Ballet galas are a special species of performance, as much about schmoozing and speeches and gowns as about the dancing. Ballets made for such occasions tend to fall into certain patterns and formulas: usually upbeat and often emphasizing opportunities for dancers to show off. As with any genre, a gala-style piece can be done in a rote or fresh manner, and at New York City Ballet’s spring gala on Thursday, the two premieres were fresh enough.
In their connections to the company, the choreographers presented a contrast. Justin Peck, City Ballet’s resident choreographer and artistic adviser, was contributing his 24th work for the troupe. Amy Hall Garner, a midcareer, newly in-demand choreographer, was offering her first. But these dancemakers were similar in what they delivered: the usual, with a twist.
Following George Balanchine’s “Rubies,” Peck’s piece came first. His formula was the taking-turns, challenge-dance pas de deux; his cast, the reliably marvelous team of Tiler Peck and Roman Mejia. The main twist was the choice of music: Vijay Iyer’s “Dig the Say” — which gave the dance its title — is inspired by James Brown. It takes a string quartet (here the PUBLIQuartet) and makes it funky.
A challenge-dance duet is home territory for these performers, well equipped with the firepower to pull off escalation. But the dynamic was playfully emphasized here with another twist: a ball. Trading off, the dancers passed it, sometimes bouncing it off the back wall — he had a ball, she had a ball, and they had a ball together. It was cute.
Brandon Stirling Baker lit the piece with elegance, his scenic design putting stenciled numbers on the wings that suggested a warehouse or maybe an old gym. Humberto Leon dressed the dancers in gray and black. It was their skill, though, that made the performance more than cute.
