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deanofdance

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    fan of NYCB and MMDG
  • City**
    New York City
  • State (US only)**, Country (Outside US only)**
    NY

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  1. My vote for the sleepwalker in the giant slo-mo video is Ava “Star” Sautter. So @cobweb perhaps you’re not outvoted (yet) and the jury is still out!
  2. Just a few thoughts on last night’s performance — my last for this Winter’s season: 1) Stars and Stripes — I think of these weekend’s Balanchine ballets as — how should I put this — as crowd pleasers — I mean, you know what you are getting — displays of show stopping multiple whatever steps that should induce applause, applause, applause. An audience of all ages and new to ballet can enjoy these 3 ballets — and I’m writing this not to denigrate these ballets in anyway (J’adore Stars and Stripes and Tschai Pas) — just to say that what I look for when watching these ballets is different, in a way, from what I would look for when watching ballets such as, say, “Mozartiana” or “Leibesleider Walter”. I think that foremost in the dancers’ minds is that they have to deliver and sell the goods (the audience came for a show, we’ll give them a show) — that they have to be faster, and to keep going, and commit to the choreography, the incredible tempo of the music, and to the confidence in their own talent. And last night’s performance had this commitment from all the dancers — everyone was tighter and more secure — especially Megan and Joseph — who kept feeding off each other. Both impressed — Joseph who had a real sense of abandonment (yet control — he saved a couple of real off balance turns!) — and Megan who when you see her technique beginning to fray, still manages to deliver an excellent performance — she still has much to draw on — showmanship, bravura, confidence built on years of performance, and best of all, her joy in dancing these demanding roles. 2) Tarantella — I thought Daniel toned down his performance last night — in a gentlemanly gesture to share the spotlight with Emma. Both were a delight to watch — but in one of Emma’s solos — she just stands there for a couple of beats shuffling her feet before continuing on with the choreography. When I first saw this on Friday I thought there was a small mishap, but there it was again last night — a bit odd. 3) Tschai Pas — Debuts! Indiana looks like she has been dancing Tschai Pas for a long time — she appeared very much at home in the choreography — but then one of her dance qualities is her ability to put her personal spin/touch on many ballets. To put on a show and to make it her own — quite a rare trick! Anthony’s dance qualities seem so unsuited to this role — his dancing doesn’t “sell” anything, his dancing doesn’t “put on a show” — it is just there, capable of unique beauty and expansiveness. But it is good to see him test himself in new waters — and it will be interesting to see how he develops in this new repertory.
  3. Just a few thoughts on last night’s performance: 1) Stars and Stripes — Takahashi was the only one to capture this ballet with the zest and elan needed — and unfortunately for Erica, Alston was right behind her, chomping at the bit — everyone knowing how much better Alston would be if she were cast as the lead. And to a lesser degree, same for Ashley — who passed more on showmanship than technique. Ava was dancing right behind her at the end, and I thought — perhaps Ava would be a better fit for this role (but I’m such an Ava fan — she should be cast in so much more). But kudos to Ashley who subbed for Olivia — I don’t know how much time Ashley had to prepare. And an “A” for effort to Megan and Joseph — the season has been long and we are near the very end… they have another chance tonight 2) Tarantella — It looks like Daniel drank from the Fountain of Youth — I don’t think I’ve seen him dance with such ease, with such speed, with such muscularity than he did last night (I know, that is saying a lot!) 3) Tchai Pas — Perhaps Roman has not healed completely from his injury — his dancing here was, for him, subpar and a bit labored. But the night belonged to Unity — she tamed the beast that is the NYCB audience who came expecting to see Tiler dance a signature role (with her current beau, no less). And she did this with all good things — pluck, determination, desire, talent! Did I say she tamed the beast? Actually, she won the beast over. Bravo!
