When creating a new ballet, choreographer Gianna Reisen typically incorporates numerous pas de deux, as she enjoys “bringing people together and working with bodies in that way,” she explained. However, for her upcoming ballet “Play Time,” which will premiere at SPAC during New York City Ballet’s five-night run, Reisen faced the challenge of keeping her dancers apart.
This was due to the boxy, angular costumes adorned with Swarovski crystals (designed by Alejandro Gómez Palomo) that the ten performers in “Play Time” wear. These costumes physically prevent the dancers from holding, lifting, and turning each other. For Reisen, the youngest choreographer to create repertory work for New York City Ballet, this obstacle pushed her to explore more subtle expressions of connection.
Reisen revealed, “Their hands were basically the only body parts that could touch, so to create relationships, I had to use hand-holding and eye contact and different ways of moving.” The costumes not only posed a challenge in terms of movement but were also heavy due to the half a million embedded crystals. Surprisingly, this extra weight aligned with Reisen’s approach, which incorporates quirky, fast movement with precise musicality and a palpable sense of gravity.
Reisen, who is an alum of the School of American Ballet, shared, “I always tell my dancers, although they’re in pointe shoes, to feel really grounded, and honestly, the weight of the costumes helped.” Alongside the choreography, the music plays a central role in “Play Time.” It is set to a commissioned score by Grammy Award-winning singer/songwriter Solange Knowles, marking her first collaboration with a ballet company.
Reisen stated, “Solange and I really connected on our love of jazz music, so we took that route and bounced off from there. We wanted it to be an ever-changing stream of consciousness that didn’t circle around or have a theme or tie anything together.” “Play Time” will be featured on the “SPAC Premieres” program, presented on Wednesday and Thursday evenings.
The program also includes another debut in Saratoga Springs, “Love Letter (on shuffle),” by choreographer Kyle Abraham, whose first work for New York City Ballet was “The Runaway” in 2018. Set to a selection of songs by English musician James Blake, the ballet explores the theme of love and longing. Abraham expressed his admiration for Blake, stating, “I’m kind of obsessed with his voice, his songwriting, the phrasing. There’s so much emotion in the music that I connect with and always have.”
The concept of “Love Letter (on shuffle)” was inspired by the reality of cast changes due to injuries, COVID cases, and scheduling conflicts during Abraham’s time choreographing. Rather than viewing the interruptions as setbacks, he turned them into a strength, creating a ballet that can be performed by multiple casts in various formations. The different dancers bring their own energy and story to the piece, influenced by Blake’s songs.
Abraham emphasized his desire to create work that is honest and vulnerable, showcasing the surrender and vulnerability between dancers in partnering. He mentioned, “When I have the opportunity to have same-sex couplings or nonbinary couplings, it’s great to see that surrender and vulnerability come through and see those breakthroughs happen.”
The “SPAC Premieres” program is balanced with performances of classic ballets by George Balanchine and Jerome Robbins on Friday evening and Saturday afternoon. Additionally, the run opens with “NYCB On and Off Stage,” offering a behind-the-curtain look at excerpts from the week’s ballets. NYCB resident choreographer Justin Peck’s new piece, “Copland Dance Episodes,” will also be featured on Thursday afternoon and Saturday evening.
Peck’s full-evening work, premiered in January, is set to four scores by Aaron Copland from the 1930s and 1940s. Peck aimed to strip away the literal narrative and scenic elements, focusing on the interrelation between movement and music. His experience choreographing for Steven Spielberg’s “West Side Story” remake influenced his approach, thinking in terms of scenes, moments, and shots. The vibrant painted drops by artist Jeffrey Gibson and the costumes by Ellen Warren, featuring 60 hues, added to the overall ambiance.
Peck shared, “The color palette of Gibson’s work guided the costumes, and there are moments in the piece that are planned out structurally, so dancers will suddenly dance together, and the colors all relate to each other. It was a Rubik’s Cube process of figuring that out.” Throughout his 17 years with NYCB, Peck has witnessed highs and lows, including the departure of ballet master in chief Peter Martins and the challenges posed by the pandemic. However, he now feels an optimistic mood within the company.
Peck expressed, “It’s great to be back performing on stage and producing new work again that’s substantial and meant for a live audience. There’s also a really exciting new generation of dancers coming up right now, and it’s very promising and very inspiring.”
In conclusion, Gianna Reisen and Kyle Abraham’s innovative ballets, “Play Time” and “Love Letter (on shuffle),” respectively, alongside Justin Peck’s “Copland Dance Episodes,” showcase the evolving creativity and talent within New York City Ballet. The incorporation of unique costumes, commissioned music, and a focus on connection and vulnerability creates a captivating experience for audiences attending the SPAC premieres program.
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