Making It New, For the 100th Time
This article is from the archive of The New York Sun before the launch of its new website in 2022. The Sun has neither altered nor updated such articles but will seek to correct any errors, mis-categorizations or other problems introduced during transfer.

The month of December provides ample opportunity to catch two must-see works of dance: George Balanchine’s “The Nutcracker,” the full-length ballet set to Tchaikovsky’s magnificent score, and Alvin Ailey’s “Revelations,” a modern dance masterpiece set to well-known gospel songs.
Both are works that form the foundation a culturally literate life. They’re enjoyable to watch, and they’re on stage night after night: City Ballet dances nothing but “The Nutcracker” until December 30, and the Alvin Ailey American Dance Theater performs “Revelations” on mixed bills throughout its City Center season, which runs until January 1.
As wonderful as these two works are, it’s easy for frequent dancegoers to be blase about them. “The Nutcracker” score can sound cloying because it is so overplayed (often badly).”Revelations,” like anything, can feel routine – instead of life-affirming – if you see it too often or if you catch an uninspired cast.
Which makes me wonder: How do the dancers deal with performing these works over and over and over? In the case of “The Nutcracker,” the company dances it six nights a week (plus matinees) for five weeks. The Ailey dancers get to do other works, but “Revelations” is a major staple of the repertory, especially on tour.
So how do the dancers keep it fresh? It’s not easy, but it’s also not a drag, according to dancers in both companies.
Sterling Hyltin, a member of the NYCB corps de ballet, is on stage almost every night dancing different roles in “The Nutcracker.” And she finds the repetition rewarding.
“This is a nice opportunity to work on the same part. It’s refreshing. You have a chance to concentrate on bettering your part,” Ms. Hyltin said.
Indeed, during City Ballet’s repertory season, the company rarely performs the same program twice. So dancers are constantly learning new parts, rehearsing what they learned weeks ago, and hoping to get through cleanly. By contrast, doing the same ballet night after night gives them the chance to perfect things.
For Ms. Hyltin, that can mean concentrating on a variety of details. “‘Nutcracker’ is a lot about facial expressions,” she said. “I try to get more comfortable with being on stage, holding a balance longer, improving my positioning.”
What also keeps her interest up is that she gets cast in several different roles, so she can explore each one. In a given week, she might dance any of the following, and some on the same night: Columbine, the doll in Act I, a Snowflake, the Chinese variation, a corps role in the Spanish variation, a corps or lead role in Marzipan, and the Grandma in the party scene.
Typically, Ms. Hyltin finds out what she’s to dance well in advance. “You know about two weeks before. I have my week all mapped out,” she said.
As the season progresses, there is also more than “The Nutcracker” to think about because the dancers are rehearsing for ballets to come in the winter season. “During the week, we have the evening show. During the day we’re rehearsing,” Ms. Hyltin said. “It gets a little bit challenging.”
For dancers at the Ailey company, performing “Revelations” often feels like an act of tribute to the company’s founder. Though these dancers repeat the work over and over, what keeps it fresh is the energy the audience gives back. “Revelations” is the sort of work that receives wildly enthusiastic applause, from the orchestra seats to the top balcony. And to feel that on stage is a rush.
On a practical level, the dancers can be cast in one or more sections of “Revelations” each night. And even within those sections, they can be assigned to different roles. When the group of chatty church ladies comes out for “The Day Is Past and Gone,” a female dancer like Tina Maria Williams may find herself upstage right on Tuesday night, then downstage left on Thursday. A male dancer like Guillermo Asca can find himself as the lead in “Fix Me Jesus” one night, then one of the three men in “Sinner Man” the next.
For dancers, “Revelations” and “The Nutcracker” are special for different reasons. But at the end of the day, they share something in common: They stand up well after multiple viewings. And that’s what separates the great works from the merely good.
***
In yesterday’s New York Sun, I reported on the details of the new partnership between City Center and Carnegie Hall. This is an all-star development. Both houses will benefit, and the public even more so. But really, this is a very good thing for dance.
Most important, City Center is getting a leg up with help in raising $150 million for renovations of the hall. Sightlines will improve. The crush at the box office should be alleviated. Greater wing space will be added, which the dancers and stagehands will surely appreciate.
On another level, this partnership could elevate the visibility of dance at City Center. The companies that regularly perform there – Ailey, Paul Taylor, American Ballet Theatre – are already well-known. But the City Center name does not have the cache of Carnegie Hall. Carnegie Hall is part of popular culture as a music venue. There are jokes about it. (“How do you get to Carnegie Hall? Practice, practice, practice.”) This new alliance may give City Center some reflected glory, which will eventually lead to better recognition and respect on its own.
I can’t help thinking of this alliance as a marriage between two much admired people. It’s the perfect time for the best man to say in the toast: You’re better together.