bart Posted November 21, 2005 Share Posted November 21, 2005 I am stll flying from three performances in 26 hours: MCB's first program of Balanchine (Donizetti Variations/ Prodigal Son) and Edward Villella/ Frank Regan (The Quick Step: Unspeakable Jazz Must Go!"). This got me thinking that there must me many of Ballet Talk who have done the same or more. I hope you'll share the experiences: What did you see -- and over what period of time? Why? What were the positives? Any negatives? Would you do it again? -------------------------------------- Here are my own answers: -------------------------------------- What did you see -- and over what period of time? See above. -------------------------------------- Why? I always try to see a two different casts over a weekend, but found out at the last minute (from a Ballet Talk poster) that a young and usually very light-hearted dancer, Jeremy Cox, was doing the Son. I could not resist adding a third cast to this masterpiece, so associated with Edward Villella, MCB's AD. -------------------------------------- What were the positives? Visual and affective saturation -- a true kind of high, but a benign one. The endorphins are flowing and my imagination remains, 24 hours later, full of imagery. the images and thoughts are hard to organize. Among those I woke up with this morning: Fantastic zig-zag jumps for the male principal (Mikhail Ilyin did them perfectly) and wonderful ways to do hops for the female principal in Donizetti (exquisite when done by Deanna Seay). A great instant when you think the man is going to lift the woman, but she passes in front of him in a pas de chat. His arms, which seemed about to lift her from the waist, open out to acknowledge her jump and present her to the audience. All the subtle wit in Donizetti. The little combinations that develop in ways you dod not antaicipate . Or, that moment in the dramatic section where the dancers freeze in mock-tragic psoitions. One girl notices what her companions are doing -- is puzzled -- wanders over to look at her companions morea closely, rather like a curious cat, sniffing -- and then takes advantage of the opportunity to do a little improvisation of her own. It really was different each time. Agnieszka Szymanska -- a lovely dancer, definitely NOT impressed by the drama -- was most memorable for me. Seeing the different takes on the roles of the Son and the Siren that young dancers, relatively new to the company take as compared with those with greater experience. For instance: Jeremy Cox/ Callie Manning and Mikhail Ilyin,/ Emilie Fouilloux as compared with more two more mature dancers, Luis Serrano and Deanna Seay. All were good. But remarkably different. How MUCH dancing some performers had to do. Jeremy Cox had large parts -- including one Son, 2 Servants, and a magnificent flapper in all 3 quick Steps -- in 7 of the 9 ballets. Having the luxury to look closely at part of what was going on on stage (through opera glasses, despite fairly close-up seats) rather than always focusing on the whole. Total admiration for every single dancer (about 40 on stage) in Quick Step: all were in character throughout the longish ballet, entering and fading from focus, toning down and racheting up the energy, so that the eye could focus where Villella wanted it to go. Very cinematic and very well done. Comparing different dancers in the same role. For instance, two wonderful pricipal dancers as the lady in red in Quick Step ("Yes Sir, That's my Baby!"). Haiyan Wu was all balletic grace, joyful, a fast American version of one of the sylphides, very and Cyd Charisse, and delightfully so. My company favorite, principal Jennifer Kronenberg, was sharp, witty, fast, perfectly melded with her companion Mikhail Ilyin, who partnered three different ballerinas in this role. The innocent, stylish, witty and never vulgar cross-dressing in Quick Step. Mark Spielberger and Jeremy Cox as two flappers -- and Callie Manning and Michelle Merrill with cigars, tuxedos, charcoal moustaches, and (in Manning's case) a sinister eye patch -- were perfect. ----------------------------------------- Any negatives? So much to remember. Waking up several times each night re-living something I'd seen and doing that waving-the-arms-while-lying-on-my-back port-de-bras business that I don't seem to be able to repress after a good ballet experience. Regret that I can't mention 10 or so more dancers who made a big impression. Kena Shimizu is definitely one of them. Becoming a that dread thing, a BALLET BORE. I have talked abOut nothing else since Friday. Insatiable greed: wishing I had seen all 4 casts of Prodigal Son, especially Kronenberg's Siren. --------------------------------------------- Would you do it again? Will the sun rise in the east? Link to comment
BalletNut Posted November 21, 2005 Share Posted November 21, 2005 Unfortunately, I haven't engaged in very many true ballet marathons, unless one counts videos, DVDs, and television. :rolleyes: What did you see -- and over what period of time? I did get to see SFB in Giselle on a Friday evening, and then again on a Saturday matinee. It's entirely possible I went home and watched a video after that, but it was a while ago. Why? There were two people who wanted to see it with me, so I exchanged another pair of subscription tickets for a second Giselle performance. What were the positives? Being able to compare casts and see minute differences. Any negatives? It's kind of expensive. Would you do it again? Absolutely, if money were no object. Thank you, bart, for starting this topic. Link to comment
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