Spring 2003 Week 7

[bobbi]

Tuesday, June 10, was an all Balanchine program: Steadfast Tin Soldier, Ballade, Davidsbundlersanze and Who Cares.

All done very nicely. This is the first time I saw Damian Woetzel in this role and I don't think it suits him only because of his height. As usual, he gave a totally committed performance, but the choreography just didn't look right on him. Ansanelli was his "doll" and she gave a totally charming performance.

The highlights from the Davisbunderltanze were the performances of Jenifer Ringer, Peter Boal, Jennie Somogyi and, of course, Kyra Nichols. All are wonderfully musical dancers. Kyra just gets deeper and deeper into the role and you can't take your eyes off her when she's on the stage.

But the very special (and unexpected because it was a replacement for Miranda Weese) pleasure of the evening was Janie Taylor doing Patti McBride's role in Who Cares. I had never seen her before in this role and I thought she was just terrific. The quirky directional changes, the speed, the accents, the looks to the audience, the little shifts in the torso that are all so much the hallmark of Patti's performance were all there. I will only expect that Janie will just get better and better as time goes by in this role. Wow! Kudos also to Jennie Somogyi and Askegard, who both delivered good performances. And the male corp -- Darius Crenshaw, Jason Fowler, Stephen Hanna, Henry Seth and Jonathan Stafford -- were great fun.

All in all a good evening at NYCB.

[AmandaNYC]

Two performances attended...

Friday evening of Reliquary, The Cage, Valse-Fantaisie, and Brahms-S Quartet.

The Cage. I seem never to tire of seeing Wendy and Jock do this ballet. She so IS the novice in this ballet. So transformed. I was sitting with several people who are not fans of the ballet. In talking to them and trying to explain my love for it, I said that it was so ugly it was beautiful. Not sure that really articulates it. But, the movement makes me really think I am watching some unattractive novice creature. Rebecca Krohn did an admirable job in her role debut. She certainly has the long legs for it. I did miss the sharpness or power in it that tells you this one IS the Queen, and you better not forget it!

Valse Fantaisie. As mentioned in a thread for an earlier week, I have come to love Abi Stafford in Square Dance. She has really begun to come into her own in that type of ballet. She has grown comfortable on stage and shows she enjoys herself as she invites you to see what Balanchine devised. She does those jazzy, more cutesy steps with more conviction now. But, I don't think she's quite there with a more showy ballet like VF. Here, not only do you have to be a technical powerhouse, but you have to match that technique in your presentation. She's getting there, but I am not yet electrified by her in the part. Millepied also didn't quite electrify me. He was more restrained than I would have like to have seen him.

Brahms.

Not surprisingly (for me), I can watch Somogyi all day in the first movement. ... although I look forward to her doing the 2nd mov't this week (whereas a few years ago, I wouldn't have thought she was ready for a part that required such relating to a partner). Dana Hanson debuted in the secondary role. She always has beautiful form, but she was off in several areas of it and just simply lacked the power that this ballerina must command. With that big booming music, most girls would have trouble matching it, but she didn't seem to be conscious of it-- not very musical about it. Neal was as he usually is, a beautiful dancer who, alas, does little for me.

I hate to say it, but I didn't feel the impending doom and feeling that I used to with Ringer in 2nd mov't. She doesn't have the abandon she used to in this part. I used to cry when watching her do this part she moved me so. She had the beautiful back bends, but it didn't convey any larger feeling to me. Now, I thought how I'd like to see her in the 3rd mov't.

Taylor and Boal were very good in 3rd. mov't. I like getting to see Taylor do more Balanchine. I don't quite see her suited for this part yet, but I found it interested to watch her nonetheless.

Kowroski and Askegard had their fun with the 4th mov't. She had, for me, the right combo of sexiness, tension, flirtation, and power. I would like to see a little more passion, but I'm not complaining too much.

