|Teresa Reichlen and Daniel Ulbricht in Prodigal Son, photo @ Andrea Mohin|
And thus it was so this winter season. The first week was dominated by two excellent Balanchine triple bills: a "Balanchine Short Stories" program of La Sonnambula/Prodigal Son/Firebird and a more eclectic program of Allegro Brillante/Swan Lake/Four Temperaments. I saw one of the AB/SL/4T's performance and two "Short Stories." I don't need to tell you that Tiler Peck was amazing/super/stupendous in Allegro, and that her diagonal of consecutive triple pirouettes that was timed to end exactly with a CRASH in the piano chords gave me goosebumps. Andy Veyette was her fine, steadfast partner. Ashly Isaacs made an energetic debut as Sanguinic in the 4T's and Anthony Huxley's Melancholic was a highlight. He really has the contorted backbends and sudden shifts in poses down pat and what's more, make them look natural.
La Sonnambula, Prodigal Son, Firebird and Swan Lake were interesting as it required NYCB dancers to do something they're not accustomed to doing: acting. All four are short but intense story ballets and it's not okay to simply "do the steps, dear." I saw two separate casts and it's interesting how different dancers handled this demand to act. So, we now present the Academy Awards of Motion Dances, winter NYCB edition.
Nominees: La Sonnambula, Prodigal Son, Firebird, and Swan Lake
Best Actor in a Leading Role: Daniel Ulbricht in Prodigal Son. You could simply marvel in his technique -- huge flying jumps, series of triple/quadruple pirouettes that he decelerated as a show of control. But his portrayal was a success because he clearly made an arc in the Prodigal Son's development from an arrogant brat to a horndog lush to the humbled but mature man. His first and last interactions with his father (a wonderful Aaron Sanz) rang true. His chemistry with Teresa Reichlen's implacable Siren was hot. When the Prodigal Son crawled under the Siren's crotch there was a gasp in the theater. The Maria Kowroski/Joaquin de Luz by pairing by comparison was too PG-rated in energy to make much of an impact.
Best Actor in a Supporting Role: Zachary Catazaro's Prince in Firebird. Firebird is such a ballerina-dominated ballet. Who cares about the Prince and his insipid Princess? Well, Catazaro proved that it's possible to make something out of this role. Catazaro is the only Prince I can remember in recent memory who actually responds with surprise to the light at the back of the stage before the Firebird (AshleyBouder) makes her entrance. A tender glance here, a startled reaction there, and all of a sudden this becomes the Prince's story as well. In contrast Justin Peck merely let Teresa Reichlen to carry the entire ballet.
|Sterling Hyltin and Chase Finlay, photo @ Andrea Mohin|
Honorary mention in supporting act go to Aaron Sanz as the Father in Prodigal Son, Daniel Ulbricht who brought down the house as Harlequinade in La Sonnambula.
And just for kicks:
|Chagall's initial curtain|
|Mearns and company in Swan Lake, photo @ Paul Kolnik|
Best Director - George Balanchine in Prodigal Son. Duh. And look at this picture. 'Nuff said.
Best Picture - Prodigal Son. Made in 1929 but has lost none of its dramatic power. You'll laugh, you'll cry, you'll blush. And if you're not moved by this, then ...
Now I'm signing off because I really don't want to hear any of these winners thanking their agents and publicists.