REVIEW: New York City Ballet, Sadlers Wells
For the first time since 2008, New York City Ballet (NYCB) return to London with their Mixed Bill at Sadler’s Wells Theatre. NYCB’s unique flavour of dance is defined with its “cutting-edge neoclassical style and athletic poise” which their latest offering typifies.
Their neoclassical style is front and centre with the opening piece, with music from Nico Muhly, Rotunda. The choreography by Justin Peck echoes that of peering inside a ballet class as the ensemble perform in a circular formation and then break away to have individual moments of unique dance. Rippling muscles are shown under the minimalistic costume design by Reid Bartelme and Harriet Jung that give the sense we are watching athletes preparing for an Olympic season. However, with few exceptions, the piece overall lacks a kind of emotional connection to their audience, relying on the spectacle of athleticism.
George Balanchine’s Duo Concertant is next, presenting a pretty perfect display of instrumental mastery from musician and dancer alike. It is exciting to see the pianist (Elaine Chelton) and violinist (Kirk Nikkanen) sharing the stage with dancers Taylor Stanley and Indiana Woodward, as Balanchine intended them to do. Duo Concertant presents an interesting marriage of musician to dancer, a relationship so important to the world of ballet and embodied here, where dancers frequently take time to pause and listen to the music (composed by the iconic Stravinsky) before energetic and playful dancing with moments of emotive reach.
Next comes Pam Tanowitz’ Gustave le Gray No. 1, set to Caroline Shaw’s piano composition Gustave Le Gray performed by pianist, Stephen Gosling. Gustave le Gray No. 1 displays a sense of visual spectacle, with almost aquatic movements that jolt from staccato to flowing. However, the ambitious costume design (Bartelme and Jung) of swathing blood-red fabric from toe to neck can be both fascinating and visually pleasing yet a little distracting, seeming sometimes to muffle the movement as opposed to working with it.
The jewel in the crown of New York City Ballet’s Mixed Bill is Love Letter (on shuffle) described aptly by the NYCB as “a mixtape of life”. This finale piece is the most electric, transformative and emotive piece of the night. With fascinating choreography by Kyle Abraham that incorporates “club dance and African American vernacular dance” paired with the modern music of James Blake, Love Letter (on shuffle) presents a vibrant and defiant crescendo.
It is a shame that all four pieces didn’t offer that same strength in emotional storytelling that make ballet such an endearing and timeless art. New York City Ballet boast exceptional dancers with an impressive history, and in an Olympic year to see performers and athletes at the peak of their game is always an astounding experience.
**** Four Stars
Reviewed by Nancy Brie
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Sadlers Wells - New York City Ballet