  4. Just a few thoughts on tonight’s perfromance — well, both Tuesdays and tonight’s performance — I saw both nights: 1) Opus 19/Dreamer — never been much of a fan of Robbins work for NYCB — seeing his ballets this season, I’ve realized that they are becoming increasingly dated and lacking in musicality. The more times I see his pieces, the more my eyes glaze over. The one piece I do (relatively) like is “Fancy Free” — as that is more of a “Broadway” piece, where his talent lies. But this piece comes across as over reaching and a very pale copy of Balanchine. 2) Solitude — I don’t think I’ve heard such beautiful music for a ballet — it’s haunting and emotional. That being said, I spent the bulk of the time watching this ballet thinking that I wished the young boy wasn’t in the piece — and could this ballet work without that literal image of a young boy lying dead on the stage? The music was so beautiful, the choreography was wonderful (a back to form Ratmansky — I mean, I saw “Whipped Cream” — not great…) — but couldn’t help thinking that “Solitude” would be better without the boy. Even with the boy, it’s a strong piece — but who wants to feel manipulated into liking a piece —or deterred from saying they don’t like a piece — because of the sentimental atmosphere of a father losing a young son to war/invasion? Especially when both father and son dancers come out to take a bow together at the end. 3] Symphony in Three Movements — Who else but Balanchine could have put this magic of a ballet together? The more I see these black and white ballets (well, with shades of pink), the more I love them (the enchanted realms of Balanchine). Last season it was Agon, this season it’s 4 T’s and Symphony in 3 Movements — it’s like seeing magic on stage — who else could have dreamt this choreography into being?
  5. My 2 cents for the London casting — they should cast Mira in Duo Concertant with Gilbert. Or Preston. Or Davide. I do like to think that Duo Concertant has a hidden grandeur built in it — that the smaller framed ballerinas can’t quite attain. And to see her face spotlit at the end — Drama!
  6. Yes, @BalanchineFan — I do exchange subscription tickets — or else I would be seeing Midsummer Nights Dream five times! And I count myself very fortunate to go to NYCB so often — so never a complaint from me — just my way of saying that this program was disappointing at first (and second) viewing. But thank you for the tip — appreciate it.
  7. A few thoughts on last night’s performance: Due to how my subscriptions worked out — I was seeing this program for the 3rd time — and I hadn’t really enjoyed the first 2 times — but there are worse things in life then sitting through a so-so NYCB performance. Of course, I was hoping that the third time would be the charm… 1) Concerto for 2 Pianos — And charm it was! What a difference a new cast makes — this was a different ballet — for me, Gilbert and Miriam are the most exciting pair in the company right now — there’s an electric current running between them — dancing together they’re turbo charged, crackling with energy. Crackling along with them is David Gabriel — there was a sweet connection between David and Gilbert — are the 3 of them a throuple? (Kidding!) — but how this trio can light up the ballet stage! I only noticed David recently, but each time I see a new dance quality to admire — he just keeps on getting better. This time it was his musicality — musical and technical — could he be the male version of a Tiler Peck? And seeing Olivia Bell and Emma dance together just made me smile with glee!
  8. Spartak (SVV came in), Melnikov, Olivia MacKinnon (Emily substituted). I can’t recall the fourth
  9. Just a few thoughts on last night’s performance: 1) Copland — Last year when this piece premiered — I saw both the first cast (heavy with principals) and the second cast. The first cast left me unimpressed and slightly disappointed (sort of like Peggy Lee, “Is That All There Is?”). But the second cast left me speechless with surprise and delight — to me it was a totally different ballet — the ballet bloomed with esprit de corps — and the bloom became many blooms — and I wondered if Peck had secretly told the second cast the meaning of Copland while keeping it secret from the first cast — as it seemed that way. Then I realized that this was a true ensemble piece — related and connected to every dancer on stage — incredibly organic in its dependence on the dancers feeding off each other’s energies and emotions — if it’s there, it’s there… And I had thought that Peck had reached a new pinnacle of artistic achievement — as his Copland seemed to me to be a dance that everyone interested in dance and performance and art should see and experience. I had seen the 3 earlier performances of the Copland this season, but waited till the fourth and last performance before jotting down my thoughts. I wasn’t quite feeling that bloom in the 3 earlier performances — and wondered if I had overestimated the artistic merit of Copland — until last night. We were informed before the performance that there would be substitutions as 4 dancers had injuries. Several of us learned that there was an emergency rehearsal right before curtain so the cast could go over the piece with the substitute dancers — one of whom was Emily Gerrity, who originated a role last January, but had not been in the piece this season. Can this explained the esprit de corps for last night’s performance? Perhaps so — the coming together in time of need, wanting to honor Justin Peck’s work in this last performance, the perhaps feelings of, “oh well, let’s go for broke”, or the pressure being slightly off with everyone having to improvise. Perhaps all of these or none of these — but the rich bloom and scent were there and it carried me through the night. Dancers to highlight — Miriam and Gilbert were like two beasts — a lion with his lioness, Gilbert using his bulk and size in a new way — and Miriam using her length and expansiveness — they were eating up space like no one else — and how they both connected emotionally — looking straight into each other’s eyes — they were giving everything — they were giving Life! The women came together — perhaps the presence of Emily bolstered and calmed them (how does she remember the choreography?) , and they all became sisters or cousins or BFF’s — there was more warmth there, relaxed and real and inviting. David Gabriel dances like he has wings on his ankles.
