'Morphoses' reviews Soto in reviews Ansanelli in reviews recent NYCB reviews more Patricia Mary Contino reviews

There is not much to summarize but there is much to Christopher Wheeldon’s Morphoses. It premiered in June during the New York City Ballet’s biennial Diamond Project.

The title says everything about this ballet, for there is shape shifting aplenty. Wheeldon accomplishes this by exploring the musical possibilities – lighthearted/sinister, reflective/impulsive, fast/slow – without overkill. His ballets are never “dumbed down” for an audience. Also reflecting its title, Morphoses plays with mythological and psychological metaphor. Woetzel and Ansanelli’s serious duet ends with circus antics; Whelan turns into Arachne, her limbs frozen into its new multi-limbed form; Soto and Woetzel are twins discovering new territory. However, the most thrilling moments are when passages layer each other, creating image morphing in real time.

This is the third ballet Wheeldon has set to György Ligeti’s music. (San Francisco Ballet premiered Continuum in May). Polyphonia (2001), the first for City Ballet, is, for the time being, his signature work. Besides the music of a prominent 20th century composer and sophisticated Greek titles, Morphoses and Polyphonia share other essential neo-classic elements: leotards instead of costumes (purple for Polyphonia, orange for Morphoses), a bare stage, and central pas de deuxs.

Are the two ballets alike? Yes. At the same time Morphoses is not derivative of its predecessor. If Polyphonia was a statement announcing Christopher Wheeldon as the first ballet choreographer to take serious notice of in the post-Balanchine/Robbins era, then Morphoses represents how rapidly he has mastered dance making. His style reflects, perhaps honors, both his Royal Ballet School training and City Ballet career. Wheeldon fully incorporates the neo-classical idiom and successfully avoids repeating himself, something he has done with all his ballets. These are accomplishments to be celebrated.

Two years ago NYCB’s first Resident Choreographer retired as a Soloist. (He was also a model/demonstrator for The New York City Ballet Workout book.) While ballets he has set on other companies are as musical and well crafted, a major reason for Wheeldon’s success is that he knows NYCB dancers so well. This is both good and bad. Will his future NYCB ballets be as worthwhile with dancers he never performed with? Hope so.

With the exception of Damian Woetzel, the Morphoses cast formed Polyphonia’s larger ensemble. Alexandra Ansanelli is the benefactress in Morphoses. A Soloist known for bravura roles and partnered off here with the dynamic Woetzel, she is comfortable enough with Ligeti’s music that she can phrase and explore it. Woetzel is extraordinary in the Balanchine and Robbins repertory. Until now there hasn’t been a living choreographer who has fully encapsulated his gifts.

Morphoses is tiresome in one respect. The Woetzel/Ansanelli duets are more interesting than the Jock Soto/Wendy Whelan ones. Hopefully this perception will alter with cast changes. Perhaps honoring an unofficial NYCB “tradition” of Soto partnering less than ideal ballerinas, their agonizing duets are predictable and not daring enough. Any new work featuring Wendy Whelan is expected to incorporate her hyperextension. Wheeldon takes full advantage that audiences and critics adore Whelan. The “spider woman” movement didn’t seem odd: it fit moment and dancer alike. Jock Soto can neither be described as a successful classical nor modern dancer, so the “morphing” here served its purpose.