Sunday:

Who Cares?. Years ago I wasn't sure that Taylor would ever be the type of dancer I would love. I still don't get emotional about her dancing, which I want to if she's dancing the Man I Love, but I do see dance in a new way when she does it. She has her own unique way of moving and offers me a different perspective. It's not the one I prefer for the girl in pink role. I missed her doing the burgandy girl role. I loved her in that last year. She could play with the music and the movement, but she gets to be light. I do also have to admit that Taylor's wrists seemed to flop a bit too much for my tastes.

What I found lacking in both Taylor and Abi Stafford's pas de deux with Askegard was a regard for their partner, when they were not directly looking at him. Sure, they acknowledged his existence then and smiled and such. But, when he was not in view, I didn't feel like they were conscious of his presence. In the Man I Love, I always feel like the girl never, for one second, is not sensing the man.

Somogyi, on the other hand, has made the girl in blue her own. As I mentioned earlier, I did not used to think her suited for the role... for the same reasons I think Taylor and Stafford not ready. But, now Somogyi is both techniquely wow-ing us, but, truly in a dance for two. I just love her more and more in this. She was a real ballerina in this. And in...

Davidsbundertanze.

I am begnning to believe there is little Somogyi can't do (ok, I was not a fan of her doing La Source-- she's not that kind of personality dancer). She just has such a unique combo of strength and vulnerability that works so well across her roles. At one point, my all-time 3 favorite dancers shared the stage (bouder was the only one missing): Kistler, Ringer, and Somogyi walk out hand in hand to join the men. As the ladies separated, and so I had to choose one on whom to focus or try to get them all in a less focused view, I found myself continually returning to Somogyi. Years ago I would not have predicted that!

That's not to say I wasn't taken with the other dancers. Maybe this was just a Somogyi day for me. Which is good, b/c I was recently commenting to Dale that I felt like I hadn't seen Somogyi much this season.

Glass Pieces. Can I please be allowed to watch the first part of the 3rd mov't with the men over and over and over again? That part just feeds me at my core. This crop of boys is particularly graceful but yet strong and *manly* at the same time. Once the girls came on, I felt things got a little sloppy. But, it could be that the non-uniform costuming takes away from that. And, as always, I still have yet to watch fully the pas de deux, as I get hooked on the girls in the shadow. It gets addictive.

-amanda

p.s. thanks to those who wished me well (on another thread) on my new job. Having a job might actually give me the discipline to write more, not less often!

[bobbi]

I can second Amanda's enthusiasm about Jennie Somogyi in Friday's Brahms first movement. She was truly stunning. In the second movement (the Intermezzo which is my special favorite part), Jenifer Ringer has turned in much better performances; for some reason she wasn't at her very best on Friday. I did enjoy Janie Taylor and Peter Boal in the third movement very much. Both had the "weight" to match the music that this section calls for.

As far as Valse Fantasie goes, I would like to have seen the much under-used Ashley Bouder in this part. Abi doesn't seem to have grown in this (her debut) role: there was no special musicality on display, no nuanced phrasing, no spectacular grande jetes. A disappointment all around.

The whole of Saturday evening (Walpurgisnacht, Piano Pieces, Liturgy and Western Symphony) was wonderful.

The Walpurgisnacht was Wendy Whelan and Philip Neal with Janie Taylor in the second role. This ballet is such a joy and it was given the deluxe treatment on Saturday. The audience reacted accordingly. The Piano Pieces was very well done. Special kudos to Jennie Somogyi, Ansanelli and Seth Orza. I do wish that Benjamin Millepied would take some lessons on making "soft" landings though. His performances are marred by an ever-present clunk, clunk. Maybe Peter Martins (the "King of the Soft Landings") can coach him.

Wendy and Jock were totally in sync in the new Wheeldon Liturgy, which was so well reviewed. Although it's not my favorite type of ballet, I can see how very well done it was and the audience seemed to like it very much.

