January 27, 2016
“Review: ‘All Balanchine II’ by New York City Ballet”
by Brian Seibert
“In the case of Sara Mearns in “Walpurgisnacht Ballet,” the flickering was between awe-inspiring and slightly less so. The can’t-believe-your-eyes, tornado-like speed and force she let loose in the work’s hair-unbound conclusion registered a few decimals lower than usual on the wind scale. This time, the earlier sections made the strongest, biggest impression: how her phrasing provocatively hinted at barely contained energy, sometimes through the pressure of exaggerated slowness.”