As the crowd roared with wonder and joy, the performance posed a particular challenge for the young My’Kal Stromile, whose Word for Word, performed for the first time on Tuesday, would serve as the opening act to the evening’s larger pieces, including two by his former mentor William Forsythe. Suffice it to say, this 12-minute performance by the young choreographer for the Paris Ballet was a blessed ode to Forsythe, in which Stromile created his own language expressed through a masterful performance of classical ballet that triumphantly combined modern, contemporary and hip-hop elements, thanks in part to the music of Jerome Begin. Certainly, the performance was anything but an opening act; It was the surprise highlight of the night, bringing the theater to a roar of applause as Stromile took a triumphant bow with his dancers — all dressed in Chanel.
As the glamorous audience – many of them dressed in Chanel (one of the evening’s sponsors) – took their seats, the performance began with the traditional Défilé de ballet, a stunning procession that brought together the Étoiles (adorned in Chanel tutus and tiaras), the Premiers Danseurs, the Corps de Ballet, students from the Paris Opera School and this year’s inaugural children’s ballet company – a clear sign that the Paris Ballet is investing in its youth and therefore its future.
Next up was William Forsythe’s Rearray, a duo created for Sadler’s Wells in London in 2011 that Forsythe reworked into a trio for its Paris debut, although it was the return of Blake Works I, a dance Forsythe created for the Paris Opera Ballet in 2016, that culminated the night. Forsythe is an influential figure in the dance world, known for deconstructing classical ballet and pivoting it into the future with contemporary elements, which is exactly what Blake Works achieved in its debut for the Paris Opera Ballet, the oldest national ballet company in the world, inspiring a new style of classical ballet for the next generation. Blake Works showcased Forsythe’s unfettered approach to dance with a classical arrangement in which fast and playful transitions flowed to the contemporary music of James Blake. The century-old theatre may not have been the ideal setting for Blake’s pulsing electronic, house and pop beats, but the young dancers, tasked with executing fast-paced transitions with technical precision, pushed their talents beyond the confines of academic dance in a piece that proved to be a clear tribute to youth.
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