New York City Ballet: Modern Masters

David H. Koch Theater, New York City
October 10, 2026

Tiler Peck is known for her incredible speed and energy, including super-fast footwork. George Balanchine’s La Source may call for that to be toned down a little, but she surely glowed, filling the stage with her presence, in the opening work of New York City Ballet’s Fall Modern Masters programme.

Set to excerpts from Léo Delibes’ ballets La Source and Sylvia, Balanchine’s 24-minute ballet is a plotless affair that pays tribute to 19th-century French classical style. It’s a frothy soufflé of a work, untaxing but a joy for eye and ear.

Unusually, it begins with a smooth, unhurried pas de deux. Peck and her partner Roman Mejia looked totally at ease. So good, so unobtrusive was Mejia’s partnering, that at times it almost felt like he wasn’t there. In his solo, it wasn’t so much the height on his jumps, or the way he sped around the stage, but that it was all done so quietly. Another solo full of tricky turning footwork was equally well performed, as was Peck’s later variation, this one more attuned to her wonderful technique when it comes to fast footwork and turns.

Along with Paul Hindemith’s score, Balanchine’s The Four Temperaments explores the contrasting moods of the Ancient Greek temperaments at length. In fact, almost twice the length than the Balanchine actually asked for when commissioning the score. Following the Theme, each of the variation corresponds to one temperament, characterised through time, rhythm and tempo, although the link is often somewhat fractured.

It was superbly danced. Jules Mabie in the Melancholic variation didn’t emote but his whole body reflected a pensive spirit. Mira Nadon and Owen Flacke were terrific in the Sanguinic. Nadon danced with flair; tearing into the choreography, living dangerously and right on the edge. When she flicked her legs, it was like a scorpion preparing to sting. You felt a little for Flacke, but he was always there and supported her beautifully. Despite some quite visible trembling limbs at the beginning of the Phlegmatic, Kennard Henson went on to deliver a classy performance especially once the four women appeared. Finally, and best of all, Ruby Henson sparkled in the Choleric, the finale of which was taken at a thrilling tempo, as indeed Balanchine usually is at City Ballet. British companies take note.

For something completely different, Modern Masters closed with Jerome Robbins’ The Concert. It’s a period piece; choreographed humour of its time and, if we are being honest, rather dated. It still has the capacity to raise a smile, though, the less in-your-face observational humour working better than the slapstick. The laugh out loud moments are certainly fewer these days. Maybe I’ve just seen it too much.

Take nothing away from the cast, however. As the daffy women and even dafter men come and go, the comic timing was as sharp as can be. Best of a very good cast was Alexa Maxwell, committed completely to being beautiful and ridiculous as she almost hugged the piano. Elsewhere, Peter Walker as the lead man was wonderfully silly. And a special mention to pianist Elaine Chelton. Even if she has seen it a million times before, how does she remain so deadpan?