  10. Just a few thoughts from today’ performance: 1) Ballo della Regina — impressed by Joseph Gordon — more bravura today than I ever remember from him — reminded me a bit of Damian Woetzel — not so much in terms of facility — but in the the slight flick of the wrist at the end of his variation as if to say, “ there you go, easy as pie.” When I saw MT MacKinnon dash onto the stage I thought next time she should be cast as the lead — her dancing has force, clarity, speed — and she’s a show off — in the best way, she lets her dancing do the talking. I’m sensing that there is talk about India Bradley and her possible promotion to soloist — and I’m a fan — and it may happen — but she and MT were paired side by side in the 4T’s and in Ballo — and MT impressed me more, she remained in my mind’s eye longer, and I could picture MT dancing in the lead parts in other ballets. I was thinking of which corp dancers will be promoted next — and there is such a strong field of contenders… 2) In a Landscape — 2 very, very strong contenders for promotion to soloist are Dominika and Alec. Alec has proven to be the definition of a stalwart partner. And I hadn’t REALLY noticed Dominika till this afternoon — OMG, she’s a gorgeous dancer — with such a delicate way of moving, to move slowly with such grace, as if under water — and with the loveliest feet since Maria Kowroski. She danced this ballet so different than Ava did last week — and yet both were so wonderful, both so impressive. Ava was monumental, elemental — Dominika was refined, exquisite. It was like one week watching the Winged Victory of Samothrace and today watching the Nefertiti Bust. 3) Hallelujah Junction — Alston and Victor stood out again — and I thought should/could have replaced Taylor and Lauren as the lead couple — not that Taylor and Lauren were wrong for the parts, or danced poorly — they danced well — but they weren’t the best couple in this piece — and talent such as Alston’s deserves to be on stage for longer than a minute. She is on my short list of candidates for promotion. And who is David Gabriel? And how did I not notice him till yesterday’s Copland? He was striking and memorable yesterday. But today — it was like Athena being born from the head of Zeus — fully grown, dressed in armor, ready for battle (well, dance battle). And dance battle he did — and he dazzled and conquered — stealing the show — and I wouldn’t have been surprised if Jonathan Stafford came out after the curtain call and promoted David on the spot. I would have.
  11. Just a few thoughts from last night’s performance: 1) 4 T’s — have to say that I was feeling quite cool to the performers (even to Huxley — who is one of my favorites) until Davide showed up — and yes, he was even better than the night before — more solid, more secure. And then, of course, there was Mira — the energy and musicality that can pour out of this dancer! I was thinking about how Callas fans — how they worshipped her — that she should/could sing everything — Callas sings the Beatles! Callas sings Cole Porter! Well, I think Mira should/could dance everything. To start, she can do every role in Jewels! 2) LW — the best of the 4 performances. The men were so gallant and chivalrous — and all the women (yes, even Isabella) breathing and moving in the perfume that makes LW unique in the Balanchine canon. Sometimes I got a sense that Sara was conveying a last chance at love — not desperate, but yearning, ever hoping, more than willing to take that chance at happiness. And Chun — how he seemed to worship Sara. At moments their dancing was glorious with emotion. But the real bond was between Indiana and Preston — they both seemed giddy to be dancing together, to be in this dream that can be and was Liebeslieder Walzer.
