NYC Ballet | The Wind-Up, Walpurgisnacht, Opus 19/The Dreamer, Flower Festival

Review by Celia Ipiotis

It was “no” to sneakers, and “yes” to toe shoes in Justin Peck’s new, disarming work The Wind-Up. Set to Eroica,  the first movement of Beethoven’s third symphony, the orchestral music soared under the six dancers that moved en masse and individually. Swiftly curving in and around the musical passages, the six dancers playfully dipped into bold rhythms only to be swept up by lush melodies. More than anything, the dancers exuded a sense of freedom and dare I say it in these days of tumult–joy and candor. 

Youth’s freshness and drive were on display, folded in the arts of camaraderie and singularity. Finely crafted, Peckcapitalized on Beethoven’s heady score, while showing off the NYC Ballet  dancers to their best advantage. Frequently excelling at cultivating new talents, Peck brought to the fore newer faces like soloist Ryan Tomash whose clean beats and bright jumps noded to his Royal Danish Ballet training, and the leggy corps member, Ruby Lister who drew attention to her maturing talents. Throughout The Wind Up daring duets and rapid footwork galvanized the dance to the music.

Peck’s welcomed new work was surrounded by George Balanchine Walpurgisnacht Ballet, the free-spirited damsels, hair loose were led by the sensual Miriam Miller in an ecstatic release of feminine liberation. Abandonment and allure underscored the ballet set to the rousing music from Gounod’s Faust.

The iconic 19th century choreographer, August Bournonville, another master of speed, buoyancy and enthusiastic footwork influenced many 20th century choreographers. His Flower Festival in Genzano Pas de Deux, got an airy and lively turn from Ashley Hod and David Gabriel to a score by Edvard Helsted.

Jerome Robbins’ Opus 19/The Dreamer shimmered with the “it” couple Tiler Peck and Roman Mejia. Hardly ever leaving the stage, Mejia, dreamily weaves through the corps in search of — something–until he’s visited by Peck. They  exploded in a duet erected on Serge Prokofiev’s agitated score. Originally created for Mikhail Baryshnikov in 1979, the ballet departed in a hushed darkness engulfing Mejia.

EYE ON THE ARTS, NY — Celia Ipiotis