NUTCRACKER 2004

[oberon]

Sunday 11/28 @ 5:00 (Act II only)

During the rehearsals for AGON, Stravinsky reportedly compared Diana Adams' legs to "the Solingen scissors trademark." I wonder what he would have thought of Janie Taylor's legs? They certainly mesmerized me today as I sat, enraptured, watching Taylor as Dewdrop. Words like "brilliant" and "dazzling" don't quite describe her performance. It went beyond that. She flashed thru the myriad turns, plunged into beautiful arabesques, wafted her extension to the heavens, sustained her balances with airy ease and did all the fascinating things that great Dewdrops do... but there was - beyond all that - a radiant quality that just floored me. The music seemed to flow thru her and she really soared. It is so great to have her back after she missed most of last season - bravissima!!!

Borree & Hubbe were replaced by Ringer & Marcovici who seem to still be getting used to dancing together. Everything came off perfectly well but they didn't take any chances. Ringer's solo was very graciously danced and her big, beautiful final balance in the adagio drew some whoops from the packed house. She is always a joy to watch.

The other soloists: Fairchild (Marzipan), Hendrickson (Tea), de Luz (Candy Cane), Faye Arthurs (an alluring Arabian) and the glamourous Golbin (Spanish - with Henry Seth) all danced well. A mention for the very pretty leading Flowers in the Waltz, Glenn Keenan (welcome back) and the elegant Saskia Beskow.

Lots of new faces & names in the corps...I used to pride myself on knowing who everyone in the Company was but now there' s whole bunch of newbies...it's going to take time to put names to faces. Among the Flowers, I hardly recognized anyone...but then I was busy watching Janie Taylor.

[art076]

Thanks for the first report of the season! Anybody going to see Ashley Bouder's turn as Sugar Plum on Friday (or her debut at the school performances on Wednesday)?

[dewdrop]

eom

Edited March 4, 2006 by dewdrop

[oberon]

The Bouder/Fairchild student matinee will serve as a dress rehearsal for their performance later in the week. They can iron out the kinks and present a more finished product to the paying public. Most incoming SPFs & DDs don't get a full-stage run-thru...I think it's very canny of Peter to let the girls get their feet wet -so to speak - under these conditions.

[dewdrop]

Peter who. ;)

[oberon]

Friday 12/3

Alexandra Ansanelli had a huge success tonight as Sugar Plum...she was able to combine the lyricism and elegance of the opening solo with the appropriate prima ballerina grandeur of the pas de deux. Her musicality, technical daring and radiant beauty seemed to captivate the audience, who unleashed a barrage of applause as

Alexandra held a mammouth balance to climax the adagio. Her smile, to top it all off, is peerless. Millepied was a graceful & attentive cavalier...together they made the pas de deux the rightful centerpiece of the evening. Replacing Carrie Lee Riggins, Teresa Reichlin made her Dewdrop debut earlier than expected...she had a fine success, her long legs flashing thru the jumps & turns. Sometimes her dancing is a bit loose or slightly off the music but she certainly has the goods. Amanda Edge shone brightly as Marzipan - what a Swanilda she would be! Craig Hall is a taller Tea than we are accustomed to - he made a fine impression - and Tom Gold showed he is still King of the Candy Canes. Rachel Rutherford & Arch Higgins were appealing in Spanish and the very lithe & very musical Dana Hanson made the most of the sultry Arabian dance. Gwyneth Muller & the glamourous Ellen Bar seemed to be enjoying themselves as leading Flowers and it is always nice to see Elizabeth Walker waft into view as the first Snowflake.

In Act I, Steven Lobman was a wonderfully impish Fritz, Sarah Ricard an adorable Grandmother, and Saskia Beskow a Frau Stahlbaum out of Vogue - what a face! Her mimed scene with the sleeping Clara was beautifully done.

Ashley Laracey was a pleasure to watch in numerous corps roles, and Edge had an especially fine back-up quartet (Dronova, Barak, Keenan & Jamie Wolf)...Vincent Paradiso is beginning to make a mark among the men, and Jerome Johnson deserves more opportunities. Andrea Quinn illuminated several details of this thrice-familiar score, and the violin solo was tonight quite luminously played by Kurt Nikkanen. The audience was clearly entranced...not a whimper or a candy wrapper - and applauded at the right moments. And gave Alexandra the rousing reception she fully deserved.

