A mixed bag from NY
SOLO DANCERS OF NYCB (New York City Ballet) Herzliya Performing Arts Center, March 4
This dance ensemble is affiliated in an ambiguous way the illustrious New York City Ballet, and is run by Daniel Ulbricht, one of the mother company’s soloists. Their official title is: Stars of American Ballet - NYCB Principals and Soloists. A rather inflated title considering the result.
There are a dozen dancers in this group, which performed five pieces: two short duets, a short trio and two pieces each danced by six. Balanchine, NYCB founder, was represented by two well-known works. He is one of the greatest contributors to American dance history in the 20th century. His company was described as the most adventurous classical company of his time.
On this program we received the Diamond section out of Balanchine’s Jewels, a duet which salutes the czarist splendor of old Russia with all its classical glory, alongside one of the more beloved, jazzy works, Who Cares, a ballet set to the never fading tunes of George Gershwin who best captured the Americana spirit fed by the NY vibes and, by far, the best work that night.
Another dance was by American icon Jerome Robbins known as the choreographer of Broadway hits like Fiddler on
the Roof, The King and I and West Side Story. His work contributed a romantic, somewhat low-energy dance for three couples called In the Night, set to preludes by Fredric Chopin, played exquisitely on stage by Nuno Marques.
The trio work Les Lutins (leprechauns) choreographed by Johan Kobborg for two male dancers with strong character technique, which was intended to show off and entertain the crowd with some acrobatics and humorous encounters. The man who won the leading role was none other than the ensemble’s organizer. A superb casting decision, since Daniel Ulbricht it a true leprechaun; small framed with grace, spirit and an easy happy-go-lucky attitude that makes you want to vote for him.
The Estonian composer, Arvo Pärt, inspired choreographer Christopher Wheeldon to surrender to his slow, haunting tune, when he constructed his After the Rain duet. Many other dance makers were affected similarly, when they “discovered” Pärt. I can’t say that this interpretation of the music was more distinct than others.
There was something perplexing about this troupe. Most of the female dancers did well with decent technique. Some have been in the company for many years, some had fresher air to them, like Emilie Gerrity, which opens more and more as the evening progresses. Yet they were partnered by a sizable group of veteran dancers (retired?), with heavy, strong arms yet weak leg work, testifying to their age and condition. I found it hard to believe that they are active members of any ballet company, let alone part of the NYCB – as promised.