A childhood dream came true for me last night.
I saw one of the world's prima ballerinas dance Édouard Lock's steps.
La La La Human Steps.
Not that I can remember dreaming it in my grade school years. Lock hadn't locked onto pointe work in the context of La La La until 1997, when he began work on Salt. But last night's North American premiere of New Work, or A Piece by Édouard Lock -- it's not yet clear what title the troupe founder and choreographer will settle on -- felt just like a decades-old wish lingering on my bucket list.
Opening the dance was a pas de deux with firecracker Talia Evtushenko. Her impossibly lithe, Aeon Flux physique, irregular, non-classical posture, and centipede-like ground control blew my humble mind as she slid into a recurring side crouch throughout the performance, like she was possessed by an ancient vedic goddess scurrying around on multiple limbs.
Another pas de deux that stood out was the once National Ballet of China lead Mi Deng and La La La veteran Jason Shipley-Holmes. Their chemistry is undeniable. Sensual. Deng's limbs shift at breakneck speed as Shipley-Holmes spins her mercilessly, Deng's flittering arms in full blur with feet like smoke tracers.
Finally, leading Russian ballet soloist Diana Vishneva, who's guest-starring in some but not all performances, closes New Work, also with Shipley-Holmes. Rousing a standing ovation from a full house, I just don't know how to describe her in motion, which is ironic because days earlier, I had a new friend make a crack at me along the lines of "you're not the type to be at a loss for words, are you?"
Usually not.
In line with About.com's and the New York Times Company's full disclosure policy, readers should be aware that Evelyn Reid was provided with complimentary tickets to review New Work, a common procedure in the entertainment industry. Also note that the latter gratuity has not influenced this review. For more information on full disclosure at About.com, please consult our ethics policy.
