We want your feedback!
By Wendy Perron
The astonishing thing about the women of New York City Ballet is that even with the retirement of two of the company' most magnificent dancers, the bench of remarkable women is still deep. The six-week winter season that just ended brought this home to me.
Needless to say, I will miss Jenifer Ringer and Janie Taylor enormously. They are both pure poetry, Jenifer in her warmth and joy, and Janie in her mysterious coolness and waiflike sexuality. In the case of Ringer, we can hold onto her a little longer through her terrific book, Dancing Through It. And Taylor will be designing costumes for Tom Gold Dance and for Justin Peck’s upcoming premiere in May.
(Left) Jenifer Ringer in Alexei Ratmansky's Namouna; photo by Paul Kolnik, courtesy New York City Ballet. (Right) Janie Taylor in costume for Jerome Robbins' Afternoon of a Faun; photo by Matthew Karas for Dance Magazine.
But it takes only a few nights at the Koch Theater to realize the richness of the remaining top women. And these dancers are onstage a lot. Only the hardiest make it through a season without an injury.
Sara Mearns is a tour de force in Wheeldon’s DGV: Danse a Grande Vitesse. She has an intensity wherein her face and whole body bear down and you simply cannot turn away. But she can also be incredibly light in the floating lifts that Wheeldon has given this interesting ballet. In Balanchine's Union Jack she really does seem like she could command a whole fleet. In Balanchine’s Walpurgisnacht Ballet, she rips into her steps, especially in the finale when she (literally) lets her hair down. Whatever the role, Mearns charges the space around her with electricity.
Sara Mearns in costume for Wheeldon's DGV. Photo by Sarah Silver for Dance Magazine.
Ashley Bouder, another powerhouse, can rev up the heartbeat in Balanchine's Tarantella or Stars and Stripes. This season she seemed to take on a new luxuriousness in the premiere of Liam Scarlett’s Acheron (which I found more interesting on second viewing). In this clip of the Dance Magazine Awards from December, you can see her famously crisp ebullience in Square Dance.
Ashley Bouder in Tarantella. Photo by Paul Kolnik, courtesy New York City Ballet.
Sterling Hyltin is quickly expanding her range. As Spring in Robbins’ Four Seasons, partnered by the supremely classical Tyler Angle, she’s a warm breeze. And she brings a terrific kinetic edge to the zig-zag, stop-start rhythms in Peter Martins’ Calcium Light Night.
Sterling Hyltin in costume for Balanchine's Symphony in Three Movements. Photo by Nathan Sayers for Pointe magazine.
Maria Kowroski is super-strong and sharp in Mauro Bigonzetti’s Vespro, funny and goofy as the Girl in Green in Robbins' Dances at a Gathering. (I wish she had more opportunities to showcase her comedic prowess, which delighted audiences in Wheeldon’s Variations Sérieuses and Stroman’s Double Feature.) In the 2012 gala pieces that Peter Martins made in tribute to Valentino, she was the only dancer who looked naturally elegant in Valentino’s extravagant (and body-obscuring) gowns.
Maria Kowroski in Balanchine's Serenade. Photo by Paul Kolnik, courtesy New York City Ballet.
And Tiler Peck continues to be a paragon of virtues, both musically and dramatically. As the Pink Girl in Dances at a Gathering, she radiates humanity and tenderness. In Preljocaj’s premiere Spectral Evidence, she really made something of the questionable role of an accused witch. As Fall in The Four Seasons, she energizes the whole stage, ending the ballet on a high. And she made a stunning debut this season in the simple but celestial After the Rain duet by Wheeldon.
Tiler Peck in costume for Robbins' The Four Seasons. Photo by Matthew Karas for Dance Magazine.
The strength, power, and subtelty of NYCB’s women makes one eager for the next season—to begin April 29. And stay tuned for a blog on the up-and-coming women of NYCB from Margaret Fuhrer.