NYC Ballet’s Premiere of Continuum choreographed by Christopher Wheeldon was stunning! Stephen Gosling was transcendental on the piano & made you feel like you were witnessing a universe being born right before your eyes. LOVED seeing Mira Nadon, Alexa Maxwell, Unity Phelan & Emma Von Enck perform this masterpiece!!💚
Taylor Stanley was captivating in Each In Their Own Time. Hanna Hyunjung Kim played the piano flawlessly.
Distant Cries performed by Ruby Lister & Chun Wai Chan was beautiful! Julia DeRosa on the oboe was sublime💜
Unity Phelan, Roman Mejia, KJ Takahashi & Indiana Woodward took the stage by storm in Concerto DSCH making it such a fun & energetic ballet! This piece was choreographed by Alexei Ratmansky with music by Dmitri Shostakovich.⚡️
Contemporary Choreography III Spring 2026 Program
@nycballet #nycballet #performance #ballet #dance #nycb
DISTANT CRIES // When reflecting on the creation process of Edwaard Liang’s Distant Cries, Associate Artistic Director Wendy Whelan remembers: “It was a really pivotal time in my life. It was the first time I had ever been given a voice in who I wanted to work with, and [Peter Boal] gave me that…It was this little gem for this little time in our lives, in New York, and then it went to bloom elsewhere. Edwaard set it on dancers from other companies like San Francisco Ballet and the Bolshoi—on major ballerinas and partners. He made this a vehicle for star dancers. And I know that the dancers loved the ballet, and it’s been performed a lot. With the casting we have now at New York City Ballet, it feels like a ballet about blooming.”
Distant Cries became a seminal work for Liang as his choreographic career continued, and one whose significance for original cast members Peter Boal and Wendy Whelan has emerged in the ensuing decades. Liang went on to stage the ballet on San Francisco Ballet and the Bolshoi Ballet, among others. As today’s dancers prepared for the pas de deux’s return, we spoke with Liang, Boal, and Whelan about the work’s creation and meaning—read more at the #linkinbio.
@chunner@ruby_list@edwaardliang@wendyw@petboal #edwaardliang #wendywhelan #peterboal #newyorkcityballet #nycballet #nycb #ballet
Last night was Tiler Peck’s world premiere of Symphonie Espagnole. Premieres can distort my relationship to a ballet sometimes. The excitement of witnessing something for the first time makes me more aware of that event than the work itself if that even makes any sense. I don’t feel like I saw the choreography in the clearest way yet. I will say 2 things briefly though. I didn’t love the first (tutu) section of this ballet (but loved other sections). I found it interesting the way transitions overlapped - the next group of dancers would already appear on stage before the previous group had fully exited. The second and final piece was Diamonds which I’ve seen many times but never too many. To me, the best part about diamonds is the music. Of couse the choreography is a classic beauty but I do feel that the music takes it to another level and allows it to sparkle even more. There is something really addictive about the melody, and I woke up humming it.
FLASH FOOTAGE // Principal Dancer Chun Wai Chan and Corps de Ballet Member Ruby Lister made a stirring debut in Edwaard Liang’s Distant Cries.
Catch this ballet four more times on our Contemporary Choreography III program through May 20—head to the #linkinbio to reserve tickets.
@chunner@ruby_list@edwaardliang #edwaardliang #newyorkcityballet #nycballet #ballet
Idk why I thought I would like Concerto DSCH more than I did. It’s light and charming, with witty, playful moments and very impressively fast movements, but it didn’t really stay with me the way I thought it would. I loved Distant Cries. It was very poetic. It felt like the right thing to see after Continuum (last post). The past few seasons, @ruby_list has been on my radar so I was happy to see her in a role that lets her shine. Her and @chunner danced beautifully. Maybe this is just my reaction to not really connecting with Each in Their Own Time, but it felt more like a transition between the other works than a piece that stood on its own. Seeing Adrian Danchig-Waring and @taylor___stanley together is what made it special for me, and knowing they’re both leaving the company gave it a weight the choreography itself didn’t.
What a meaningful way to celebrate AAPI Heritage Month by dancing @edwaardliang ’s Distant Cries with @ruby_list@nycballet ❤️
Grateful for the artists and community that keep inspiring me every day.
