NEW YORK, NY.-
When it was announced in December that choreographer Alexei Ratmansky would be parting ways from American Ballet Theatre as its artist-in-residence after 13 years, my first reaction was regret followed swiftly by hope. Would New York City Ballet, where his choreographic imagination has the fortitude and space to run breathtakingly free, lure him across the Lincoln Center plaza?
How often does a year start out with good news? On Thursday, it was announced that Ratmansky, one of ballets greatest choreographers, would join City Ballet as its artist-in-residence in August. Ratmansky, as he said to The New York Times, wanted a change.
Throughout his tenure at Ballet Theatre, he made dances for other companies, including City Ballet, where his imaginative works had a way of enhancing the dancers bringing out qualities you didnt know they had just as they gave his choreography a crystalline boldness. Its a symbiotic relationship.
What sprang to my mind was a podcast conversation between Ratmansky and City Ballets associate artistic director, Wendy Whelan a former principal who danced leading roles in four of Ratmanskys works, and magnificently at that in advance of Ratmanskys ballet Voices in January 2020. Set to a score by experimental composer Peter Ablinger, featuring recorded speech, Voices, full of texture and vivacity, was not the kind of dance he was making at Ballet Theatre or anywhere.
As Ratmansky told Whelan, he knew it would be a challenge and that City Ballet would be a good place to challenge myself, because of the support of the dancers and the atmosphere in the studio and their readiness to jump into anything.
Other parts of that conversation jumped out, too: his love of dancing works by George Balanchine, City Ballets founding choreographer; the imagination and individuality of the City Ballet dancers they are themselves, he said, and they will shape your steps according to their own ideas; and his palpable excitement at such a bold choreographic undertaking. The new feeling for me, he said, is that I dont have a sense of how its going to work, and Im grateful to the dancers.
Really, the courtship between Ratmansky and City Ballet a new New York City Ballet under the leadership of its artistic director, Jonathan Stafford, and Whelan was in plain sight. In the podcast, Whelan, with her easygoing grace, spoke about the mutual respect between Ratmansky and the dancers in the studio, calling it a fueling of both sides. Ballet Theatre was lucky to have Ratmansky for 13 years, but his real home always seemed to be with City Ballet. Its in the dancing.
The six ballets he has created for the company are like dances unfurled from dreams, each with an ease born from daring, starting with the first, Russian Seasons (2006), a fresh, rich merging of idioms: classical, folk, pedestrian. There was also mystery, humor and musicality a complete point of view present from the start. But each of Ratmanskys works for City Ballet is so full, so abundant that its hard to believe there have been only six.
Concerto DSCH is as galvanizing and mysterious a dance as there ever was. Ratmanskys inventiveness soars in the whimsical, enchanting Namouna, A Grand Divertissement; the painterly, emotional Pictures at an Exhibition; and the dark, enigmatic Odessa, set in the Ukrainian city after the Russian Revolution a ballet that deserves a second life with careful coaching and a new cast. Voices is back for the winter season and not to be missed.
The artist-in-residence position pairs him with dancers hungry for a purpose beyond the already vital one that they have: keeping the repertory of Balanchine and Jerome Robbins alive. City Ballet is rare in that it has such a powerful foundation. At a time when many major ballet companies feel rudderless programming meandering contemporary works, badly choreographed classics or new, mediocre story ballets in the hopes of boosting ticket sales the appointment of Ratmansky has a big-picture resonance.
As City Ballet ushers in a new generation of dancers unaffected, quick, musical, game Ratmansky wont be yet another choreographer circulating in and out. He will play a part in nurturing their artistry, in giving them a reason to keep pursuing their dancing dreams. And he will give marvelous veterans such as Sara Mearns and Megan Fairchild a reason to stick around, a bright light for a company that has had its share of rocky moments recently the resignation of former director Peter Martins among accusations of sexual harassment and physical and verbal abuse; a photo-sharing scandal among principal men; and a generational shift caused, in part, by the pandemic.
For dancers, the residual tension must be exhausting. And for a critic, so is the idea of sitting through any of Martins ballets. Here is another hope: that City Ballet will replace his version of Swan Lake with Ratmanskys. It glows, its urgent, and its pathos and fantasy dont feel so removed from the present moment.
Throughout Ratmanskys ballets, his references might not be direct, but his work is in conversation with modern times, for better and worse. (A former artistic director of the Bolshoi Ballet, Ratmansky grew up in Ukraine, where he still has family. He has vowed not to return to Russia while President Vladimir Putin is in power.) He isnt just another choreographer bouncing from one company to the next; hes engaged with the larger world.
At the same time, he hasnt exhausted the possibilities of classical vocabulary; like Balanchine, he instills steps with a crisp and sweeping musicality. And at City Ballet, he will be part of an artistic team that includes Stafford and Whelan, along with Justin Peck, the companys resident choreographer and artistic adviser. Just as Ratmansky was ready for a change, City Ballet is in the middle of its own.
Who loses here? Ballet Theatre. Even with a new full-length ballet by Christopher Wheeldon, the companys summer season at the Metropolitan Opera House the last programmed by its outgoing artistic director, Kevin McKenzie seems like a rehash of the past: Giselle, Romeo and Juliet and Swan Lake. (And no Ratmansky.) Under its new artistic leader, Susan Jaffe, the company may blossom while preserving its roots, but for now, its repertory confines Ballet Theatre to another time.
That is not to say that City Ballet hasnt had misfires in its recent commissions. But with Ratmanskys new position, suddenly, the ballet world or one part of it doesnt feel so stuck. Beyond his choreographic output, Ratmansky, who will create at least one ballet a year as well as rehearsing his existing repertory, could become a stabilizing force. He knows what he wants and he pushes to get it, but he also has an indelible rapport with dancers. You get the feeling theyre willing to fight for each other.
What happens when a dancer goes to the limits for such a choreographer? In a behind-the-scenes video about Ratmanskys Concerto DSCH, principal Mearns describes a lift in which she is held above her partner with one leg extended to the side. He said, You need to look up to the sky like its the heavens, and then I want you to actually close your eyes, she says. So I do, and its amazing and so magical.
He didnt just guide her body, he led her spirit. These are the moments when ballet becomes more than ballet. Dancers shape the music, the air and, as Ratmansky said, the steps to reveal I like to think something about themselves. With Ratmansky at City Ballet, the future seems bright, effervescent. Its like what Balanchine used to say to his dancers: There is only now. I love the idea of now.
This article originally appeared in The New York Times.