{"id":384984,"date":"2026-07-03T14:06:21","date_gmt":"2026-07-03T14:06:21","guid":{"rendered":"https:\/\/www.newsbeep.com\/us-ca\/384984\/"},"modified":"2026-07-03T14:06:21","modified_gmt":"2026-07-03T14:06:21","slug":"homecoming-new-york-city-ballet-returns-after-20-years","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/us-ca\/384984\/","title":{"rendered":"Homecoming: New York City Ballet Returns After 20 Years"},"content":{"rendered":"

Twenty years \u2026 is a long time\u2026Long enough for dancers to become legends, for artistic directors to come and go, and audiences to wonder whether memory had made the company larger than life.<\/p>\n

From June 24 through 28, Glorya Kaufman Presents Dance at the Music Center<\/a> welcomed New York City Ballet <\/a>(NYCB) back to Los Angeles for its first appearance in two decades. Dividing the engagement between contemporary works and classics, the company offered two distinct programs designed to satisfy devoted balletomanes while introducing a new generation to one of America\u2019s most influential dance institutions.<\/p>\n

The anticipation at the Dorothy Chandler Pavilion was unmistakable\u2026.So too, was the skepticism.<\/p>\n

Could this company\u2014whose reputation was built by George Balanchine, Jerome Robbins, and generations of remarkable artists\u2014still live up to its own extraordinary legacy?<\/p>\n

Founded in 1948 by Ballet Russes\u2019 George Balanchine and Lincoln Kirstein, New York City Ballet forever altered the course of American ballet. Under Balanchine, ballet became leaner, more challenging, more musical, and unmistakably American. Robbins expanded its emotional vocabulary, while Peter Martins guided the company through nearly three decades following Balanchine\u2019s death. Today, Artistic Director Jonathan Stafford and Associate Artistic Director, the remarkable Wendy Whelan inherit not only one of ballet\u2019s greatest repertoires, but the responsibility of keeping that legacy alive.<\/p>\n

After years of waiting, its offerings in Program A proved a surprisingly uneven homecoming.<\/p>\n

\"New<\/a><\/p>\n

New York City Ballet in \u201cSigns\u201d by Gianna Reisen\u2019s \u2013 Photo by Erin Baiano.<\/p>\n

Program A opened with Gianna Reisen\u2019s Signs, originally created for students of the School of American Ballet. Set to Philip Glass, the work never seemed to discover its own center with its \u00a0unfettered arm movements, amoeba-like formations and misguided direction. Despite a vibrant corps member, Olivia Bell\u2019s, the piece\u2019s focus never quite caught fire, leaving barely a hints of the vitality one associates with the company.<\/p>\n

\"NYCB<\/a><\/p>\n

NYCB \u2013 Daniel Ulbricht in Jerome Robbins\u2019 A \u201cSuite of Dances\u201d \u2013 Photo by Erin Baiano.<\/p>\n

Jerome Robbins\u2019 A Suite of Dances, was originally created for Mikhail Baryshnikov who exuded such lilting warmth and playful artistry.\u00a0 The piece allowed moments to glide, to skim with effortless simplicity, virtuosity and meaning, and covering the empty stage with clear intent that rarely presents itself.<\/p>\n

In Program A, Bach\u2019s selections from the Six Suites for Solo Cello, paired cellist Hannah Holman with soloist Daniel Ulbricht.\u00a0 Dressed in the traditional deep mauve pants and shirt, Ulbricht danced with characteristic ease, yet the humanity that made Robbins\u2019 original creation unforgettable never fully emerged.<\/p>\n

Then came Ulysses Dove.<\/p>\n

While the first and third works left only a memory of the brilliance of an earlier New York City Ballet, Ulysses Dove\u2019s Red Angels (1994) finally reignited it. A choreographer celebrated for his dramatic clarity and fearless imagination, Dove (1947\u20131996) created a work that remains as fresh and electrifying today as when it premiered.<\/p>\n

\"NYCB<\/a><\/p>\n

NYCB \u2013 Emilie Gerrity and Davide Riccardo in Ulysses Dove\u2019s \u201cRed Angels\u201d \u2013 Photo credit Erin Baiano.<\/p>\n

