The Wonder Women of NYCB
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.
If "Fosse/Verdon" whet your appetite for the impeccable Gwen Verdon, then Merely Marvelous: The Dancing Genius of Gwen Verdon is the three-course meal you've been craving. The new documentary—available now on Amazon for rental or purchase—dives into the life of the Tony-winning performer and silver-screen star lauded for her charismatic dancing.
Though she's perhaps most well-known today as Bob Fosse's wife and muse, that's not even half of her story. For starters, she'd already won four Tonys before they wed, making her far more famous in the public eye than he was at that point in his career. That's just one of many surprising details we learned during last night's U.S. premiere of Merely Marvelous. Believe us: You're gonna love her even more once you get to know her. Here are eight lesser-known tidbits to get you started.
Every dancer knows that how you fuel your body affects how you feel in the studio. Of course, while breakfast is no more magical than any other meal (despite the enduring myth that it's the most important one of the day), showing up to class hangry is a recipe for unproductive studio time.
So what do your favorite dancers eat in the morning to set themselves up for a busy rehearsal or performance day?
When it comes to dance in the U.S., companies in the South often find themselves overlooked—sometimes even by the presenters in their own backyard. That's where South Arts comes in. This year, the regional nonprofit launched Momentum, an initiative that will provide professional development, mentorship, touring grants and residencies to five Southern dance companies.
You ever just wish that Kenneth MacMillan's iconic production of Romeo and Juliet could have a beautiful love child with the 1968 film starring Olivia Hussey? (No, not Baz Luhrmann's version. We are purists here.)
Wish granted: Today, the trailer for a new film called Romeo and Juliet: Beyond Words was released, featuring MacMillan's choreography and with what looks like all the cinematic glamour we could ever dream of: