ballerina1023

Yes, Peter Boal is in the pas de trois with Ms. Tracey and Ms. Karz. Wendy is accompanied by Arch Higgins and Albert Evans in the 2nd pas de trois. Lindsay Fischer (sp?) is Darcey Bussell's partner in the pas de deux.

RE: Elizabeth Walker- I am not sure of her exact height but she is certainly one of the shortest dancers in the company. In the televised version of Swan Lake for PBS in 1999, Elizabeth dances as one of the 4 small swans. She is often dancing next to Janie Taylor and Carrie Lee Riggins and is quite a bit shorter than they are. Given that Ms. Riggins and Ms. Taylor are not exceptionally tall (maybe 5'4"?), I would perhaps place Ms. Walker around 5 feet. This is just a guess though. It's difficult to determine this in the theater, as I normally sit in the 3rd ring. I'd like to see Elizabeth next to Megan Fairchild. I wonder how they compare...

Sorry if this is slightly off-topic, but RE:1958 Nutcracker video -- the excerpt posted by Mme. Hermine shows Arthur Mitchell as the Arabian/Coffee dancer. Is this a typo or was the variation originally danced by a male? I wasn't aware that the version we see today was not in the original production. Did anyone see the male variation? When was it changed to a solo for a female?

I agree with Oberon- the dancer wears an older pair of pointe shoes (not sure if they're shankless) dyed a deep tan color. The only part of the solo where the dancer goes en pointe, as I remember it, is toward the end... the dancer does a jump bringing the leg up in a high attitude behind her, she then closes to fifth position and quickly goes into releve and turns to perform the jump again. I hope I explained that clearly enough. This is followed by her walking in a circle around the stage, then going into the final split, etc, if that helps you place it. And yes, Oberon, I know exactly what part you're refering to in the coda. In almost every live performace I've seen, the turns end in an attitude, not in arabesque as Wendy executes them in the video. I remember one performace where I did see the arabesque... it might have been Deanna McBrearty dancing, but I'm not absolutely sure. Judging from my relatively limited experience as a dancer, I don't think the turns are terribly difficult to do. What might be the problem is the speed- keeping the leg in attitude instead of arabesque might make it a bit easier to bring it back in and start again with another pique turn. While we're on the topic of oddities and special effects in the Nutcracker, I've always wondered how the young prince's "nutcracker" attire is quickly ripped off of him to reveal the suit he wears in the second act. Does anyone know how this is accomplished? Also, I know this is a trademark of the grand pas de deux, but how exactly is the Sugar Plum Fairy pulled across the stage in arabesque?

Well, my choices are limited to about the past ten years... but I thoroughly enjoy Janie Taylor in the role. She manages to achieve a nice balance of willowy beauty, speed, and grace that epitomize the role for me. Kowroski is an interesting choice in casting. Her legs and general size are an odd match for the intricacies of the choreography, but when she's "on," I typically enjoy her interpretation. Also, Miranda Weese is quite special as Dew Drop- such musicality matched with technical assuredness. I'll also add that I agree with other comments- LeClerq would have been amazing to see.

I'm glad you brought this up, Oberon. I had wanted to post on this and completely forgot. Regarding the Rutherford picture on the cover... is that really her? I was honestly shocked when I saw her name credited to the picture! I also thought it was Bouder at first. It appears that the dancer has brown hair in the photo... perhaps it is just the lighting, but I didn't think it really looked like her. Did Rutherford dye her hair? I saw her perform in May and it was still a very light blond. The Taylor/Tewsley photograph (La Valse) is absolutely stunning. I always enjoy receiving the subscription brochures just for the lovely pictures.

I agree with Farrell Fan- so many of his ballets just fall into a middle ground. Most aren't offensive, but very few are a masterpiece. At least he isn't producing regular Musagetes. The ballets I list below weren't chosen because I think they're masterpieces. Rather, they are respectable works that have remained in the repertoire (in most cases). Them Twos (I actually really enjoyed some parts of this) Eight More (doesn't have a lot of depth, but is a lot of fun- Daniel Ulbricht, Antonio Carmena and Adam Hendrickson danced this quite well a few seasons ago) Eight Easy Pieces Fearful Symmetries Calcium Light Night Barber Violin Concerto Burleske (very "pretty" for Martins) The Waltz Project Jazz (Six Syncopated Movements) Zakouski (again, no depth but entertaining) Stabat Mater Chairman Dances Morgen Hallelujah Junction Jeu de Cartes (although I am not a big fan of the new costumes) Also- I remember reading about Ecstatic Orange, but have never seen it. Any thoughts on this one?