In the Western Symphony, Janie Taylor took over the second movement. I have posted previously that my gold standard in this role is the droll Christine Redpath. Well, Janie did it her own way -- not exactly smiling, but as sophisticated saloon girl -- and it worked for me. Janie just gets better and better every time she's on stage. I really look forward to her performances. Maria K. did the last movement and was fine until she got to the fouttees, which she should be able to do on a dime by now (but doesn't). Damian was his usual wonderful fun and bravura self.

Another good evening at NYCB.

[foryourinfo]

How many movements are being done in Western. Who did first and third?

I have not seen it in a long time and have seen it both with and without 3rd movement.

I am excited for Westside next week and will be seeing it with Brahms on Wednesday. Looks like a great night except for thou swell.

will get back to you all then

[liebs]

I saw Davids at both the Sat and Sun matinees and agree with the comments on Somoygi. Ringer and Boal were also wonderful as were Askegard and Nichols. He really conveys the feeling of a man who is loosing himself. Askegard's eyes would unfocus for a moment and then as he refocused there was a sense that he was lost. I think he has darkened and deepened his performance. Nichols is now incomparable in the "Clara" role, her dancing is still strong and her emotional focus holds the ballet together. Her last moment with the outstretched arm braught tears to my eyes both times.

Kistler danced better than I have seen her recently but seems to me to be wrong for the part. If you believe, and I do, that her role represents "Clara the Muse" and Nichols is "Clara the Wife" then one needs to see some connection in the two dancers performing the role. As performed originally by Farrell, this role was powerful and strange, very changeable but womanly. Kistler is simply too girlish to make it work. As Leigh said to me about another dancer, "there are no contralto colors in her dancing." This darkness and depth is also missing from Kistler's performance here and it robs the ballet of some of the depth it should have.

I admired Taylor's dancing in Who Cares? but felt nothing from her, either in this part or several weeks ago when she did the "Stairway to Paradise" role. Taylor is like a forced hot house flower - its beautiful and you admire the technique required to create it but its not real. I never feel that Taylor is showing me something of herself or a that she understands that different roles might require her to be a different character. She doesn't have to act but I want to know who that woman in love is - something Weese showed us with great depth in her rendition a few weeks ago.

I enjoyed Stafford, she is slowly losening up a little and it is a pleasure to see.

[Dale]

foryourinfo, Western Symphony is done with only three movements (with the third deleted) at NYCB. NYCB had brought back the third movement but I haven't seen it since about 1995 when Stacy Calvert and Michael Byers (I think it was Byers), as the leads, crashed into each other during a Sunday matinee.

[Colleen Boresta]

I saw the Sunday matinee with "Who Cares", Davidbundlertanze"

and "Glass Pieces". "Who Cares" is one of my favorite ballets, and this was the best performance of it I've seen in years. I was expecting Somogyi to be wonderful (and she was) but the real revelation was Jennie Taylor. Her "Fascinatin' Rhythm" solo was the best I've seen it done since Patricia McBride danced the part. And she can only get better. Askegard was so perfect, not only in his dancing, but the way he sold the part. His gestures, his facial expressions - everything was so "on". He reminded me somewhat of Jacques D'Ambroise in the same role. The only quibble I have is the fact that "Who Cares" was the opening ballet. This is a recent development. I think it's better suited as the closing ballet.

"Davidsbunlertanze" was well danced, but I really can't get into this ballet. I know I shouldn't say this since it was choreographed by Balanchine, but it just seemed to go on and on.

I thought Akergard was very moving, and I'm glad the matron in the bathroom explained the symbolism of the figures in black, the suicide at the end when Askergard walks into the water, not just

off stage, etc. Maybe it was the piano music that it hard for me to feel much about this ballet. I don't know.

