The Robbins programmeFancy Free, In the Night
Posted 26 October 2004 - 10:53 PM
Posted 27 October 2004 - 07:05 AM
Premiere onsdag den 3. november:
1. sømand Tim Matiakis
2. sømand Dawid Kupinski
3. sømand Jean-Lucient Massot
1. pige Cecilie Lassen
2. pige Gudrun Bojesen
3. pige Haley Henderson
Torsdag den 4. november:
1. sømand Thomas Lund
2. sømand Morten Eggert
3. sømand Julien Ringdahl
1. pige Amy Watson
2. pige Femke Slot
3. pige Maria Bernholt
Posted 27 October 2004 - 07:12 AM
Premiere November 3:
1. pas de deux Marie-Pierre Greve og Mads Blangstrup
2. pas de deux Silja Schandorff og Kenneth Greve
3. pas de deux Caroline Cavallo og Peter Bo Bendixen
1. pas de deux Gudrun Bojesen og Thomas Lund
2. pas de deux Caroline Cavallo og Mads Blangstrup
3. pas de deux Gitte Lindstrøm og Jean-Lucient Massot
Quite a few great couples I think!
Posted 28 October 2004 - 12:11 AM
Posted 04 November 2004 - 11:11 AM
Fancy Free is simply too much of the same thing. Yes we can enjoy three lively sailors, but the are too much repetition in drama and movement and the (man)handling of the first women is simply not-pc.
In the Night missed announcd star couple Silja Schandorff and Kenneth Greve (replaced by Amy Watson and Andrew Bowman) but I even doubt that they could have saved the piece. I miss some substantial choreography for the male dancers in this piece. And Peter Bo Bendixen was past the form, that was needed for the third dramatic pas de deux.
Far from Denmark and Life Guards are to similar to bring full enjoyment so soon after one another. Mads Blangstrup did a great job as Vilhelm, he can really body act, where to many of the others mimed rather than acted their part. Unlike Life Guards Far from Denmark has not been cursed with a new decor, but the costumes and wigs for the two cadets, played by female dancers, do not help them achieve the illusion of beeing men. On the contrary the uniforms and the chinese costumes in particular emphasized the female figure. It is has been custom that the main Cadet Poul is played with a blond wig, which looked odd on dark haired dancers like Diana Cuni and previous Petruskja Broholm (whose blond cadet partner Henriette Muus looked equally odd wih a dark wig). So instead of seeing a good boy imitator, you get an odd looking women in pants. Marie Pierre Greve was a lovely but frail Rosita. She and Blangstrup are becoming a very strong combination, also in In the Night. but we need more dancers to follow their example of strong dancing/strong acting.
On another note last month Kristoffer Sakurai was pushed forward as Gennaro and a soloist in Etudes. In this programme he is relegated to the minor semirole as Boatsman. It shows an inconsistancy of casting. Surely if he is good enough to be Gennaro and in Etudes, he should also trusted with a more substancial role in Far from Denmark. Likewise since he's been made a soloist, Nikolai Hansen has danced next to nothing. In this production he is one of four cavaliers in the Spanish number. Is he or is he not soloist material and a gifted Bournonville dancer? One would think by making him a soloist Frank Andersen beleived so. Why does he then have nothing to do in either Lifeguard or Far from Denmark? Instead we see young (foreign schooled dancers) struggling with the soloes. I cannot see talent management being used here.
Posted 04 November 2004 - 01:11 PM
I think if the "manhandling" you write of in Fancy Free is the scene where the boys steal the girl's handbag and tease her, if it looks too much, that's the fault of either the staging/coaching or the dancers rather than the ballet. It didn't always look lilke that -- it was more like boys in the schoolyard, teasing a girl. But there was never any thought that they'd do anything more than tease her.
Posted 05 November 2004 - 05:22 AM
I love the decor of Far from Denmark, specially that of the first act. If M-P Greve is fragile, Gitte Lindstrøm is more filled with Latin passion. Andrew Bowman does not show the same dramatic talent as Mads Blangstrup. I agree that the two cadets look very girlish and cute, you never think of them as men. This time danced by Susanne Grinder and Christina L. Olsen.
Gitte Lindstrøm is having a great season. She dances everything and does it wonderfully. Like Anna Karenina, Louise in The Guardsmen, the ballerina in Etudes, Rosita in Far from Denmark and Palmyra in Abdallah.
Posted 05 November 2004 - 06:30 AM
Good to hear that Gitte Lindstrøm is having a good season. She'd been out for quite awhile with an injury, if I remember correctly.
Posted 05 November 2004 - 07:30 AM
Now I'm really curious about "Fancy Free" -- is it a piece that just doesn't travel well? Or is the problem in performance? It's not my favorite ballet, but I've never seen a performance that didn't work with ABT, even with a less than ideal cast. The audience always seems caught up in it and laughs.
I'd have agreed up until last fall, when I saw a performance at ABT that didn't get a single real laugh, for the first time ever in my experience. Everything seemed just slightly off timing, and the half hour ballet seemed looooong. But you're right, as skillful as the dancers may appear, if the ballet is boring it can't be getting a good performance.
As for the men and the woman with the handbag, I don't think PC is the point. The ballet isn't saying this is how young men SHOULD behave, it's saying this is how they DO behave. And it think there *is* a bit of an edge there, a kind of twitching tension (it's there throughout the ballet, finally breaking into a fist fight). It's that real-ness (if that's a word) that makes the ballet, in a good performance, really touching. I don't know, maybe it's a guy thing?
Posted 06 November 2004 - 09:05 AM
It was nicw to see Diana Cuni back on stage , shes been abscent due to injury and i believe that this was one of her first shows back.
Posted 06 November 2004 - 11:35 AM
we currently pocess few male dancers at his level.
Posted 07 November 2004 - 12:29 PM
Posted 13 November 2004 - 05:01 PM
Regarding Fancy Free, when that episode with the purse has worked, it's been counterintuitively because of the woman, not the men. If the woman does not act frightened, it blunts the potential violence of the scene. What seems to work best is if she acts irritated, but never as if she's lost control of the situation.
Exactly. She's a street-wise New Yorker.
Posted 19 January 2005 - 05:59 AM
Posted 19 January 2005 - 06:49 PM
0 user(s) are reading this topic
0 members, 0 guests, 0 anonymous users
Help support Ballet Alert! and Ballet Talk for Dancers year round by using this search box for your amazon.com purchases (adblockers may block display):