Review: THE NEW YORK CITY BALLET at The Kennedy Center

It's hard to be a critic when watching the New York City Ballet. The company's technique, grace, and variety of programming is impeccable. The company currently has two programs running in rep at the Kennedy Center; I caught the second, which includes works by Christopher Wheeldon, George Balanchine, and Justin Peck. The night feels like a quick tour through the dance and music of the past 100 years, starting with the jazz of George Gershwin and ending with the frenetic electronica of Dan Deacon. There's something for everyone here, whether you prefer your ballet classical or contemporary.

The first piece, American Rhapsody, starts us off with the lighthearted Gershwin. The choreography has just a touch of Broadway jazz and plenty of impressive lifts and partner work from the ensemble. Featured dancers Unity Phelan, Lauren Lovette, Russell Janzen, and Taylor Stanley are all excellent, and it's nice to see them interact in unique combinations, including trios and same gender duets. The four have great chemistry; it's like watching friends and lovers connect on a crowded speakeasy dance floor.

The Four Temperaments, set to music by Paul Hindermith, follows. Balanchine's choreography is like a piece of modern art, all abstract images and precision. It's here that the company's mastery really shines; there is not a finger out of place. There is exquisite partner work throughout, but Ashley Laracey and Aaron Sanz really shine, as they seem to meld into each other during the third theme.

The Times Are Racing, set to the closing tracks of Dean Deacon's album America, is the standout piece. The music is charged, repetitive electronica-the stuff of sweaty nightclubs, not the classical stage. But Justin Peck's breathtaking choreography manages to match the music's frenetic energy and feeling of climax. The threads of hip-hop and tap woven throughout the choreography keep the piece feeling unpredictable in the best way. Featured dancers Tiler Peck and Daniel Applebaum really shine; the chemistry between them is palpable. The dancers wear messy buns, sneakers, and mismatched street clothes (some which have subtle political messages like "change" and resist"). The piece has real heart, and it's a joyful note to leave the theatre on.

Photo Credit: Paul Kolnik