It’s my first time seeing Robbin’s In Memory Of (slide 1/2) and I was so moved. @alexamax was so perfect for this role. There’s a kind of innocence in her that really touched me. She has always stood out to me but not in this particular way. It’s my second time seeing Voices (slide 3) and I’m still unsure. Costumes are perfect: simple and electric. I loove the choreography but it’s as if the “voices” interrupt my connection to the piece. It felt like my ears and eyes were being pulled in different directions. I undersrand Ratmansky’s more fragmented and intellectual approach but I connect more when I can feel a piece instead of analyzing it. It’s my favorite time seeing Diamonds (Slide 4/5). The music is magic. I am patiently waiting for @kloelwalker and @avasautter to be promoted.
Martha Graham 100 at City Center night #2. I am honored to watch such incredible talent on stage. While sitting with incredible talent in the audience. A double whammy!! Program featuring 2 iconic Graham works plus premieres from Jamar Roberts and Hope Boykin. Love Graham dancers. #GrahamCrackers
![DISTANT CRIES // When reflecting on the creation process of Edwaard Liang’s Distant Cries, Associate Artistic Director Wendy Whelan remembers: “It was a really pivotal time in my life. It was the first time I had ever been given a voice in who I wanted to work with, and [Peter Boal] gave me that…It was this little gem for this little time in our lives, in New York, and then it went to bloom elsewhere. Edwaard set it on dancers from other companies like San Francisco Ballet and the Bolshoi—on major ballerinas and partners. He made this a vehicle for star dancers. And I know that the dancers loved the ballet, and it’s been performed a lot. With the casting we have now at New York City Ballet, it feels like a ballet about blooming.” Distant Cries became a seminal work for Liang as his choreographic career continued, and one whose significance for original cast members Peter Boal and Wendy Whelan has emerged in the ensuing decades. Liang went on to stage the ballet on San Francisco Ballet and the Bolshoi Ballet, among others. As today’s dancers prepared for the pas de deux’s return, we spoke with Liang, Boal, and Whelan about the work’s creation and meaning—read more at the #linkinbio.@chunner @ruby_list @edwaardliang @wendyw @petboal #edwaardliang #wendywhelan #peterboal #newyorkcityballet #nycballet #nycb #ballet](https://sp1.picnob.com/p/pt_25694069266126122569252623256569654025266912_0_cf12bbf0fbbaf2462b01bd25f9e290ac.jpg?o=aHR0cHM6Ly9zY29udGVudC1vcmQ1LTIuY2RuaW5zdGFncmFtLmNvbS92L3Q1MS44Mjc4Ny0xNS82ODIwNjgwNzdfMTg1NTcyMzM4MTYwNjg0OTNfMzgwMTgzNzc1MzQzOTIyODc3MF9uLmpwZz9zdHA9ZHN0LWpwZ19lMzVfdHQ2Jl9uY19jYXQ9MTExJmlnX2NhY2hlX2tleT1Nemc1TnpjeU1EVTROelEzTkRJeU5UUTNNQSUzRCUzRC4zLWNjYjctNSZjY2I9Ny01Jl9uY19zaWQ9NThjZGFkJmVmZz1leUoyWlc1amIyUmxYM1JoWnlJNklrWkZSVVF1ZUhCcFpITXVNVEE0TUM1elpISXVjbVZuZFd4aGNsOXdhRzkwYnk1RE15SjkmX25jX29oYz1uNlowendSNmQwc1E3a052d0hvRWsxNiZfbmNfb2M9QWRyTUkyZVRsNVlhWHV6SlRvTVZuSVM2ZkVwRHJKSmR5a0pmTTVJcnBHUU12SXhMR3ltUEJWcGdwLWcwaFdwWkVjVFZIZkduZ05mTVZGYllDbWVsbUVZdCZfbmNfYWQ9ei1tJl9uY19jaWQ9MCZfbmNfenQ9MjMmX25jX2h0PXNjb250ZW50LW9yZDUtMi5jZG5pbnN0YWdyYW0uY29tJl9uY19naWQ9THF5WWJlUkZhZU1BR0c1a3k2M3ZIZyZfbmNfc3M9N2EyMmUmb2g9MDBfQWY3X2JTdHJFbk42UG1YNlYwM1YwcnJ2azU5MV95ajJ1b2tVSWp0LW1QbHljZyZvZT02QTEwOTIxQw==&h=0412d1bc10bd05d5f7be69def13d4f86)
