New York City Ballet’s ‘Contemporary Choreography II’: Beauty, humanity and art
Our take
The New York City Ballet (NYCB) has long been a beacon of artistic expression, and its latest offering, "Contemporary Choreography II," is a testament to the evolving landscape of dance. Taking place at the iconic David H. Koch Theater, this performance showcases a blend of both classical and contemporary works that resonate with the complexities of human experience. As we witness the juxtaposition of timeless pieces like "Diamonds" and "Serenade" alongside contemporary works such as Justin Peck's "Dig the Say," we are invited to explore how ballet continues to push boundaries while still honoring its rich heritage. This dynamic programming is not just about showcasing technical prowess; it reflects a deeper narrative about beauty, humanity, and the transformative power of art.
The inclusion of contemporary choreography, particularly in a season that also features beloved classics, allows for a rich dialogue between the past and present. For instance, Christopher Wheeldon’s "This Bitter Earth" and Alexei Ratmansky's "The Naked King" serve as poignant reminders of how ballet can encapsulate modern themes and emotions. These pieces speak to a broader audience, enabling viewers to connect with the art form on a personal level. In an era where many struggle with self-acceptance and body positivity, these performances can serve as an uplifting reminder of the beauty of individuality and expression. This sentiment is echoed in other productions, such as the Dutch National Ballet: A technical and artistic treat, which showcases the importance of embracing one’s uniqueness through dance.
Moreover, the emotional depth that contemporary choreography brings to the stage is critical in fostering a sense of community and understanding. As audiences sit in the warmth of the theater, they are not merely passive observers; they are participants in a shared human experience. This connection is vital in today's world, where societal pressures often dictate how we perceive ourselves. The beauty of ballet lies in its ability to transcend these barriers and evoke feelings of empathy and empowerment. As we watch the dancers effortlessly convey a spectrum of emotions, we are reminded of our own humanity and the power of self-expression, much like the inspirational narratives found in other artistic showcases, including the Dutch National Ballet and its ability to blend technical precision with deep emotional resonance.
As we look forward to the future of ballet and contemporary dance, it is essential to consider how these art forms will continue to evolve. With each new season, we are presented with an opportunity to embrace change while still honoring tradition. The question remains: how will future choreographers and dancers interpret the complexities of modern life through their art? As we step into a world that increasingly values authenticity and inclusivity, it is likely that ballet will not only adapt but also thrive. This ever-changing landscape is one worth observing, as it reflects not only the artistry of the performers but also the cultural zeitgeist of our times.
In conclusion, the NYCB’s "Contemporary Choreography II" serves as a vital reminder of the role that art plays in our lives. By bridging the gap between classical and contemporary dance, it invites us to celebrate the beauty of diversity and the power of expression. As we continue to champion body positivity and self-acceptance, let us look to the future with hope and excitement, eager to see how the world of dance will continue to inspire and uplift us all.
David H. Koch Theater, Lincoln Center, New York, NY.
February 7, 2026.
New York City Ballet (NYCB)’s 2026 Winter Season is a robust compilation of works, ranging from the new to the well-loved. One could catch the classics such as Diamonds, Serenade, Prodigal Son, and the full-length The Sleeping Beauty. Or, one could catch the Contemporary Choreography II, as I did in early February, and watch four pieces: Dig the Say (Justin Peck, 2024), This Bitter Earth (Christopher Wheeldon, 2012), The Naked King (Alexei Ratmansky, 2026) and Everywhere We Go (Justin Peck, 2014). It was one cold day in a lineup of many frigid ones, but there’s nothing quite like ballet to warm up any winter afternoon.
Dig the Say, performed by Tiler Peck and Roman Mejia, showcases a playful “but can you do this?” back and forth element of jovial competition. It’s cute and easy to take in, although I wouldn’t want to be up against Peck in any technical competition. The speed, apparent ease and musical acuity to her dancing has always delighted me, and Mejia’s strong presence only makes her shine more. They played with a red ball throughout, adding a youthful element of the piece, as well as the tension of what would happen if someone were to “drop the ball.”
This Bitter Earth, a ballet I love dearly and have seen many times, was danced by Sara Mearns and Tyler Angle, and had a calm gravity to it — the specific weightiness that comes with understanding the passage of time in a way that only experience provides. Both of these veteran dancers of the piece and the company moved with the bittersweet awareness of such experience.
The Naked King, Alexei Ratmansky’s latest work for the company and it’s 500th original creation, uses the fairy tale, The Emperor’s New Clothes, as inspiration and delivers a bit of comedy in the cautionary tale. It’s farcical, but only just so. For Ratmansky, it was born of current events. NYCB rarely does story ballets, and it was fun to see the dancers in more literal, character and comedic roles.
Justin Peck’s works both started and ended the afternoon, with Everywhere We Go closing out the program. The cinematic score by Sujfan Stevens was the second collaboration between Peck and the composer. Its vibrant tone allows the driving, plotless ballet to take the audience on a pleasant ride. It’s joyful and real, with moments of heavy releases, giving the lighter moments higher value. All nine movements were a pleasure to watch, and it’s a work that exemplifies contemporary ballet of the mid-2010s.
In a swirling world, it’s nice to have a few hours of beauty, humanity and art in the confines of a warm theater on a cold day. Dance is, at its core, a form of basic and fundamental human communication. To see it or participate in it is a gift, and NYCB is quite a fine one.
By Emily Sarkissian of Dance Informa.
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