The program began with Garland’s “Nyman String Quartet No. 2,” which premiered in 2019 and was dedicated to Mitchell as well as Olympian track star John Wesley Carlos—two men who stood up for their people and enriched their communities. “Nyman No. 2” was a structurally solid ballet, though it lacked punch. Michael Nyman’s driving score set the tone, and Garland kept his cast chugging along to it with an even-keeled combination of classical ballet steps as well as popular dance moves. Garland erred on the side of simplicity. There were too many long sequences of step-tap side-to-side. Every now and then there were some arresting Balanchine quotes—like the spidery hitch kicks from Choleric in “The Four Temperaments”—but mostly the steps were too basic and repetitive, whether they were jazzy or balletic. This made the dancers appear less skilled than they were. They could handle much more, and they did as the evening went on.  

Allen’s essay quoted Mitchell from a 1974 London Times interview: “We don’t want people to think of us as a black ballet company. Of course, we are black, and because we are the first, that is the point of interest that gets people into the theatre. But after watching, even just for three minutes, I hope you forget that. What matters is not the color of the skin, but whether a dancer is a good dancer or not.” Mitchell would be delighted today, because his troupe is currently filled with excellent dancers. After the abecedarian “Nyman” was over, it became apparent that this was a very clutch group of performers. They hit all their trickiest moves, joyfully.  And the second piece on the program starred Amanda Smith, who is one of the finest dancers working in New York City right now.   

Robert Bondara’s “Take me With You,” was a wonderful vehicle for Smith and Elias Re. This slick, athletic pas de deux was set to Radiohead’s “Reckoner.” It is very hard to pull off the pairing of popular music with ballet, but Bondara proved himself to be a member of the very small club of choreographers who can manage it, along with Kyle Abraham, Twyla Tharp (sometimes) and William Forsythe—the latter’s facility in that area was demonstrated later in the show. Bondara also designed the lighting and the chic costumes: unisex white button-down shirts with mini black shorts. Smith and Re showed off their great lines and danced with soul, echoing but not overselling Thom Yorke’s wistful vocals.