poetic intensity. Inspired by a photograph of a grieving father holding his deceased son, Ratmansky creates a moving tribute. Joseph Gordon embodies the grieving father, his movements echoing the anguish of loss. Theo Rochios, a young student from NYCB's affiliated School of American Ballet, delivers a poignant portrayal of the lost son.
The ballet unfolds against Moritz Junge's evocative set, a desolate landscape bathed in Mark Stanley's dusky, ever-shifting light. The ensemble, clad in a spectrum of blacks and iridescent hues, adds depth and emotion to the narrative. As Mahler's music swells, Gordon embarks on a mesmerizing solo, his grounded and aerial movements mirroring the symphony's thunderous whisper.
The season is also adorned by stellar performances from seasoned dancers. Gilbert Bolden III shines as an increasingly remarkable partner in Robbins's "In the Night." Indiana Woodward, Preston Chamblee, and Mira Nadon make commendable debuts in a revitalized staging of Balanchine's "Liebeslieder Walzer."
"Ballo della Regina" receives a fresh lease on life under the guidance of Merrill Ashley, the ballet's original star. Mr. Gordon breathes new life into the lead male role, while Mary Thomas MacKinnon shines with her nimble grace in individual solos. David Gabriel, a captivating corps de ballet dancer, steals the show with his comedic portrayal in Robbins's "The Concert," alongside a charming debut by Ms. Nadon.
As "The Evolution" concludes, the stage is set for "The Future" in April. This ambitious season will showcase innovative works that chart a path beyond the company's illustrious past. With its commitment to both preserving its heritage and embracing new voices, NYCB pirouettes into the future, poised to continue its reign as a global leader in the ever-evolving world of ballet.