[flipsy]

Friday was my first Nutcracker of the year, and in some ways it was like the ghost of Christmas past, but in other ways a fresh treat.

The familiar parts included Kramarevsky as Drosselmeier -- he must be close to 80 now, but he hasn't lost an ounce of his flamboyance and nuttiness, flinging his cape wide as he exits for the last time with real ballet turns going on under the costume. Also, another in a long line of diabolically cute Fritzes, this one named Steven Lobman, trained in tantrums by Garielle Whittle, who never seems to miss in casting this part. When he exits with his final fit, he looks like he's actually trying to injure his father.

As for the new treats, there's a raft of new apprentices and corps members, which proved a blessing for the snowflake dance. This can look ragged and tired unless everyone is flinging herself into it fully. And these kids did. (There's no individual glory in the snowflake dance -- I talked to one apprentice's father who said that from the fourth ring, he can't even pick out his own daughter in the swirl!)

Elsewhere, some new folks did stand out: Amar Ramasar added extra mock frenzy and at least one new pratfall to the Mouse King role. Aaron Severini was crisp and spirited as the toy soldier.

As for the principals, I agree with Oberon that Ansanelli was superb. Last year I felt she was trying to blow the audience away with her explosive timing. This year she has toned it down just enough so that she's still dramatic and vivid, but more contained in the music. She's approaching Sugar Plum territory, that rarefied zone of calm maternal magic ruled by the likes of Jenifer Ringer and Darci Kistler. (You have to be able to look natural with a troop of 10-year-old angels dogging your steps around the stage.)

Reichlen had her moments as the Dew Drop, mainly her big arabesque and grand jete exits, but I have to agree that her dancing was a bit loose. Her size does not make it easier to pull off those quick articulations, such as the grand pas de chats or the ronde de jambs in the air. But she's beautiful, and the audience liked her debut. And yes, Ellen Bar was warm and elegant as a purple flower.

I particularly liked Amanda Edge's Marzipan in the last scene, where she gets to run and jump a little after all that teetering and mincing around in the main variation. I think it's great that Balanchine rewards that ballerina with a frolic in the finale.

Ah, Nutcracker. The perfect cure for Seasonal Affective Disorder, and a thousand other ills. I'll be back.

Edited December 4, 2004 by flipsy

[Dale]

I saw Thursday night’s performance and the Sunday 1pm showing. Thursday’s was like a perfect precious setting of a jeweled brooch as it featured a very small cast. Leading them was Ashley Bouder in her “paying” debut as Sugarplum Fairy, partnered by Jared Angle. Megan Fairchild was the Dewdrop.

Bouder was everything I could have hoped for. I expect her to impress me in whiz-bang roles, but it is in ballerina roles, such as Firebird and Aurora, that she surprises; mostly in the framing of her arms and musicality. I’m not talking about Kirov or Ashton arms, but the way she models herself to all points of the stage. She also has a wonderful way of showing the step without being static, as well as building each phrase to its climax.

I think Fairchild came off better as Dewdrop -- so light and brilliant – than as Sugarplum. She didn’t blaze through the choreography in a way that can be pretty thrilling, but had such high jumps and tight turns. She sparkled.

On Sunday, Fairchild was the Sugarplum. She sometimes can be almost too correct, a little small and perfect. I wouldn’t think she would look too out of place in an English version of Sleeping Beauty. She doesn’t have yet the abandon of some of the other NYCB dancers. However, she is young and, from reading interviews with dancers, Dewdrop sometimes comes more naturally than Sugarplum. She still was pleasing and her first solo very fine, she just seemed to lose focus a little bit in the pas. It seemed as if she couldn’t wait to get off that sliding thing in the floor.

Fairchild and De Luz make a nice couple. Even though I don’t think of De Luz as a “Cavalier” in the emploi sense of the word, he partnered Fairchild well. It also was great to see the man’s brief solo performed rather than merely got through.

Teresa Reichlen was an elegant Dewdrop. I’d agree with the earlier posts that said her jumps and arabesques were the best thing about her performance in this part.. She seemed to have just the tiniest bit of trouble fitting the choreography on a long body. But remember the original Dewdrop was LeClerq.

[Dale]

I decided I was nitpicking a little bit about Reichlen's performance. It was very good. I loved her diagonal flying rond de jambe en l'airs (I hope that's the correct term). Her performance reminded me of her early ones in Tchaik. Piano Concerto No. 2 in which she seemed just a bit loose only to firm up in later performances.

