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Reviews: NYCB Week 4


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I missed the entire run of R+J due to stress from finals and lack of student rush availability, so I was happy to be back at the theater last night. The highlight of the evening was La Sonnambula. The woman next to me couldn't stop gushing about how lovely Kistler was as the Sleepwalker. I concurred. Ringer (the Coquette) always leaves an indelible impression on me. She has to be one of the most gorgeous creatures on stage...so easily recognizable, unlike the many bunheads I have difficulty telling one from the other. I would elaborate more, but I'm off to the Met for La Bayadere!

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Middle Duet was somewhat different the other night, from when it premiered here back in October. There were two 'angels' lurking on the side of the stage, one black, the other white. I assume representing Heaven and Hell? Maria was fantastic, so much energy and a bit of agnst thrown in there too, and those legs, my god. And Albert her partner did a fine job of twisting her this way and that. I don't remember the ballet so well from when I saw it back in October, but in the performance last night, the dancers ultimately dance there way to death and collapse to the floor which then provokes the two angels to come to life. After a short confrontation, it is the dark angel who, I guess, takes care of the bodys, while in the background, a reprise of the beginning of the ballet begins with Rebecca Krohn and Amar, ooops I mean, Maria and Albert. Anyways it was a completely different ballet with the added on end. It became a story, a ballet with a deeper meaning. Personally I liked it the first time I saw it.

Moves:

I have to admit that I dreaded the idea of sitting through 'Moves'. As the curtain went up, I thought, how is this going to be good without any music? But fortunately it ended up being quite amazing. The lack of music actually rose the intensity to the next degree, and even though there wasn;t any actual music, the dancers still made noise by stomping or clapping other body parts together. Also the coughing and sneezing from the audience (myself included) contributed a nice melody. Rebecca Krohn was definitely the stand out in this ballet. She needs to be casted in every single leotard ballet as soon as possible! Jared her partner was just as good, giving intensity, which I found he lacked in the past. All the dancers were superb. As i watched the ballet I wondered how Robbins choreographed it. Withouth the music, he had to create a beginning, middle, and end from nothing. I assume that in his head he composed the perfect score as he choreogrpahed, down to the very last note. And I wondered, in a company thats all about the music being first, and seeing the music... it's intersting that a ballet like that would be performed there. But I think there actually was music, just not the kind we can hear. In the modern world, everything is music, the sound of the AC, the desk light buzzing, even silence. Anything the ear can hear can be translated to music, you might not enjoy listening to it, but thats only because we aren't used to what new and out of the box. And so what I am getting at is that silence is just another kind of music. wish I could elaborate more...

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Wow, Old Fashioned.

I'm glad you liked Kistler. It was harder for me. I've been watching her dance about 20 years and she was my ballerina for so many of them. I was in row K of the orchestra. I don't even want to say what I thought she looked like. I'm kind of sorry/glad you never saw her back when; at least you don't have to look at what she looks like now and compare it to what she was.

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Wow, Old Fashioned.

I'm glad you liked Kistler. It was harder for me. I've been watching her dance about 20 years and she was my ballerina for so many of them. I was in row K of the orchestra. I don't even want to say what I thought she looked like. I'm kind of sorry/glad you never saw her back when; at least you don't have to look at what she looks like now and compare it to what she was.

Ouch! Are we talking about her looks alone or her dancing, or a combination of both? This was my first live viewing of this ballet, so I don't know how her performance stacks up against others, but I didn't think it was all that painful to watch. Funny thing--I was in row K, too.

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[Tangent]

There's a wonderful clip of Kistler and Ib Andersen being coached in the final duet from La Sonnambula by Allegra Kent in the Six Ballerinas documentary. It's neither full-out nor uninterrupted, but I find it magical.

[/Tangent]

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I'm glad you liked Kistler. It was harder for me. I've been watching her dance about 20 years and she was my ballerina for so many of them. I was in row K of the orchestra. I don't even want to say what I thought she looked like. I'm kind of sorry/glad you never saw her back when; at least you don't have to look at what she looks like now and compare it to what she was.

I agree, I was in row Q this evening and I was very uncomfortable watching Kistler. On the other hand Ana Sophia Scheller is becoming one of my favorites.