I had never seen "Glass Pieces" which is strange since it was choreographed in 1983, and I've been attending performances of NYCB since 1980. I have to say I really loved it - the music, the choreography, the dancing - all were first rate. And the first part of Section 3 - WOW! NYCB's male corps de ballet contains some really exciting dancers. "Glass Pieces" is a modern ballet to modern music that works wondefully. So many contemporary choregraphers (who shall go nameless) try to create the same and fail. But then they're not Jerome Robbins. (Who is today?

Unfortunately not anyone I can think of.)

I

[liebs]

Colleen, I always find Glass Pieces to be fun to watch. But I find it funny when people praise Robbins for doing minimalism a decade after and not as well as choreographers such as Lucinda Childs, David Gordon and Laura Dean. The piece is so derivative of their work that it is almost an homage to postmodernism. But audiences who would be caught downtown seem to love it.

[Michael]

Liebs -- In the Andante of Brahms-Schoenberg Friday night (a different ballet than the one which provoked your observation, to be sure) I had an exactly opposite impression of Taylor. She struggled technically at several major points but I thought that she had made unbelieveable strides in the artistic impression she created.

The technical woes included a wild series of pirouettes (all over the place with her feet and arms, almost floppy) and that big supported developpe on point, where the Ballerina then rotates the working leg from the hip and leans into arabesque penchee, was not a moment to remember. I do not think she has quite the raw strength and balance for it at the moment, it is done very slowly and I was almost worried as I watched.

On the other hand, the deeply vulnerable and mysterious impression she created in this role, the delicate scent and mystery she conjured up, leaning into Boal in the final passage, or in repeats of backbends, was so far beyond anything I had ever seen from her before that I consciously said to myself, leaving the theater, that such a performance was a milestone for her and that this was one of the first times that I felt that technique served art on her part, and not the other way around. She ceased to be merely Janie Taylor but became the Andante Ballerina, not a tranformation I'd seen before.

I think the particular challenge for Taylor in the Ballanchine rep is that the very qualities which are her assets and which make her so outstanding and suitable for Martins' choreography are potential defects in Ballanchine. She is, for example, so loose at the hips that she finds it quite easy to rotate out well beyond proper turn out and does so usually even. Martins displays and exploits this hyper-flexibility. But when she is cast ten minutes later in something like Brahms-Schoenberg, that over-rotation becoms a problem. She has suddenly to stop and place herself at the right point. Turn out too far and you can hardly pliee. In Ballanchine the tendus need to be properly aligned. This is the kind of thing which sometimes gives that impression of wildness when she is suddenly moved into a more classical context.

She flows amazingly well and has a sort of innate sense of dance syncopation, and has amazing flexibility in her back, all of which Martins uses in choreographing upon her (the flexibility he used in Morgen, for instance; the syncopated legato flow he used in Hallelujah Junction or Burleske or in casting her in Jeu de Cartes). That flowing musicality, though, is often quite different from what is expected of her in Ballanchine, say in the 2d Ballerina role in Walpurgisnacht or in Scotch Symphony.

Anyway, I was so very happy to see what she did in Brahms Friday night and I think she is developing very nicely. She is very young and I'm not sure how much innate confidence she had, outside the theater, when she arrived.

Some of those little sharp facial expressions could be worked on, though, she could achieve a more placid expression. And I will say that she very much, perhaps too much, lets it show on stage at the occasional moments when she's not comfortable in a role. Now that Meunier is gone, I think Janie is probably the dancer in the company of whom you can observe this the most. When she's not happy, you know it.

[sneds]

Thank you Dale for the explanation of "Western Symphony". I think this past weekend was the first time I'd seen the ballet, other than on tape, and was a bit perplexed by the "mysterious" fourth lead couple in the finale (Andrew Robertson and ?). I am correct in assuming that they represent the deleted third movement?

Does anyone know why the third movement is no longer danced at NYCB?

Thanks!

Kate

[Leigh Witchel]

Kate - it was dropped from repertory ca. 1960, but I am not sure why. My assumptions are Balanchine either thought it made the ballet too long or too unwieldy - but it didn't seem that long. For what it's worth, it's musically the most undistinguished section. Maybe he wasn't as fond of that music?