From its arresting opening, with Emilie Gerrity and Joseph Gordon emerging beneath stark lighting by Mark Stanley, with Holly Hynes\u2019 striking crimson unitards, there was nowhere to hide. Technique, musicality, and commitment were demanded from each dancer. Gerrity, Gordon, Ruby Lister, and Davide Riccardo met those demands with thrilling confidence. \u00a0A particular surprise was corps member Ruby Lister, whose commanding performance suggested an exciting artist to watch for.<\/p>\n

\"NYCG<\/a><\/p>\n

NYCG \u2013 KJ Takahashi and Peter Walker \u2013 \u201cThe Times Are Racing\u201d by Tiler Peck \u2013 Photo by Erin Baiano.<\/p>\n

After that\u2026Justin Peck\u2019s Times Are Racing closed the evening with restless contemporary energy. At times the work felt deliberately curious, its bustling groups suggesting everything from urban tribes to an enclave of witches. \u00a0The mysterious gatherings never revealed a clear dramatic intent. Yet from within that organized chaos emerged two irresistible personalities. Tiler Peck\u2019s radiant ease and natural rapport with the audience reminded us why she has become one of ballet\u2019s beloved and brightest stars; while K.J. Takahashi\u2019s wit, fearlessness, and infectious charm transformed every entrance into a spirited scrappiness that made the section live.<\/p>\n

Then came Saturday \u2014 Program B\u2026and everything changed\u2026<\/p>\n

New York City Ballet was back\u2026 <\/p>\n

\"NYCB<\/a><\/p>\n

NYCB \u2013 Mira Nadon, Isabella LaFreniere, and New York City Ballet in George Balanchine\u2019s \u201cConcerto Barocco\u201d \u2013 Photo credit Erin Baiano.<\/p>\n

Saturday\u2019s Program B, was like a different company.\u00a0 From the Balanchine Trust, the program began with the brilliant Concerto Barocco. Conceived as an exercise for the SAB\u2019s students, it celebrated the opening of The New York City Ballet in 1948.<\/p>\n

Suddenly, the company I remember took center stage. \u00a0Balanchine\u2019s legacy came forward with the full power of his musicality and physical creative brilliance.<\/p>\n

\"NYCB<\/a><\/p>\n

NYCB \u2013 Mira Nadon, Gilbert Bolden III, and New York City Ballet in George Balanchine\u2019s \u201cConcerto Barocco\u201d \u2013 Photo credit Erin Baiano.<\/p>\n

Soloists Isabella LaFreniere, and Mira Nadon\u2019s expertise, as first and second violins of Bach\u2019s Double Violin Concerto in D-minor gave way to Gilbert Bolden III\u2019s partnering. \u00a0They all enjoined the wonderous ever-present corps of eight dancers and Bach came alive before our eyes.<\/p>\n

The artistry of Violinists Kurt Nikkanen and Dennis Kim encouraged the audience to hold their collective breath as they experienced Balanchine\u2019s personification of the instruments.\u00a0 He did not rely on simple, beat-for-beats, but mapped out spatial designs to match the rhythmic vitality, counterpoint, and polyphony of Bach\u2019s structure.\u00a0 He played with the intention that would be the neoclassic future of ballet.\u00a0 And the ever-present quote \u201cHear the dance, See the Music\u201d was born.<\/p>\n

\"New<\/a><\/p>\n

New York City Ballet in George Balanchine\u2019s \u201cAllegro Brillante\u201d \u2013 Photo credit Erin Baiano.<\/p>\n

Next, the quick moving lyricism of Allegro Brillante composed by Peter Ilyitch Tschaikovsky, was one of Balanchine\u2019s early works (1956) for Maria Tallchief and Nicholas Magallanes. The petite fleet-footed Indian Woodward, reminiscent of Patricia Wilde, was partnered by the equally technical Joseph Gordon.\u00a0 The excellent corps supported the two soloists with equal aplomb. \u00a0Karinska\u2019s flowing costumes of mint green, peach and white, moved like the wind, matching Woodward\u2019s ability to travel the space with sheer nimble delight.\u00a0 The classic, played by piano soloist Hanna Hyunjung Kim, drove the speed and effortless complexity of the dancers to the last chords.. lifting the audience out of their seats.<\/p>\n

Then\u2026a pause to move onto a very different mood.<\/p>\n

\"NYCB<\/a><\/p>\n

NYCB \u2013 Sara Mearns in Christopher Wheeldon\u2019s \u201cThis Bitter Earth\u201d \u2013 Photo credit Paul Kolnik.<\/p>\n