  12. A few thoughts on last night’s performance: 1) The 4 T’s: Jules Mabie — what a fine — well, actually very fine debut for this young dancer. So calm and steady — no nerves at all — and how this calmness generated his movements to match the solemnity of the music. It’s one thing to debut in Melancholic — but to debut well — now that’s a feather in his cap! Ashley Hod — she started well — confident and sharp, but then something happened in the middle of her performance and a double pirouette became a single and then a bit of the choreography went missing. Davide Riccardo — to see a young dancer be given an opportunity and then to see them leap in the sky — perhaps the best thing of following NYCB (well, other than seeing Balanchine ballets) — but what line, extension and flexibility — plus sensitivity and beauty and glamour — when the 4 tall, tall girls came out to dance with him — Davide’s line was the most lyrical, his extension as high, and he has a matinee idol’s looks, a star’s aura. Mira — well, I’m the self proclaimed president of her fan club, so I’m biased. But she surprised me by adding colors and nuance to her performance in Choleric — most dancers I remember dance this as a full on attack — but then she is beginning to dance in a world of her own. I recall reading somewhere that Balanchine once commented on Farrell, “She is like a whale in her own ocean” (or something like that). 2) LW — how so very interesting to see Sara dance after Mira’s performances in LW — so, so different — but still beautiful, still radiant. I like to think that Mira’s performances last week pushed Sara last night — because last night’s Sara was the Sara I know and adore — regal, confident, and able to lose herself in the music. I had thought that Indiana was underused this season — so she was like a bird set free — alive and happy — her epaulement and other dance qualities finding a home in LW. I wish Ashley was given Isabella’s role — as Isabella was the odd man out — lacking an inner life, lacking color, nuance — a glance, a smile, a look away, yearning, anything other than a wan smile and a stiffness. But I can understand why Isabella was cast in LW — perhaps to see if there is something more there. Well, not yet. The men all were gallant — and there was a real sweetness between Preston and Indiana.
  13. What a sweet article to come out on Valentine’s Day! https://www.nytimes.com/2024/02/14/arts/dance/ashton-edwards-nonbinary-ballet.html?smid=nytcore-ios-share&referringSource=articleShare
  14. A few thoughts on tonight’s performance: 1) Rotunda — Uninspired and lacking freshness — especially from the conductor Litton. Also, Peter Walker is becoming the male Unity — only a worse version of a dancer who comes across as bland and dull and seemingly cast every night. 2) Concerto for Two Pianos — this was my second viewing, and there was no improvement — actually this piece slipped into the banal for me. Especially banal when there are 2 extraordinary dancers in Roman and Mira — and they don’t really register — I was waiting for something to happen, and then I was just waiting for it to end. 2 positive things I noticed — the lovely epaulement of Emma, and the rapacious consumption of space by Ava (in the corp no less!). 3) Odesa — Sara smiles!
  15. Just a few thoughts on last night’s performance: 1) In a Landscape — agree with @nysusan — Ava Sautter — or should we call her Ava Star — as here she was last night — debuting as a full fledged American ballerina — tall, long limbed, rangy and elastic and attuned to the choreography to such an astute degree — she was Albert Evan’s’ dream! I’ve noticed Ava in the corp since last Fall and thought she was ripe for an opportunity — but didn’t expect her to be this physically adept, this fully established — to be this ready for principal roles! Her expansiveness, her control, her inherent grace, her wonderful leanness and length, and most importantly, her inner life — leap frogs her to the forefront of dancers I want to see cast. Her performance last night was that impressive — complete in every way. Bolden was her excellent, solid partner. 2) Hallelujah Junction — shoutout to Victor Abreu and Alston MacGill — they made the haywire choreography their own — esp MacGill — who gleamed like a hummingbird.
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