Yes, the dancers in yellow are the vestiges of the principal couple. I'm a little surprised that Balanchine didn't just rework the choreography to put the leads from the Rondo in their place - they are just standing at the side.

[carbro]

Balanchine apparently felt that either it did nothing for the ballet as a whole or that he didn't have the dancers for it. Having seen it performed a couple of times in post-Balanchine years, I would tend to support either view. The affection for Western folklore and ballet itself, and the wit that support the other movements are far less evident in that phantom movement.

I'm glad to have seen the Scherzo to satisfy curiosity, but really remember little of it.

[rkoretzky]

Friday night June 13 was my only opportunity to see NYCB in spring season and I left the theater feeling mildly let-down. I chose to use most of my opportunities to see ABT this spring. Frankly (and this goes with the "which company is better?" thread) I have seen more energy and--well--better dancing at ABT, although the two companies are so different and comparisons really can't be made...

Except for a kick-a** performance of The Cage and Jennie Simogyi in first movement Brahms, I thought the City dancers looked tired and lackluster. I echo Bobbi--Abi Stafford was wooden and heavy in Valse Fantasie. I expected more from her. Even my favorites Jenifer Ringer and Peter Boal (dancing separately) seemed to be joyless. A bright spot was seeing the beautiful Eva Natanya in a featured role in Reliquary--but why have ersatz Balanchine and ersatz Stravinsky when you can have the real thing?

Oh well--countdown to Saratoga commences. Midsummer is perfect here-great way to begin our season.

[E Johnson]

Program: Steadfast Tin Soldier, Reliquary, Davidsbundlertanze [sp?], Glass Pieces.

I'm kind of tired of Steadfast, for whatever reason I think I’ve seen it four times in the past few years. It’s cute and sweet and not much more. I liked Tom Gold in this a lot, though -- He doesn’t jump as high or as effortlessly as Woetzel but somehow this makes his characterization more, well, human.

Reliquary - cast: Taylor, Marcovici, Ansanelli, Orza. I HATE hate hate this ballet. HATE. Also do not like the music. On top of that, it didn't look well-rehearsed and Ansanelli was not well cast. Both she and Taylor looked uncertain and unsteady in several places. Marcovici turned in the best performance and with Taylor and Ansanelli dancing, that just shouldn't happen.

Davidsbundlertanze - cast: Kistler, Soto, Nichols, Askegard, Ringer, Boal, Somogyi, Martins. This was a real pleasure to watch, and I am not ordinarily a fan of piano ballets. To me, Nichols, Ringer, and Boal were the real standouts, and Soto did his usual almost magical partnering of Kistler. Boal every time I see him gets better and better -- each movement is not just correct but imbued with meaning. I sometimes think Ringer is a little to much of the homecoming queen but that did not happen here. Nichols was breathtaking.

Glass Pieces -- This was wonderfully performed and the audience loved it. Kowroski and Marcovici were excellent in the 2d movement. I along with Amanda love the men in the 3d movement - the choreography is fun and it was carried off magnificently. (In some places it reminds me of the West Side Story Prologue, which I think is terrific. When the girls enter it’s a little bit Dance at the Gym.) Standouts to me were Amar Ramasar and Adam Hendrickson. I'd like someone at NYCB to think about retiring the soloists’ costumes from the 1st Movement, though, especially the headbands on the women.

[Leigh Witchel]

I happened to ask and I got an ID on who the female "run-on principal" is in Western - it's Glenn Keenan with Robertson.

[Beeb]

Leigh Witchel wrote "I got an ID on who the "run-onprincipalwas in Western- it's Glenn Keenan. Earlier this season I had asked the same question about the girl in green in Interplay. Nina replied that it was Glenn Keenan. I asked my question because she, Keenan, caught my eye---there is something in the way she moves and holds her head that is tantalizing to watch.

