Details about Eifman's ballet for NYCB

[Dale]

Joseph Carman writes about the controversal new ballet by Eifman for NYCB in Forward.

Celebrating Balanchine by Channeling His Antithesis

By Joseph Carman

May 14, 2004

On June 18, Russian choreographer Boris Eifman will premiere his first ballet for the venerable New York City Ballet as part of a program to celebrate what would have been George Balanchine's 100th birthday. At least in one respect, the match might seem to make sense: Eifman's own company, the Eifman ballet, is based in Balanchine's native city of St. Petersburg. But at the home of the late Balanchine's neoclassical style, dance is distilled to its essence, and in many ways Eifman — whose ballets gravitate toward over-the-top histrionics, impassioned gesturing, unapologetic athleticism and storytelling propelled by patchwork musical collages — represents the antithesis of Balanchine's aesthetic.

[Dale]

When the 2004 season was first announced, the company said it hired Susan Stroman, with her background in musical theater, to honor Balanchine's achievments on Broadway and Film. But when the ballet premiered, Martins admitted he wanted her to do something at an earlier time, to make a money maker, but this was when Stroman was available. When the company hired Eifman, it was to honor he and Balanchine's shared roots in St. Petersburg. But this graph in Carman's story makes me wonder if their was another, financial reason, for Eifman's presence at the State Theatre.

Today, apart from the traditional Russian ballet troupes, the Bolshoi Ballet and the Kirov Ballet, the Eifman Ballet is the most successful Russian ballet company in the world. His remarkable dancers have resurrected the blood-and-guts style of Soviet dancers of a previous generation, reminiscent of artists like the great Jewish ballerina Maya Plisetskaya (who was also stigmatized for her faith). Whenever the Eifman Ballet performs at New York's City Center, it is one of the few dance companies to guarantee sold-out performances.

[Ari]

Thanks for finding this, Dale. I doubt that Martins was motivated by hopes that the Eifman ballet would be a money maker. The crowd that sells out the City Center for Eifman is largely composed of Russians, who by and large do not patronize NYCB. And NYCB audiences are not predisposed to like Eifman's brand of overwrought theatrics, so if anything I think it's a risky move on Martins's part (and not a wise one, but that's another issue).

[Dale]

Ah, but the Russians can pile into the State Theater to see Eifman. Why not? And they always come to NYCB during the Sleeping Beauty run (I hear a lot of Russian at State Theater when evening-length ballets are performed [although I don't want to say people from the Russian community don't like Balanchine, there are people who do come regularly]).

[Alexandra]

I was heartened to learn that, just like Balanchine, the music is everything to Eifman. And I"m glad the rumors that Wheelan will portray Mourka (sp?) the Cat have now been confirmed!

[Leigh Witchel]

Poor Wendy. Poor Mourka.

[Roma]

Yes, Whelan as Mourka, Kowroski as Farrell (from another interview). All we need now is a sadomasochistic doppelganger for Balanchine and will be all set.

[Alexandra]

You have doubts?

[Roma]

No, not really. Just wondering about the casting. :speechless:

[Dale]

If there is no homoerotic pas de deux in which one of the men wears the buttocks-baring pants, I'm going to be very disappointed. Will it be between Balanchine and Kirstein, Balanchine and Paul Mejia, or Balanchine and Nicholas Nabokov?

[perky]

Overwrought theatrics + Mourka as a dance figure = urgent need for a box of kitty litter.

[Leigh Witchel]

Balanchine and Villella.

Balanchine and Erik Bruhn

Balanchine and Lifar

Balanchine and Diaghilev

Balanchine and The Don.

Balanchine and The Nutcracker.

Balanchine and The Spirit of Male Dancing.

The possibilities are endless if you medicate enough.

[sandik]

A whip.

They need a whip if they're really going to do an Eifman ballet.

I'm actually very intrigued, in that way you are when you pass a traffic accident.

[carbro]

I'll be sure to have some Excedrin with me when I see it. I do have to see it, because I'm sure that for weeks -- nay, months -- it's all people will be talking about.

And I'll try to see it with an open mind.