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Sorry I don't really know where to put this. There is a photo at State Theater that I'm confused about. It is Coppelia in rehearsal. The caption lists Helgi Tomasson, Sean O'Brien & Patricia McBride (sorry for any spelling errors). Then there is a line that lists others in the photo. I found most of the others My problem is the main subjects of the photo (2 couples in rehersal). No one looks like Helgi to me. I can't tell whether or not one of the women is perhaps Patty McBride. Who would the other woman be? Does anyone know?

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I only caught fleeting glimpses of Darci in Sonnambula as I was entirely focussed on Nikolaj. What little I did notice was that her bourees, usually smooth as silk, were rocky and her face looked somehow odd.

But Hubbe .. Oh My! Talk about "arc of a performance" - this was the epitome. He is so in the moment, it almost hurts. A performance to treasure im memory & so vivid as to make memory last.

The rest of the performance was also quite enjoyable - Carousel a delightful if lightweight piece. The Ratmansky is another witty piece from this talented choreographer and Moves was more notable for its Balanchine references than I've ever seen it. Definitely not performed to silence though - The Coughing Concerto: forte, piano, rallentandi, ritardandi, accelerandi, even messe di voice here & there. I prefer it done to silence.

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It's interesting to consider these divergent views of Kistler's Sleepwalker in the light of Alistair Macaulay's comments in his NY Times review:

Ms. Kistler first danced this role when the current production was revived 20 years ago. Today her main power is in her upper body, but here she uses that ardently, letting her head and shoulders turn and bend in the heroine’s sudden moments of unexpected emotion.

Perhaps those who carry strong memories a dancer at her best, "see" the evidence of decline while watching performances in the same role near the end of a career. Those who do not have this basis of comparison often see something entirely different. What we observe depends quite a lot on what we bring to each performance.

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It was quite the ardent use of the upper body. She clung desperately to the candlestick with her hand shaking in the promenade and nearly fell over when she did the grand swooping bend to mourn the poet.

This is not the way she should be leaving. At this point, I just wish she'd stop - for her memory, for herself, for all of us. On the other hand, I agree with Zerbinetta, Hubbe gave an exceptional performance.

[Edited to add] I don't usually read other reviews before submitting my own, but I did just read Macauley's. You might as well just read mine when it comes out, if you wish. Evidently we were at different State Theaters.

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I saw all three weekend performances, and there were several standouts.

Square Dance on Sat. afternoon, for Andrew Veyette's very crisp excecution and Megan Fairchild's musicality. Alina Dronova sparkled, and I thought that Devin Alberda and Kyle Froman (always with a reliable form) were excellent.

Symphony in C was marred in the finale, when Ask LaCour lost control of Sophiane Sylve and her leg hit Pauline in the head. I didn't see that part but I saw that Ask was visibly shaken and Sophiane did not look happy. That must have been upsetting for Ask in this premier performance. Ashley and Joaquin and Tiler and Tyler were excellent.

Sat. evening was the first time I saw Middle Duet. and it is an incredible visualization of the music. Sonnambula looked beautiful, with new, softer and more interesting costumes. The performances were very good, but nothing spectacular.

Agon was the best part of the Sun. afternoon "Greek Trilogy." The energy was exceptional and fierce, Maria again managing to be both extremely fexible AND strong. Sean Suozzi was also very, very energized.

I'm not mentioning Carousel (A Dance) because seeing it twice was three times too many. Sorry Christopher.

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Symphony in C was marred in the finale, when Ask LaCour lost control of Sophiane Sylve and her leg hit Pauline in the head. I didn't see that part but I saw that Ask was visibly shaken and Sophiane did not look happy.
I didn't see it either. Sofiane's Second Movement certainly didn't lack for grandeur. It didn't lack for anything, except its mysteriousness. Once in a while it's good to sit back and admire the actual composition of the choreography without being drawn in emotionally. Sofiane's reading was a perfect opportunity for that.

I found myself somewhat distracted in the Fourth Movement by TAngle's hair, which would go flying in all directions whenever he jumped, then land perfectly in place. Too bad such a fine dancer's actual dancing could be upstaged by his hair. A little gel -- or even water -- might be in order.

Veyette excelled in the man's adagio in Square Dance. Fairchild feels very much at home here. Fast footwork (so much improved from two years ago :thumbsup: ) topped with a generous dose of charm. Beautiful presentation.

