The New York City Ballet’s fall season, which concluded last Sunday, featured a mix of standout performances amid some less successful new works. The season’s highlights included exceptional displays of artistry from principal dancers Mira Nadon, Naomi Corti, and Alexa Maxwell, as well as a poignant farewell to longtime principal Adrian Danchig-Waring.
Mira Nadon drew attention for her dynamic presence and commitment to embodying emotion in movement. Her performance in George Balanchine’s “Diamonds” was marked by intense chemistry with partner Chun Wai Chan, enlivening the traditionally precise choreography with palpable vitality. Nadon also revitalized Balanchine’s decades-old “Pithoprakta,” embraced the comedic elements in Jerome Robbins’s “The Concert,” and conveyed the natural elegance of classics like “Emeralds” and “Diamonds,” reinforcing ballet’s enduring appeal.
This season included several premieres, though reactions were mixed. The only new installment receiving notable praise was Pam Tanowitz’s “One With You,” created as a retirement tribute to Adrian Danchig-Waring. This solo work was distinguished for its depth and is regarded as a coveted role for male dancers, although it is unlikely to become a regular part of the company’s repertoire. In contrast, the three pieces commissioned for the fall fashion gala were criticized for their superficiality, with critics describing them as lacking artistic sincerity despite the commercial success of pairing choreographers with designers.
Another emotionally charged production was the return of Alexei Ratmansky’s “Solitude,” a ballet reflecting on the horrors of wartime life in Ukraine. Joseph Gordon’s portrayal of a grieving father added a significant emotional dimension to the piece. The season also featured performances by Ashley Laracey, Dominika Afanasénkova, and Indiana Woodward, each praised for their technical skill and expressive nuance in various Balanchine ballets.
Among the recently promoted dancers, new soloist Owen Flacke impressed in his debuts, demonstrating a commanding stage presence and refined partnering in “The Four Temperaments” and “Diamonds.” Meaghan Dutton-O’Hara and Kloe Walker also received promotions, with Walker’s developing confidence suggesting potential for future stardom.
“The Four Temperaments” saw strong debuts from Ava Sautter and Shane Williams in the opening segment, as well as a polished performance by Taylor Stanley in the Melancholic variation. Stanley, like Danchig-Waring, is set to depart the company in the near future, prompting calls to catch his performances while possible. Danchig-Waring’s meticulous clarity in the Phlegmatic variation was noted for its evocative quality, leaving a lasting impression as a finale to his tenure.
Naomi Corti earned recognition for her elegant portrayal of the Tall Girl in “Rubies,” showcasing confidence and musicality as she took center stage. Alexa Maxwell’s debut in the same ballet stood out for her energetic and charismatic interpretation, turning the piece into a vibrant and lively performance alongside partner Joseph Gordon. Maxwell also revisited the role of the Sleepwalker in “La Sonnambula,” where her intense, almost feral energy brought a compelling emotional complexity to the character.
Overall, the season offered a blend of brilliant individual achievements set against a backdrop of uneven new works, underscoring both the strengths and challenges facing the company as it moves forward.