I'm apparently not the only who enjoys her artistry, and would like to see much more of her. Can you L.W. please say what caught your eye? Your comments are always very interesting and learned, your further thoughts would be welcome.

[Leigh Witchel]

Beeb, I honestly haven't watched Keenan enough to comment. What caught my eye was that I couldn't recognize who that dancer was. I remembered the question had been asked here, and I had an opportunity to get it answered, so I found out.

I'm sorry I don't have a more thoughtful answer!

[Beeb]

There are so many dancers to watch , so many principals' to catch the eye, small wonder you can't comment on everyone!

However if when given the opportunity to see Keenan your review will be welcome to those of us who see a future there.

Thank you for your quick responce, Leigh Witchel.

[Guest steppas1]

May I get into this conversation, Beeb and Leigh W.? Check in NYCB on-line, bring up Dancers and onto Glenn Keenan. Looks

like a winner when given more opportunities. A Wein Award

recipient doesn't sound like an un-inspired personality. let's see more!!!

[AmandaNYC]

OK. better late than never with week 7.

But, before that, I do want to say that I have been an admirer of Keenan's since her workshop performance (the same year as Bouder). Even then, she had a quiet grace and maturity in her dance that was quite surprising for someone of her age. She's a full body dancer-- beautiful port de bras (sp?) and clear footwork. She also has a joy about her dancing, reminding me a lot of Natanya-- or what I like about Natanya. I'm glad to see her getting so much to do, both in the corps and in solos (she seems to be in everything!) .

Now, back to week 7, where I attended Thurs night and both Sat perfs.

I had been feeling down about much of the season up until this point. I wondered if it was b/c I missed seeing my favorite dancers dancing a lot. Perhaps, it was the reason, b/c I got them back- or one in particular!

I am beginning to sound like a broken record, but every time I think I cannot adore Somogyi more and that she cannot possibly surpass herself, she does. Whereas at her first pass at Western (last season?), I didn't see her suited for it, she's come into her own in it now. I think Leigh has said in the past that Somogyi seems to need to find her way in a part, understanding it at a depper level before she can give that full on performance. Now, not only did she have the steps down, but the wit, too. Even, Martins seemed to have loads of fun in the 1st mov't as well. I was also privileged to see Somogyi perform 2nd mov't B-S Quartet and T. pas de deux, in the same evening no less. With BSQ, this was definitely a case of casting in the part coming perfectly when the person was ready for the part, no earlier. While Ringer no longer makes me cry when she dances the piece, Somogyi did. Somogyi was able to lose/hide/subdue enough of her strong, indestructible self to be heartbreakingly vulnerable. And her Tchai pas.... The pas de deux seemed as if in slow motion-- but i still didn't want it to end! And, of course, she wowed the audience with her effortless whipping off of single and double fouettes. But, nothing she does seems to be show-offy. It's all seamlessly part of the dance. I never see Balanchine more clearly than when I watch Somogyi in his works. That is, perhaps, the highest tribute I can pay her. In the last few seasons, Somogyi has truly become a ballerina, in my eyes.

In a study of contrasts, I saw Ansanelli perform roles that others also did that week. Whelan's Cage has become so ingrained in me that my eyes had trouble adjusting, at first, to Ansanelli (though I have seen her in the part awhile back). I love Whelan's Cage. But, Ansanelli's was a breath of fresh air in the part. I noticed aspects of the choreography I hadn't before. She WAS the novice. The way she moved in the beginning made it clear she was scared and confused. And her transition to more confident, sexual being was there. Whereas the Whelan/Soto pas de deux was a pas de deux between, well, Whelan and Soto, the Ansanelli/Marcovici pas de deux was a dance between a novice and her mate and soon-to-be prey. BUT, I do wish Soto had been there to partner Ansanelli. I may have liked seeing new aspects of the choreography, but I do not like seeing the intricacies of the partnering-- that is, just how hard the partnering is in this piece. The novice needs an incredibly adept partner for this part, and Marcovici is just not that kind of partner.

