It was one of those evenings where the dancing barely mattered. Being at New York City Ballet’s 75th anniversary opening night was a disconcerting experience. The auditorium was packed with former dancers of the company. When I collected my press ticket by the box office, I was interrupted by Patricia McBride collecting her ticket. I turned around and saw Kyra Nichols with friends. I sat down in my seat and there was Suzanne Farrell, still looking majestic, sweeping down the aisle. During intermission I saw Farrell (the original Diamond) kiss and chat excitedly with Gloria Govrin (the original Rubies Tall Girl). Just being in the audience reminded you of the rich history of this company.
The performance of Jewels fitted this star-studded event. It was not a perfect performance and there were signs of opening night jitters, but perhaps no other ballet fits the abstract aesthetic of George Balanchine and is still a sure-fire commercial success. Plus, the tone of the ballet is celebratory.
Pride of place last night went to Sara Mearns and Russell Janzen in Diamonds. Janzen is retiring this week, Mearns is returning to the role after several years. They were still magic together. Mearns is an expressive dancer, a storyteller in an abstract ballet, very different from the typical cool, even aloof interpretation of Diamonds. In the pas, Mearns seemed to be acting out an internal drama, and Janzen was the quiet observer. When he kissed her hand at the end of the pas, Mearns looked at him with genuine surprise, and we in the audience were surprised too at the display of emotion.
There are times I wish Mearns was more disciplined. For instance, when she does an arabesque, she often doesn’t straighten her free leg completely. As a result, there’s a slight fuzziness to her line when there should be a severe geometrical shape. But it’s no doubt an exciting, unique interpretation. At the end of the Scherzo, Mearns miraculously saved a series of pirouettes and beamed at the audience, which roared back. Janzen remains one of the company’s best partners. His solo work in the Scherzo was deliberate but decent.
The other standout performance of the evening went to Mira Nadon as the Tall Girl in Rubies. Sexy, alluring and precise, she towered over the cast both literally and figuratively. Also, the sustained, unsupported arabesque penchées were the best since Teresa Reichlen. Megan Fairchild has danced Rubies for over 20 years, and while her rather cute interpretation has never been a personal favorite, I cannot deny her consistency and craft. I’ve never seen her have a moment’s hesitation or stumble in this role. Anthony Huxley is essentially a quiet, reserved dancer and thus not a natural for Rubies, but his high jumps and sheer speed in getting from point A to point B are thrilling in their own way.
Emeralds is the most fragile ballet of the triptych; over the years I’ve seen a number of casts and never one that is fully satisfying. Indiana Woodward made her debut last night in the Violette Verdy role. Woodward is one of the most charming dancers of the company, but her upper body was slightly tense, and thus the bracelet solo not as fluid as it could have been. As her partner, Tyler Angle is now a dancer that brings me little pleasure. His slow, plodding dancing drains the energy onstage. On the other hand, Emilie Gerrity is a natural for the Mimi Paul walking role, and she and Adrian Danchig-Waring were elegance itself in the “clock” pas de deux.
At the end of the evening, all the alumni in the audience crowded onstage, while confetti poured from the ceiling. Many of the former dancers still looked as lithe and regal as they did when they were young. They brought out the most senior alumni the last. There were so many people onstage that it was hard to catch everyone’s face, but the evening ended with a feeling of joy and awe. Seventy five years ago, George Balanchine and Lincoln Kirstein decided to build something beautiful. Last night was a tribute to their vision, and all the dancers who made that vision possible.
