Gym Pass

As I walked up the subway stairs at 53rd and 7th Avenue, I received a text from my dear friend. He informed me that he got tickets to the Miami City Ballet performance that night, and would meet me at the bar during intermission.

This is the grown up version of passing a note in class to make plans to meet by the gym soda machine between first and second periods. It thrills me now as much as it did in high school.

Another friend, an abstract painter, made plans to see the ballet with me. I admire her work profusely and am intrigued by her astute and unusual perspective on arts and events. It is a treat to spend time with her.

We saw two older pieces choreographed by Balanchine: "Symphony in Three Movements" and "La Valse." The evening closed with the fantastic "In the Upper Room" choreographed by Twyla Tharp.

Each time I see dance performances, I am struck by the young ages of the dancers. If the quality of the performance wasn't superb, I would mistake it for a high school production. This probably is a testament to my own advancing age.

I also find myself pondering the differences among all of the perfect physiques. All of them have been trained in the same way for the same purpose, yet genetics has formed their muscles in different ways. All of them must have about the same body fat ratio, yet some are lean, sinewous, and bony while others are more bulky with more visible muscle.

A variety in body development was particularly unusual in this ballet troupe because it is not diverse. It surprised me that a group based in Miami appeared to include only a few Latinos. I didn't see a single African-American on stage.

Alex Wong was outstanding. His leaps were spectacular. He hovered in the air. One is accustomed to seeing the special effect used in karate films of freezing a jump kick and changing perspective. Wong seemed to bring that effect to the stage.

At the end of the performance, the dancers took a bow with the ballet founder Edward Villella and choreographer Twyla Tharp (still lithe and beautiful at 67). I noticed that she had her arm around Alex Wong but only held the hands of the other dancers. He must be a universal favorite.

The costumes and sets for these dances were very simple. "Symphony in Three Movements" is an older piece with the traditional movements, but it is also quite athletic. "La Valse" was more typical traditional ballet. "In the Upper Room" was an energetic fusion of modern dance in ballet with jerky, mechanic motions and asymetrical movements that seemed unbalanced but allowed each dancer to retain equilibrium.

It was fun to meet during each intermission with my friends to discuss the dances. My dear friend is an avid arts fan, and has seen these ballets before. He pointed out several young dancers among the bar crowd. They looked like average high school students. If I had not been told that they were principal dancers in the New York City Ballet, I would never have guessed that they hid highly trained physiques under those jeans and slouchy sweaters.