The other part I saw Ansanelli perform was Tschai. pas. And this was before the Somogyi performance. I loved them both. Ansanelli and Woetzel's partnering seemed to hit some snags, but I otherwise think them well-suited. Ansanelli went for broke in her solos. And, as with Somogyi, it wasn't in an overly showy way. It was more that Ansanelli threw caution to the wind. In one sequence (Leigh will have to tell you what steps they were), she seemed to fly and still be moving even when she was just ending the move in an arabesque. She certainly held her own to Woetzel. Well, actually, Woetzel seemed more to phone in this performance, despite the sequences being better executed than most other men could do it. And, speaking of the other men, Askegard was Somogyi's partner. I think he's a wonderful dancer and a gracious partner, but his height is a hindrance to my enjoyment of his virtuoso performances. Which is too bad.

What else? Hmm.... In Western 2nd mov't, Taylor doesn't seem to have settled on a characterization-- I'm not sure what she's trying for, if anything.

In BSQ both weeks, I saw Taylor and Ansanelli in the 3rd mov't. It's such a romantic ballerina part, but I don't think either of them is quite ready for it. Yet. They're both incredibly interesting dancers to watch, but a ballerina role of this type requires more than that. I would like to see Ringer move from 2nd mov't to this one.

On a side note, re: BSQ. I really wish that all the girls would do their buns in the low romantic style. Some do it that way, while others keep the higher bun. First, I think there should be some consistency. And, second, since this is a big, romantic piece, the low buns just fit. Those are the girls I end up watching.

Fairchild's debut in Valse-Fantaisie was a fully-realized performance. She had the power and clarity in the steps, as well as the charm and happiness in her presence. I still haven't quite warmed to her as I would have liked to, but it's still early yet. I just wish Stafford could relax more in her performances and simply enjoy herself, as Fairchild seemed to.

My reaction to West Side Story Suite is less enthusiastic than everyone else's. Don't get me wrong- I didn't dislike it. But, something just seemed off to me. Maybe with so many newer guys in it, I don't feel like they're quite at home in it. My eyes tended to wander to the more experienced ones, like Higgins (who should be doing Bernardo by now!). I was especially disappointed by America. Ringer, Ash, and Edge all *got it*, but the other girls (Arthurs, Bar, and Krohn) are too introverted for this piece. Of all pieces, the girls here need to be showy and have fun. Their performances were just not in sync with what was called for. :-(

When I first saw Millepied, I didn't quite recognize him. He looked so old! Not in an old man sense, of course. But, he didn't have that boyishness I am used to seeing in him. It was so odd! Esp. b/c you need to see that charm and wonder in Something's Coming. I am not asking that he be LaFosse in the part, but I didn't quite see a character.

While I was not happy with Bar in WSS, I really liked her as the supporting ballerina in 1st mov't BSQ. She danced big and a revealed a power to her dancing that I didn't realize she had. And, similarly, Krohn has grown into her role of Queen in the Cage. Her serious demeanor works for in this part. And now, she has added more power and presence.

As for the last mov't of BSQ, I previously talked about Kowroski and Askegard and their sexiness in the role. In Week 7, Whelan and Woetzel not only had that sultriness, but also the fun and wit. It was a more full-bodied performance, when I reflect back on both perfs.

What was most interesting in the last weeks of the season was seeing different people in the same roles and liking them both, but for different reasons. Usually, I have clear preferences to the point of strongly disliking one cast. But, this season (or at least the end of the season), I have seen many equally convincing cases.

Midsummer's comments coming soon. I want to keep my high from that a little bit longer before attempting to articulate it (until i got there, i didn't realize my last night for the season was Kistler as Titania, Somogyi as Hippolyta, and Ringer in the Divertissement. Amanda was so not happy ;-) ).

-amanda