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Twenty-eight-year-old dancer-choreographer Justin Peck premiered his Broadway-big “In the Countenance of Kings” between “Theme” and another precision-crafted work, Christopher Wheeldon’s “Continuum.” Peck is one of a small group of swiftly promoted young male choreographers in the U.S. In 2014, he was named New York City Ballet’s resident choreographer. This San Diego native set the sweeping “Countenance” to pop music maker Sufjan Stevens’ “The BQE” (Brooklyn Queens Expressway), lushly and robustly orchestrated by New York-based classical horn player Michael P. Atkinson amazon ballet flats.
The ballet’s orchestra seemed to relish the abandon of the music, and the audience Thursday loved the abandon of the dance amazon ballet flats. Its hideous costumes, however, suggested badly imagined marathon wear for a new nation. The dance itself was full of enjoyable clusters of bodies that sent arms up as if to celebrate a team win. It also was packed with waves of action that both deposited and picked up The Protagonist — as Peck portentously calls the character nicely danced by Joseph Walsh. But it is a slender work, unable to support all its grandly named characters (The Foil, The Hero, Quantus, Electress and Botanica) or designation for the crowd (School of Thought)..
While Peck has an eye for moving ensembles around the stage in clear and simple patterns, he hasn’t figured out how to breathe narrative life into what’s essentially a rollicking Broadway ensemble piece. “Continuum” (2002), which opened the program, was in every way, “Countenance’s” opposite — and one of Christopher Wheeldon’s most austere and fascinating works. Part paean to the engineering of the body and part nod to the Bauhaus, yoga and modern dance (with hints of Jerome Robbins’s “The Cage”), the ballet never strayed from classical form but consistently dared to push its envelope amazon ballet flats.
Set to a compilation of György Ligeti’s works for keyboard, the ballet opens as the back curtain liquidly rises to reveal a band of white, while dancers appear from the wings and then disappear, only to emerge to perform a simple walk catch step. Like “Theme,” “Continuum” relies on basic building blocks to create a highly reticulated world as mysterious and unpredictable as the Ligeti compositions. Vanessa Zahorian and Luke Ingham were sensuous and Shiva-like, yet intensely functional, in their pairing. Frances Chung precisely carved arabesques into the air in one of her solos amazon ballet flats. The couplings of Dores André with Steven Morse, Chung with Joseph Walsh, and Sofiane Sylve with Tiit Helimets highlighted dance as mysterious clockwork motion, and bodies as whirligigs and elegant organisms..
For lovers of this troupe, this year’s retirement of Russian-born Nedvigin, Cuban Joan Boada and Frenchman Pascal Molat marks the departure of three splendid dancers who have channeled artistic brilliance and real humanity into this company for 19, 17 and 14 years respectively amazon ballet flats. There is still time to see them at work here, though. In Program 6, Boada dances in one of the casts for Christopher Wheeldon’s “Rush.” And in Program 7, Nedvigin’s diamantine technique and gallant style remain on display in Balanchine’s “Theme and Variation” (1947). Nedvigin will also be featured in Program 8’s full-length “Eugene Onegin” later this month. A formal farewell for these longtime principals will take place in an April 17 goodbye concert that’s open to the public..