[oberon]

Dale, can you comment on Alina Dronova's Marzipan? I will be seeing Sterling Hyltin's first performance of the role tomorrow night.

And how is Jared Angle looking these days?

Thanks,

Ob

[oberon]

Tuesday 12/7

Wendy Whelan as Sugar Plum gave a richly detailed yet wonderfully flowing performance...she thoroughly captivates me every moment she is onstage. It isn't simply that she does all the steps with such clarity and musicality, it is her intriguing sense of allure or mystery that keeps me glued to her every movement & gesture. The variation and the adagio were as near perfect as I hope to see, but the technical accomplishment - so exciting in itself - is only part of her incredible appeal. Other dancers have moved or thrilled me over the years but there is no one like Wendy. I cannot really express it. So I will stop trying and just say I am so thankful to be living in the era that she is dancing.

Nilas knows how to show her off, and he is a storybook prince even if he is not a virtuoso. Alexandra Ansanelli was an exciting, daring Dewdrop...beautiful to watch. Sterling Hyltin's first Marzipan was a bit lacking in flow but she has the technique for it and the musical aspects will flower in time. Sean Suozzi seems too tall for Candy Cane and Andrea Quinn pushed the tempo of his piece to extremes. Craig Hall is likewise taller than the usual interpreters of Tea. Both of these guys danced very well. Saskia Beskow, having played - beautifully - Frau Stahlbaum in Act I, turned into a lovely Spanish senorita in Act II, with Jon Stafford. A highlight tonight was Melissa Barak's Arabian...she played it very sexy, less self-absorbed and more overtly seductive that many dancers I have seen in the part. Her extension is impressive as is her musicality. Rachel Rutherford & Jennifer Tinsley were luxury-cast as the leading Flowers and seemed to be having fun.

I want to mention the wonderfully princely Nicholas Fokine who appeared among the children in Act I...I love this link to NYCB's Diaghilev heritage.

In a lovely gesture, it was Nilas rather than Wendy who brought Andrea Quinn out for her curtain call. Aside from the Candy Cane tempo - maybe the dancer asked for a fast pace - she brings alot of clarity to this score, thrice-familiar as it is.

[carbro]

In a lovely gesture, it was Nilas rather than Wendy who brought Andrea Quinn out for her curtain call.

<{POST_SNAPBACK}>

I have noticed that NYCB has taken to having its leading men escort Ms. Quinn out for her call.

Thanks for the terrific review, Oberon, for sharing your joys with us. I haven't seen a Nut yet this year, so you're prodding me to get to the theater.

[oberon]

December 19 @ 5:00

Packed house; the orchestra under Kaplow wasn't quite as precise as under Quinn earlier. Yvonne Borree danced her opening solo gracefully. She and Sebastian Marcovici were not always in perfect unison in the adagio though they brought off some nice passages. Miranda Weese was a captivating Dewdrop...no one can linger on a balance like Miranda, yet she keeps everything flowing with the music. She seems to become more beautiful as time goes by. Daniel Ulbricht nearly stole the show with his buoyant Candy Cane, Ellen Bar was a glamourous Arabian - with a fine air of mystery - and Austin Laurent's mercurial Tea was very good. Carrie Lee Riggins, she of the million dollar smile (to say nothing of her pale, alluring eyes) danced the Marzipan solo with charm & dazzle, then showed off her airy jump in the finale. Saskia Beskow is just plain gorgeous and her Spanish cavalier, Jon Stafford, brought off a very clean triple turn in the air at the climax of their dance. Most gardens cannot boast flowers as striking as Melissa Barak and Pauline Golbin - the latter, whom I have loved since I first laid eyes on her, is a dancer I can't take my eyes off. Why she does not get more opportunities to shine is beyond my comprehension. Adam Hendrickson is the best Drosselmeyer I have seen - he uses his hands so well and creates a darkish but not sinister character. He didn't use a screwdriver to fix the Nutcracker: just a good dose of magic. There were many unnannounced cast changes in smaller roles...Carla Korbes & Tyler Angle among the parents, Jessica Flynn as the Grandmother, Faye Arthurs in Snow corps & Marzipan back-up. And unexpectedly, Elizabeth Walker turned up in the finale as one of the Chinese girls. Dena Abergal made a very attractive Frau Stahlbaum and Steven Lobman repeated his naughty Fritz...the perfect imp.

