New York City Ballet Returns to LA after a Long Absence-Times are always Changing

If it seems that NYC Ballet hasn't been in Los Angeles in forever, it's because it has been two decades. Hooray, herald the return of one of the world's top echelon ballet companies. There's an audience here that revels in ballet and dance. Dance is a consummate performance art. It encompasses all musical styles and  endless visual designs expressed through movement of the human form. Hallelujah, there was live music albeit, limited musicians who accompanied the dancers. There are two different programs featured for the six performances over four days; June 24-28 at the Dorothy Chandler Pavilion. Last night's opening performance was a pastiche of modern, classical and most dance forms in between. In particular, the final piece on last night's program, "The Times are Racing" choreography by Justin Peck. The work premiered in 2017.  Its medley of hip hop, contemporary, tap and "ballet" was energetic and ambitious. There was plenty of fleet footwork and exciting moves to admire. "Ballet" is in quotes because female ballet dancers are to be "en pointe" creating an elongated, ephemeral visual effect. The women dancers did not don pointe shoes. Constrictions placed on ballet are continuously being stretched and challenged which is essential for art forms to thrive. Still, the mixed styles in "Times" is not ground breaking but appropriated as dance is want to do.  Justin Peck, a former dancer with the company was named Artistic Director and Resident Choreographer in 2014. With this post comes the crucial responsibility for keeping ballet alive and expanding its audience. The costuming was street wear with jeans, cut-offs and t-shirts. is beginning The non-stop intensity was intoxicating. In contrast, "Signs" (2022) choreographed by. Gianna Reisen with music by Philip Glass was softer and more sedate. The dancers all wore pale blue leotards.  Glass' repetitive scoring was less abrasive than his typical pulsating style. My favorite piece for the evening was "Red Angels," (1994) with blood red bodystockings and fiery portals in the staging. This gave the affect of dancers slithering out of Hell; ready to cause havoc. The ambience and choreography were startling and gloriously menacing. Despite being an "older" piece, it felt alive and timeless.  There was no Balanchine ballets in this program.  Two of his ballets are featured on the other program. There was a Jerome Robbins piece which featured his humorous wit and broadway showmanship. Created with Baryshnikov mind, the solo dancer, Daniel Ulbricht and cellist on stage played off each other. Ulbricht's musicality was superb as he emphasized Bach's Six Suite compositions. Comparing him with Baryshnikov's gravity defying leaps came up a little short. The evening offered something for everyone to favor. It's vital for major companies like NYC Ballet to continue to embrace new techniques and ideas while maintaining its classical lineage. Most importantly, let's keep attending ballet and dance in LA to ensure it remains here.