Unlike you, VC, I stayed in for Carousel (A Dance). Here, the distraction was the words in my head overriding the dancing before my eyes. Maybe its a generational thing. I grew up with this music, and I love it. (But I don't have this problem with Who Cares. :dunno: ) Woetzel, whose range of movement is now conspicuously less than it was, is still a joy to behold, especially in the casual style of this ballet. Think Gene Kelly.

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Veyette excelled in the man's adagio in Square Dance. Fairchild feels very much at home here. Fast footwork (so much improved from two years ago :thumbsup: ) topped with a generous dose of charm. Beautiful presentation.
I absolutely agree. Veyette is someone I never paid attention to until he did the "Bluebird" in Sleeping Beauty, and then I REALLY began to watch him! His serious demeanor in the beginning suddenly became a big smile (the way it used to happen with Suzanne) that just lit up the theater.
Unlike you, VC, I stayed in for Carousel (A Dance). Here, the distraction was the words in my head overriding the dancing before my eyes. Maybe its a generational thing. I grew up with this music, and I love it. (But I don't have this problem with Who Cares. :dunno: ) Woetzel, whose range of movement is now conspicuously less than it was, is still a joy to behold, especially in the casual style of this ballet. Think Gene Kelly.

I too have the lyrics (and the voice of John Raitt) in my head, and for me, there is a real mis-match, because of the arrangement of the music.

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Veyette is someone I never paid attention to until he did the "Bluebird" in Sleeping Beauty, and then I REALLY began to watch him! His serious demeanor in the beginning suddenly became a big smile (the way it used to happen with Suzanne) that just lit up the theater.

Thanks for the recollection, VC!

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Symphony in C was marred in the finale, when Ask LaCour lost control of Sophiane Sylve and her leg hit Pauline in the head. I didn't see that part but I saw that Ask was visibly shaken and Sophiane did not look happy. That must have been upsetting for Ask in this premier performance.

I didn’t see that in the finale, but I could swear I saw Sylve catch Pauline’s shoulder with her leg when Ask brought her over for the first touch down between the demi couple in the second movement. The second one was fine. It also looked to me like he was having some trouble partnering her at one point - not sure if it was in the second movement or in the finale but it was noticeable and I assumed that’s why they both looked so out of sorts in the finale. Come to think of it, I guess it was in the finale because I remember thinking at that point that she looked like she was thinking - Damn, it’s a good thing I can do all this without a partner and he’s not really NECESSARY... (Not saying any of it was Ask’s fault - just that she looked annoyed).

I thought Peck & Woetzel were wonderful in Carousel. I’d seen it once before with the other cast and even though I’ve really enjoyed reading Alistair McCauley’s reviews, I thought he was a little daft when he said the pas de deux brought tears to his eyes. Now seeing it with Woetzel & Peck I had the same reaction. What a difference a little chemistry (and artistry) can make.

And yes, I will remember this Square Dance not only for Megan Fairchild’s wonderfull peformance but also as the first time I was really wowed by Andrew Veyette.

I agree that Agon was given a great performance this afternoon, but so was Apollo - Hubbe has such mastery of the role at this point, and this is one of the best performances I’ve seen from Borree. I thought she'd be totally overshadowed by Fairchild and Bouder - and they were great - but she held her own. She had a couple brief moments of shakiness in the pdd, but mostly she danced with great ease & joy.

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Symphony in C was marred in the finale, when Ask LaCour lost control of Sophiane Sylve and her leg hit Pauline in the head. I didn't see that part but I saw that Ask was visibly shaken and Sophiane did not look happy. That must have been upsetting for Ask in this premier performance.

I didn’t see that in the finale, but I could swear I saw Sylve catch Pauline’s shoulder with her leg when Ask brought her over for the first touch down between the demi couple in the second movement. The second one was fine. It also looked to me like he was having some trouble partnering her at one point - not sure if it was in the second movement or in the finale but it was noticeable and I assumed that’s why they both looked so out of sorts in the finale. Come to think of it, I guess it was in the finale because I remember thinking at that point that she looked like she was thinking - Damn, it’s a good thing I can do all this without a partner and he’s not really NECESSARY... (Not saying any of it was Ask’s fault - just that she looked annoyed).