[dancelyssa]

Everyone has mentioned Fritz, but can anyone comment on the other children's roles? Perhaps Marie and the Prince, or the Party Scene of Polichinelles?

[carbro]

Monday Matinee, December 20

My first Nut of the year. The draw was the combination of Bouder's SPF (with Jared Angle) and Scheller's Dewdrop. Bouder, unfortunately, was not at her best. Not that there was anything particularly wrong with her performance -- just rather bland. My disappointment is really due to the very high level of expectation I have for Ashley, and this time she came up short. Still, she left me some delightful images.

In her variation, the half-fouettes from arabesque to retiree were phrased as crisply as I've seen, each succeeding one giving her more time to balance in retire. The little stag leaps froze in mid-air. But overall, it was a tepid reading . . . until the leaps to the shoulder in the pdd. At that point, you could almost see her think, Oh, goody! In a minute I get to dance fast!, and at her coda threw sparks to the rafters. The Ashley we know! Angle was a secure and chivalrous partner (except for a tiny muff with hand business in the pas), and matched Bouder's energy in the coda.

Also noteworthy was Ben Millepied's Candy Cane -- subbing for Suozzi and new to me. Nice and sharp, and opening with one of the biggest jetes a la seconde I've ever seen.

And new to almost everyone, Ana Sophia Scheller's Dewdrop. Entering Her Stage as if she weren't in her first few months of Professional Dancership, she claimed it for herself. How exciting to have another kamikaze ballerina -- or ballerina in the making! She went for off-center balances when there was nowhere to hide if she missed (she didn't ). She has a huge jump, trademark Argentinian turns, springy, resilient legs. And a zillion-watt smile.

Anjelica Fellini and Jerimy Rivera were Marie and Herr D's nephew. I knew this pair from last year, and as accustomed as they must be to their parts by now, we still get a sense of sponenaiety from them. Fritz was Nicholas Smith, who was fine, if not quite the scene stealer most Fritzes tend to be. Other children were fine. A tiny redhead in the party scene caught my eye, and among the Polis, one girl had an alarmingly sickled foot. Tsk, tsk. Dangerous! Overall, the children were as professional and disciplined as one would wish, but still fresh and childlike.

Intending no offense to Oberon, I missed Elizabeth Walker as the first Snowflake. Pretty as she is, Carrie Lee Riggins just didn't do it for me. The program named Carla Korbes as a Parent, and indeed she was, but it did not name her as either a Snowflake or a Flower, and I believe I spotted her in both Waltzes. Not 100% sure, because Snowflakes are on and off so quickly, and in Flowers, well, I couldn't take my eyes off Scheller. Ana Sophia, welcome aboard!

[bobbi]

Thank you, Carbro, for your report. I had missed all of Ashley B.'s SPFs. I only saw three of her Dewdrops, all of which I thought were extraordinary. She has such a secure technique that you can see her "playing" with all the usual dramatic phrases in this solo. She's the kind of dancer where -- after all these years -- she makes me hear new things in the Waltz of the Flowers!! She's just explosive, and the Nutcracker audience responds accordingly; they may not be the usual ballet audience, but they know when they've seen something terrific.

And good news about Ana Sophia. I had only seen her at the Workshop and some other SAB events. She may turn out to be the Verdy type of dancer: lots of drama and personality in her dancing. Time will tell.

By the way, I was glad to see in the most recent SAB newsletter that "Kaitlyn [Gilliland] is slated to begin her NYCB apprenticeship in 2005." Folks, we may be looking forward to a great crop of NYCB ballerinas very soon!!

[carbro]

Thank you, Bobbi!

Yes, I see a handful of young ladies who seem to have brilliant careers ahead in NYCB. But where are their equally gifted partners???

[dancelyssa]

CArbro, might I ask, was the Poli with the sickled foot sickling during the last part of the dance, the pique arabesque right 2x, left 2x, repeat, pique, tour jete, step, curtsy, run? That part is the hardest and we are always getting yelled at for it in STamford.

[carbro]

Actually, Dancelyssa, she sickled pretty much throughout. I don't expect these kids to have mastered the details of classical style, but the ankle was so misaligned, it looked terribly unstable. You know what they say -- we are very critical when we find our own faults in others. My "sickle foot" was the left, though, and hers was the right.

[paulofnyc]

Did anyone see the January 2nd 1 PM matinee NYCB performance?

Did Yvonne Borree hurt herself? Did she complete her role?