(from Fort Lauderdale, Florida) Thanks for that, Helene. So it's not exactly just coincidence at work here.
Now here's my latest installment, and then I'm on the run to today's matinee:
Saturday, 4th February 2006, Matinee and Evening
The event of the afternoon for me was Push Comes to Shove
with Jeremy Cox, Andrea Spiridonakos in the tall-girl role originated, I think by Martine van Hamel, and Haiyan Wu, not short, but in the short-girl role. In contrat to Luis Serrrano's fine etching of detail, Cox, losing nothing of detail - actually, making it more visible through execution less clipped, extended the role by strong chracterisation from first to last; Serrano had given a superb but subdued performance of the role, while Cox, in the Baryshnikov role gave us, not Baryshnikov being Baryshnikov, hardly that, only Baryshnikov is Baryshnikov, but Cox being Cox in Push
: He was just there
, without reference to anything else, sometimes, just for example, turning his head to register surprise at something someone else did, while Serrano had shown the look, but Cox was
And Andrea Spiridonakos was the perfect match, lovely and utterly at ease in her
part and, at some moments, out of her part, and then back in it again; Push
is like that. Jennifer Kronenberg had made more of these "shifts," more like I remember van Hamel (from the video, which I saw more often than on stage), and I think Spiridonakos's way was a little more effective for letting us discover what was going on, although for me, these "discoveries" were the more vivid for having seen Kronenberg in the previous performance. In other words, she had contributed to my getting more from Spiridonakos's version. Wu was also superb, especially when working with Cox, as for example when he wraps his arms around her from behind and shakes her up. Yes, indeed, Push Comes to Shove
is like that - it shakes us all up and puts us down somewhere else! What fun it was!
In the evening, Push
had the special benefit of Mary Carmen Catoya's unfailingly crystal-clear dancing in the "short" part, and Michelle Merrell came into the "tall" part, not articulating the changes in it so clearly as Spiridonakos and Kronenberg had, along with Serrano.
In the afternoon, La Source
was distinguished by Kristen Kramer's excellent realiztion of the demi role, after which she did a double-take as Edward Villella brought her a bouquet. Sad to report, this turned out to be Kramer's retirement preformance with MCB, after only five years! Patricia Delgado was very good in the lead, although hardly Catoya's equal, and presenting what I now take to be the family smile, with Kenta Shimizu, whose superbly crisp dancing did not quite match Penteado's easy but clear flow. In the evening, this ballet got a really lovely performance of the lead from Haiyan Wu, again, not matching Catoya, but can anybody? And Mikhail Ilyin gave a performance of the sole male part with, for my money, the best "flavor" so far.
got a really excellent perfomance of the Allegro first movement from Katia Caranza, modest, unassuming, clear, nailing
everything; all you hadto do was take it in as she showed it to you. And Penteado was her perfect match. In the evening, she took on the Adagio, and was even better. (Well, it
is, and so all she has to do is do it well, and she did.) And finally, in the evening, Deanna Seay! I thought I wsn't going to see her, although I hadn't heard any bad news. And then there she was, inhabiting her character in the first movemnt Allegro, giving it life we don't always see. (We had seen some characterisation with Kronenberg on Friday, actually.) And the concluding Rondo had Luis Serrano getting the details right and so, giving the jokes point.
Edited by Jack Reed, 11 February 2006 - 06:32 AM.