Oddities multiply as counterpoint builds. Those six women, now standing, bend over and put their hands wide apart on the floor, creating an upside down V. Still later, those who've assumed the same position are used by men as tents to sit under. V's are important in other ways too. The busy cadres who come to dance often flank the center in mirroring slanted lines.
However formal in its patterns, the ensemble seems bound up with this love affair, the pas de deux (occurring both alone on stage and with others present) of concern to all. Certainly there is no "story," no "acting." But something lurks beneath the ballet's surface. Only now has it come to me that this might be the death of the composer.
photo: Paul Kolnik
Somogyi and Ramasar in The Red Violin
New York City Ballet
New York State Theater
Through June 25
Weese danced with a lovely amplitude and pliancy, and Woetzel with his usual unaffected clarity. The high-sparkle diamond that flashed at the gala, however, was Wendy Whelan in the pas de deux from William Forsythe's 1992 Diamond Project ballet, Herman Schmerman. Casual, spunky, playful, and looking like a preternaturally wise 12-year-old, Whelan slid and twisted herself through the choreography like silk slipping slowly through a keyhole. Albert Evans matched her with his own more earthy flair.