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Acocella article- New Yorker


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i've seen farrell's company many times

what she does with her dancers is incredible

philip neal, of nycb, never -- ever -- looked so good

another genius in that area is leigh witchel

his groups are always meticulously prepared and artistically beyond reproach, and his choices of music are sensitive and appropriate to the dancers he assembled

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I haven't posted in a very long time and I actually did not see any of NYCB's past season. I have read many of Acocella's articles over the last 15 years and in particular the ones' regarding NYCB and I often feel that she has such a personal gripe against Martins. In addition, Acocella drools over Farrell. I think it is important to note that in this mythical battle between good and evil, and in Acocella's eyes Martins is very much the evil, she always is on the side of Farrell. Whereas many people look upon Acocella's extensive history as a dance spectator and reviewer, I feel that her criticism is often colored by her personal relationship with NYCB dancers, both past and current, and really works as a disfavor to any one who is watching a performance or reading a review. How can we look for a new voice or interpretation if we are continually be informed that it already happened?

I do not mean to throw in the apple of gossip here, but it should be mentioned that as much as people praise Farrell as a teacher and coach, there are many people who also say different. The time that she spent at NYCB, teaching classes and staging for SAB, was a period of transition going on everywhere, within the school and the company. Fugate, Lopez, Calegari, Saland and many male dancers were either retiring or had retired. Martins was receiving good reviews for Estactic Orange and Fearful Symmetries; the school and company moved into the new building and SAB was going through all kinds of growing pains. As a student at SAB during that time, I remember that we could tell when Farrell was teaching company class (she did not only teach during Nutcracker; she taught during both the winter and spring season both at SAB and at NYCB): our classes were filled with members of the corp, soloists and principals.

I do agree with Acocella that NYCB and SAB have been struggling with technique and strength. I think a lot of that has to do with the passing of Stanley Williams and the retirement of Richard Rapp. Their classes were definitely crucial in the development of so many young dancers, both female and male.

Just my 2 cents.

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As an observer of NYCB for 30+ years, and with no personal ties to either Suzanne or Peter, I believe that there is more to what Acocella writes than personal grudges.

Back in the day, there was a level of commitment, of urgency, that pervaded the company. Everyone on stage was open to a spirit of spontenaiety. This made for some pretty ragged performances, and it may be difficult to understand if you hadn't seen it, but you knew the performance you'd just seen would never be duplicated. I don't get that feeling any more at NYCB, even though I know that in fact, no live performance can be duplicated.

What Farrell has is less than an established company. But she has been able to coax some of that commitment, some of that spontenaiety from her dancers.

What little I know of what happens in the studio I have gleaned only from film clips made while the ballet master/mistress was aware of rolling cameras. I can only judge based on the product on stage.

On the other hand, I do feel Acocella was harsh here, as this year NYCB's dancers finally looked like their work had more meaning to them than just a paycheck. I hope this trend continues, because lord knows, there's no shortage of talent in that company. It just needs good direction.

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As a student at SAB during that time, I remember that we could tell when Farrell was teaching company class (she did not only teach during Nutcracker; she taught during both the winter and spring season both at SAB and at NYCB):  our classes were filled with members of the corp, soloists and principals.

As someone who not only drools over Farrell but sometimes over myself, I don't understand the significance of this remark. Would you mind explaining? Thanks.

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