Yee Haw, Swing Your Partner, or Tenderly Unfold Her

Amid New York City Ballet's project at the David H. Koch Theater on Friday, combined dance experts orchestrated themselves in squares. They promenaded. They accumulated in stars. Anyway this wasn't for the piece titled "Square Dance." It was for the unified with "tomb" in the title, the unified with the music remembering companions lost in the First World War.

"Square Dance," however, started things out. This 1957 work by George Balanchine initially offered a square move guest whose wafer barrel rhymes underlined the American verve in the choreography's methodology to music by Vivaldi and Corelli. The guest was evacuated decades prior, however the verve remains — particularly nowadays, when the work is headed by Ashley Bouder.

Much of "Square Dance" is a steeplechase of little, snappy steps, and Ms. Bouder is phenomenally quick. More paramount, she's exact. The feeling of velocity, of shimmer, has a great deal to do with her stillness, the accurate halting that characterizes each one shape. Her control bears play. In the last area, where the music would appear to fit a hoedown, her échappés, going here and there and done and finished, very nearly yell, "Yee haw!"

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Ms. Bouder gives the greater part of her steps an exclamatory quality, and in the event that her way is frequently that of a drill group skipper, that is one mode of American high spirits. As her accomplice, Anthony Huxley was careful and light, and his store suited the internal turn of his performance, however somewhere else, he could have utilized some giddyup.

"The Steadfast Tin Soldier" was enough thrown. The toy officer part makes utilization of Daniel Ulbricht's splendid, if mechanical, method, and the a piece of the cutesy paper doll masks the vast majority of Erica Pereira's insufficiencies. Yet after the frolicsome "Square Dance" with this sweet foretold a nighttime of unrelievedly light charge.

"Le Tombeau de Couperin" offered help. In this 1975 work by Balanchine, eight couples structure two parallel squares, or quadrilles. Their steps and designs take after square moving, and a percentage of the moves in the finale even originate from later American social moves, yet the music, by Ravel, confers a tinge of misfortune to the springtime freshness. Also Balanchine's splendid designing — its more influencing than you would might suspect when the two quadrilles at last consolidation — gives the work weight and effect. The corps dance specialists performed it thoughtfully.

Jerome Robbins' 1956 "The Concert" is additionally light, yet its a satire, still the most entertaining in City Ballet's repertory. What goes mysteriously right in the converging ways of "Le Tombeau" goes humorously wrong in "The Concert." And while Robbins' creative ability finds the fun in Chopin, it doesn't disregard the verse. The umbrella move is excellent and comic. Friday's execution was robust, and Andrew Veyette's translation of the stogie gnawing, henpecked spouse had Jackie Gleason fervor.

Prior to "The Concert" came Christopher Wheeldon's 2012 two part harmony "This Bitter Earth," moved into this Balanchine and Robbins program from its initially arranged place in this present season's overstuffed "21st Century Choreographers" program. In either recognize, its a vehicle for Wendy Whelan, who resigns on Saturday.

Each execution of Ms. Whelan this season is an alternate swan tune, respected with an overwhelming applause. "This Bitter Earth," hit the dancefloor with Tyler Angle, is one of a few works made for her that depend upon her novel certainty and appear to be prone to blur without her. Self-contra