This Bitter Earth, was done in a mashup of music by Max Richter and Clyde Otis with vocals by Dinah Washington. The deeply moving piece by Christopher Wheeldon unveiled an emotional narrative that swept me away.\u00a0 Sara Mearns with Gilbert Bolden III, dressed in muted nude hues, with costumes by Reid Bartelme, flowed with every move.\u00a0 Mary Louise Geiger\u2019s dramatic low lighting whispered the essence of the piece.\u00a0 Mearns extraordinary presence needed only to stand. Her effortless line and technique, with strong support by Bolden, brought her full artistry to the fore. This exquisite work hit deeply in the soul, leaving the want for more.<\/p>\n

\"Roman<\/a><\/p>\n

Roman Mejia and New York City Ballet in Tiler Peck\u2019s \u201cConcerto for Two Pianos\u201d \u2013 Photo credit Erin Baiano.<\/p>\n

After the intermission, Tiler Peck\u2019s Concerto for Two Pianos, set to Francis Poulenc\u2019s exhilarating score, brilliantly performed by Hanna Kim and Stephen Gosling, closed the program we wished would never end. The ballet unfolded as a succession of thrilling surprises, revealing a choreographer with a sophisticated understanding of structure, musical timing, and theatrical pacing.<\/p>\n

Peck has long proven herself one of ballet\u2019s finest dancers. Here, however, she demonstrates something more: an emerging choreographic voice where instinct, intellect, and imagination meet. Concerto for Two Pianos is technically daring yet emotionally generous, balancing bravura with moments of remarkable subtlety.<\/p>\n

\"NYCB<\/a><\/p>\n

NYCB \u2013 Emma Von Enck, India Bradley, and Roman Mejia in Tiler Peck\u2019s \u201cConcerto for Two Pianos\u201d \u2013 Photo credit Erin Baiano.<\/p>\n

Roman Mejia, is astonishing. He captured the audience from the instant he stepped onstage with his transcendent technique and wholehearted commitment. Owen Flacke partnered with assurance and elegance.\u00a0 The lovely surprise was Peck\u2019s choice as lead ballerina. Elevated from the corps for this role\u2014 Kloe Walker brought luminous line, musical and emotional sensitivity, with quiet authority to the ballet\u2019s center. Clad in Zac Posen\u2019s flowing mauve design, supervised by Marc Happel, she became the visual focus around which the ballet revolved.<\/p>\n

Brandon Stirling Baker\u2019s rich lighting heightened the shifting costume palette, from muted greys of the corps, to vibrant blues embracing the soloists Emma Von Enck and India Bradley.\u00a0 Von Enck sparkled with joyous speed and crystalline footwork, while the long-limbed Bradley commanded the stage with expansive extensions, impeccable timing, and elegant presence. Throughout, the corps functioned almost as a Greek chorus, framing Walker\u2019s more introspective, Lorca-like character. The contrast created dramatic tension while preserving the remarkable unity of Peck\u2019s choreographic vision.<\/p>\n

\"NYCB<\/a><\/p>\n

NYCB \u2013 Roman Mejia in Tiler Peck\u2019s \u201cConcerto for Two Pianos\u201d \u2013 Photo credit Erin Baiano.<\/p>\n

So, when New York City Ballet arrived in Los Angeles, I wondered whether memory had made the company larger than life.<\/p>\n

After Program B, I had my answer.<\/p>\n

Balanchine\u2019s vision still pulses through this company\u2014not as a museum piece, but as a living, evolving art. More importantly, artists like Tiler Peck are proving that the story did not end with its founders. They are writing the next chapter.<\/p>\n

Was it worth the twenty-year wait?<\/p>\n

I think so.<\/p>\n

Post note: Such a fitting gift to honor Stephen Peck (1947 \u2013 2023), Tiler\u2019s beloved father. For all his love and support\u2026she did him proud.<\/p>\n

For more information about New York City Ballet, please visit their website<\/a>.<\/p>\n

To learn more about Glorya Kaufman Presents Dance at the Music Center, please visit their website<\/a>.<\/p>\n

Written by Joanne DiVito for LA Dance Chronicle.<\/p>\n

Featured image:\u00a0NYCB \u2013 Roman Mejia, with Victor Abreu, left, and Harrison Coll in George Balanchine\u2019s Allegro Brillante \u2013 Photo by Erin Baiano.<\/p>\n

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