The New York City Ballet has returned with all its relevance, strong and modern. The dancers are not "stingy." They are not "holding back." They exist in the "now," "right now." Balanchine would be proud.
Of course, The Ashley Bouder Project was the most popular show of the run, and people begged for seats regardless of price. Somehow, "bravos" echoed despite a banal bill filled with the kind of choreography that is pushing ballet into its grave.
For a 22-year-old, Walker is refreshingly cognizant of one of dance's most perturbing problems: the need for a choreographer to somehow establish himself as novel when so much has already been produced for the stage.
One of the great pleasures of going to see ballet in a dance capital like New York is that she is likely to be seated next to a true veteran who starts conversations with "I saw José Limón dance the Moor."
While there are many hurdles to cross before digital media can become a fluid and revenue-generating component of the company's operations, there is much more NYBC could and should be doing in this space.