Review: NYCB ALL ROBBINS Shines with Playful Exuberance

The New York City Ballet kicked off day two of the company's 2017 Spring Season on Wednesday, April 19 at the opulent David H. Koch Theater. A performance dedicated to the iconic playfulness of Jerome Robbin's choreography, the evening started on a high note with the orchestra's charming "See the Music" section, treating the audience to teaser selections of the coming score. The bluesy, sultry notes of Bernstein's music set the scene beautifully; as the orchestra descended back into the pit, the curtain rose on "Fancy Free," the legendary collaboration between Robbins and Bernstein, which later inspired Broadway's sensation "On The Town."

First danced by NYCB in 1980, "Fancy Free" centers around three sailors that are exploring New York City during the summer of 1944 on a one-day shore leave. Joaquin De Luz, Tyler Angle, and Amar Ramasar danced intrinsically in unison; though each man has a jarringly-different stature and technical appeal, the trio moved as one unit, punctuating each jazzy développé and lunge with characteristic charm. Georgina Pazcoguin, in for Gretchen Smith, more than brought the fire, charming the sailors into a delightful tizzy with her easy ferocity. The introduction of Tiler Peck brought a welcome sweetness to the stage, helping to showcase the gentle ebb and flow of her connection to Angle. The two danced together like a mellow stream, gently cascading over smooth stones with ease and tranquility.

But the standout was Amar Ramasar. A true technician, Ramasar is both the quiet poet and the tour de force, both introspective and explorative. Unafraid of the transitional moments, Ramasar paid great attention to detail in every subtle hip undulation, but also yearned, scanning the stage every time for greater room to soar higher (and even higher) into the air. He is the epitome of an artist and I'm sure Robbins would have adored him.

The starkly different "Moves" followed next. Set to only the sound of the dancers themselves, "Moves" creates a complex tapestry of shapes and palpable currents. On this night, the company moved in perfect harmony, a thread of connection weaving through each complicated lift series and dramatic contortion. However, the spirit was lacking; there was no sense of drama or intent. Oddly, the perfection of the dancers' technical aplomb detracted from the very essence of what makes this ballet special, and I wish caution would've been thrown to the wind.

Yet, the third and final piece, "The Concert" more than delivered my wish for spunk and spontaneity. Showcasing the antics of "sophisticated" concertgoers, the dancers were riotously funny and heartwarming in physicality and spirit, ping ponging off each other in melodious harmony. Standout Sterling Hyltin was an immeasurable beam of light as the "mad ballerina", sweeping through every arabesque and jaunty stroll like a thin veil of lace.

For a company I always enjoy watching, this evening proved no different as they solidified their place as one of the finest ballet troupes in the world.

Photo Credit: Paul Kolnik

To post a comment, you must register and login.