David H. Koch Theater, Lincoln Middle, New York, NY.
February 7, 2026.
New York Metropolis Ballet (NYCB)’s 2026 Winter Season is a strong compilation of works, starting from the brand new to the well-loved. One might catch the classics reminiscent of Diamonds, Serenade, Prodigal Son, and the full-length The Sleeping Magnificence. Or, one might catch the Modern Choreography II, as I did in early February, and watch 4 items: Dig the Say (Justin Peck, 2024), This Bitter Earth (Christopher Wheeldon, 2012), The Bare King (Alexei Ratmansky, 2026) and All over the place We Go (Justin Peck, 2014). It was one chilly day in a lineup of many frigid ones, however there’s nothing fairly like ballet to heat up any winter afternoon.
Dig the Say, carried out by Tiler Peck and Roman Mejia, showcases a playful “however are you able to do that?” forwards and backwards aspect of jovial competitors. It’s cute and straightforward to soak up, though I wouldn’t wish to be up in opposition to Peck in any technical competitors. The pace, obvious ease and musical acuity to her dancing has at all times delighted me, and Mejia’s robust presence solely makes her shine extra. They performed with a crimson ball all through, including a youthful aspect of the piece, in addition to the stress of what would occur if somebody have been to “drop the ball.”
This Bitter Earth, a ballet I like dearly and have seen many instances, was danced by Sara Mearns and Tyler Angle, and had a relaxed gravity to it — the particular weightiness that comes with understanding the passage of time in a method that solely expertise offers. Each of those veteran dancers of the piece and the corporate moved with the bittersweet consciousness of such expertise.
The Bare King, Alexei Ratmansky’s newest work for the corporate and it’s 500th unique creation, makes use of the fairy story, The Emperor’s New Garments, as inspiration and delivers a little bit of comedy within the cautionary story. It’s farcical, however solely simply so. For Ratmansky, it was born of present occasions. NYCB hardly ever does story ballets, and it was enjoyable to see the dancers in additional literal, character and comedic roles.
Justin Peck’s works each began and ended the afternoon, with All over the place We Go closing out this system. The cinematic rating by Sujfan Stevens was the second collaboration between Peck and the composer. Its vibrant tone permits the driving, plotless ballet to take the viewers on a nice journey. It’s joyful and actual, with moments of heavy releases, giving the lighter moments increased worth. All 9 actions have been a pleasure to look at, and it’s a piece that exemplifies modern ballet of the mid-2010s.
In a swirling world, it’s good to have a couple of hours of magnificence, humanity and artwork within the confines of a heat theater on a chilly day. Dance is, at its core, a type of fundamental and elementary human communication. To see it or take part in it’s a present, and NYCB is kind of a fantastic one.
By Emily Sarkissian of Dance Informa.
