Justin Peck’s ballet and more at New York City Ballet
INTERPLAY
Interplay debuted in 1945 and is known as a glorious mix of classical and modern high-stamina dance. In promotional materials, dancer Spartak Hexha says he trained for a month, running the ballet repeatedly to build strength. That’s a lot to do and a lot to remember, and sometimes it looks like the dancers are marking the ballet—although KJ Takahashi is an exception.
Jerome Robbins’ piece, with its jazzy rhythms provided by Morton Gould’s music, is wildly inventive. In a hopscotch of movement—running, jumping, lifting, Takahashi owns the piece. His turns in each direction always land him in fifth position, his leaps look like he’s pushing into the air. Takahashi offers stillness, too, sinking into the quiet movements.
KJ Takahashi with Olivia Bell and Zoe Bliss Magnussen
The piece features beautiful lifts and an easy going, guy swag alternating with explosive competitive moves—tallest, fastest, longest, highest. All the men have stunning tours—high, fast, accurate. Shout out, too, to Andres Zuinga, his movements crescendo in a joyous burst of energy, and to piano soloist Hanna Hyunjung Kim, Santo Loquasto (costumes), and Ronald Bates (lighting).
OTHER DANCES
Other Dances, set to Chopin’s intricate music, premiered in 1976. The production team is much the same as Interplay: Choreography by Jerome Robbins, dreamy costumes by Santo Loquasto, and lighting by Ronald Bates. Principal dancers Tiler Peck and Roman Mejia perform to the virtuosic romanticism of Elaine Chelton.
Peck and Mejia
What the dancers need to show is a free upper body, as if “floating,” while legs are working. In advance materials, Peck notes that one of her favorite phrases is an arabesque into a layout, in which the entire look must seem effortless. Robbins thought of Baryshnikov and Makarova for the lead roles, and Peck was mentored early in her career by Baryshnikov for Other Dances.
As Peck dances on a diagonal, she executes perfect placement. Her arms just don’t lift but sweep. She doesn’t walk, but glide. Light on two strong legs, and with clear feet, she dances as a butterfly in a wash of movement. Peck’s piqué turns are light and quick, her rhythms impeccable as she moves backwards, alternating legs in passé.
Mejia is mobility itself—majestic whether he be executing a little scurrying jump or a high tour j’ete, soaring en ménage. A master of counterbalance, Mejia maintains a weight in his arms, that seems freeing.
GUSTAVE LE GRAY NO. 1
Gustave Le Gray No. 1 was choreographed by Pam Tanowitz and premiered with two dancers from NYCB and two dancers from the Dance Theatre of Harlem in billowing, vibrant red one-piece costumes by Reid Bartelme and Harriet Jung. Stephen Gosling plays the pulsing music of Caroline Shaw, and later in the piece, the dancers, with developé in flexed feet, move the piano across the stage.
Gustave Le Gray No. 1—All images courtesy NYCB (photo credits: Erin Baiano)
Full of surprises, principal Mira Nadon and soloist Emily Kikta impress with their sharp changes of weight, slicing the air with battement, expansive arm gestures, and quick piquè. All the while, Naomi Corti and Ruby Lister manage staccato phrasing, as well as slow fondu and arabesque. With whirling chêné, their ensemble phrasing is particularly captivating.
YEAR OF THE RABBIT
Year of the Rabbit features seven selections from the Chinese Zodiac with music by Sufjan Stevens, orchestration by Michael P. Atkinson, choreography and costumes by Justin Peck, and lighting by Brandon Stirling Baker. Marc Happel supervised the bold costume production. There are six soloists—Sara Adams, Emily Kikta, Rommie Tomasini, Gilbert Bolden III, Preston Chamblee, and David Gabriel—whose vibrant dance is striking. The corps amuses as if in one large contact improvisation phrase.
Tomasini ascends with the music, even in controlled, tight turns, then bursting into leaps. Bolden dances with his elbows, in a double tour with style. Here, his lower body seems separate from his flexed wrists and elbows. His deliberately slow movements are skillful.
In “Year of the Tiger,” Bolden makes arcs with his torso and arms. Strong arms in lifts, he assists Kikta in all the balances. Their zodiac landscape is one of the more interesting.
Bolden and Adams
Sara Adams is a powerhouse, with breathy elongée in partnering. Shout out to Adams and Chamblee (“Year of our Lord”) with romantic lines and carefree swings, a synchronized stretch of their arms, and complicated pencil turns.
This is Justin Peck at his very best—his wild, assisted turns have dancers riding a breathtaking wave. He’s a master of choreographing large and small ensembles for New York City Ballet.