That's a great story, Oberon. Chesbrough leaving provides at least glimmer of hope... and some good news amidst the frustration of the current situation.

Farrell Fan applies a good "synonym" if you will to the "All-American" dancer: the "girl/boy next door." I know someone said this in the "Most Handsome Dancers" topic, but I completely agree that James Fayette has such a quality to him. Similarly, I agree regarding Jenifer Ringer. I almost exclusively see NYCB, so most of my examples will be dancers within that company: Darci Kistler in her early years, Ashley Bouder (robust, determined, open), Megan Fairchild (exuberant, always grinning), Adam Hendrickson (daring, hints of mischief). In ABT- I agree with Leigh in regards to Ethan Stiefel. I think there also is a distinct difference between an "All-American" or "Boy/Girl Next Door" quality and what is often referred to as an American ballet aesthetic so closely connotated with Balanchine: speed, athleticism, legginess, etc. I'm not saying that the two aren't compatible, as the dancers mentioned above certainly exemplify this. However, there are many dancers who exhibit an American aesthetic without having an "All-American" appeal- Maria Kowroski, Suzanne Farrell, Jennie Somogyi, and Rachel Rutherford come to mind. I hope that makes sense!

I know someone asked part of this question before, but I'm not sure if it's been answered... Stephen Hanna, Nilas Martins and Benjamin Millepied are also in Musagete. What "role" do they portray in the ballet? Hearing of the "inferences" that Whelan is Mourka/Zorina, Ansanelli is LeClerq, Kowroski is Farrell, and Tewsley is Balanchine, I'm curious to see what people think the roles of Hanna, Martins, and Millepied are (if there are any). I have not seen the ballet (I will in Saratoga), so I do not know if these three really have a significant part in the ballet at all. Are they portraying other figures in Balanchine's life, or are they more abstract?

I'd like to echo FarrellFan's comment on Peter Martins. Also: Ethan Stiefel (very "boyish" good looks) and Adam Cooper. I find Stephen Hanna, recently promoted to soloist at NYCB, uniquely appealing.

The discussion on the 10 greatest ballerinas at NYCB got me thinking about Tanaquil LeClerq. This may sound like a trivial question, but does anyone know what her name means or if there's a "story" behind it? It's a very beautiful name, but also very odd. Also, I'm aware that she contracted polio in the late 50s, tragically ending her dancing career. What did she do after she could no longer dance? Did she teach? She's a very intriguing character to me...

Sorry Alexandra- I normally visit the links section, but have recently neglected doing so. What I found most interesting was, again, how she really didn't have "favorite ballets." I also thought her comment about how Peter Martins (her husband) treats her as a dancer was interesting. Particularly: "Whatever ballet I dance is my favorite, whatever partner I am on stage with is my favourite. But it is kind of my job. It is the whole package. What my husband [Martins] did was absolutely beautiful but I don't want to emphasize my husband." What exactly is she referring to when she states "What my husband did was absolutely beautiful?" All the ballets he's created? A specific one on her? I guess I just kind of got the vibe that Kistler feels the need to show that she isn't artistically attached to Martins just because he's her husband. I hope that makes sense. I have read that the relationship between Kistler and Martins is an interesting one (both on stage and off). Regardless, I have seen Kistler interviewed on several occasions. Every time she comes off as having great intellect, thoughtfulness, and character.

I thought that this interview of Darci Kistler was interesting (conducted recently in St. Petersburg). What does everyone else think? New York City Ballet- News Room

JRB, would you mind sharing the name of the male dancer who winked at his partner (and her name, too)? That's a touching gesture. I think I could possibly become a fan after hearing of such a sweet thing like that.