Hunter S. Thompson, in his landmark book, Fear and Loathing in Las Vegas, said that "every now and then the energy of a whole generation comes to a head in a long fine flash, for reasons that nobody really understands at the time -- and which never explain, in retrospect, what actually happened." Recognizing the rumble beneath its feet, the New York City Ballet (NYCB) opened its art series this past Friday night with a show specifically geared toward engaging the Internet generation during what could be their moment of clarity.
The packed house was a mix of seasoned theatergoers and newbie twentysomethings who were told by a pair of emcees that the evening's four selections were meant to bridge the gap between the arcadian world of ballet and the cynical, media-saturated climate we find ourselves in today. Specifically, George Balanchine's early '70s choreography for Pierre Henry's "Variations Pour Une Porte et Un Soupir" was compared to David Bowie's glam-rock opus, "Ziggy Stardust and the Spiders from Mars," the connotation being that alternative gender roles and the intellectual rigor of secular life remain central to modern progress. (What's next? Punk rock?)More »