I thought Peck & Woetzel were wonderful in Carousel. I’d seen it once before with the other cast and even though I’ve really enjoyed reading Alistair McCauley’s reviews, I thought he was a little daft when he said the pas de deux brought tears to his eyes. Now seeing it with Woetzel & Peck I had the same reaction. What a difference a little chemistry (and artistry) can make.

And yes, I will remember this Square Dance not only for Megan Fairchild’s wonderfull peformance but also as the first time I was really wowed by Andrew Veyette.

I agree that Agon was given a great performance this afternoon, but so was Apollo - Hubbe has such mastery of the role at this point, and this is one of the best performances I’ve seen from Borree. I thought she'd be totally overshadowed by Fairchild and Bouder - and they were great - but she held her own. She had a couple brief moments of shakiness in the pdd, but mostly she danced with great ease & joy.

I also thought the mishap occurred during 2nd Movement. Sylve was being lifted upstage, into circle of arms formed by Pauline Golbin and Devin Alberda. It did seem like her extended foot bumped into Golbin's shoulder. But hard to tell because the dancers on stage didn't react to the incident. It was nevertheless a grand performance, and I was glad to be there.

Fairchild and Veyette were wonderful in Square Dance, but I can't help wondering if we'll ever see again the way Bart Cook linked the steps (so that when I thought a phrase was ending, it would continue into something very nice). On some occasions on Saturday, Veyette didn't make it the sustained phrasing I remembered, but then I'm not sure Peter Boal was doing it during HIS last performances of Square Dance.

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Wow. MacCauley's review in today's times. The first one to point out the the Emporer's son not only has no clothes, but just shouldn't be where he is, among other truths. He also praises where praise is due:

http://www.nytimes.com/2007/05/21/arts/dan...amp;oref=slogin

His review echoes my thoughts on Friday evening's performance. Whelan was the only redeeming factor in Orpheus. I couldn't help imagining what Hubbe would be like in the title role...

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>Symphony in C was marred in the finale, when Ask LaCour lost control of Sophiane Sylve

>and her leg hit Pauline in the head.

I recall seeing that mess happening at the near beginning of the 2nd mov pas de deux.....the first grand jete, upstage (thank God) into the arms of one set of demis in a bended fourth position, arms in a lowered ring. It's suppose to be the ballerina's front leg landing into that ring and to the floor.... But Ask landed Sofiane right on top of some poor dancer..... Just awful.... And so went the rest of the pas de deux. A huge mess of partnering errors and lack of confidence. Ask looked as if he had no clue as to what a partner should *be* in this grand pas. My guess is that Ask had very little rehearsal time before sub-ing for Chuck.... Nevertheless ---

My hat's off to Sofiane for struggling through not knowing when the next bomb would go off. I swear I thought I saw her crying.... or definitely in tears when she wasn't trying to salvage what she could with her own magic. I doubt we'll ever see these two dancers paired together again......... esp not in Sym in C's 2nd movement.... and that would be fine by me.

Sofiane did manage some beautiful dancing on her own, however flustered at times, including stunning balances before the famous, gorgeous penchee. I think if she had managed the head to the supporting leg's knee, the audience would have exploded into applause just to thank her for not giving her partner a well-deserved karate chop instead.

The matinee did start off with a fine, big POW, better than ever, from Square Dance's corps along with Megan Fairchild and Andrew Veyette in the leads. I thought there was a wonderful, new chemistry and playfulness between these two leads.... They danced, played off each other, so well.

Also a fine performance from Tiler Peck and Damian Woetzel in Carousel. It's hard to watch anybody but Ansanelli in this part, but Tiler did very, very well, and then bounced back to another brilliant 4th movement ballerina of Sym in C. Tiler seems to have endless fresh brightness and attack.

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>Symphony in C was marred in the finale, when Ask LaCour lost control of Sophiane Sylve

>and her leg hit Pauline in the head.

I recall seeing that mess happening at the near beginning of the 2nd mov pas de deux.....the first grand jete, upstage (thank God) into the arms of one set of demis in a bended fourth position, arms in a lowered ring. It's suppose to be the ballerinas' front leg landing into that ring and to the floor.... But Ask landed Sofiane right on top of some poor dancer..... Just awful.... And so went the rest of the pas de deux. A huge mess of partnering errors and lack of confidence. Ask looked as if he had no clue as to what a partner should *be* in this grand pas. My guess is that Ask had very little rehearsal time before sub-ing for Chuck.... Nevertheless --- My hat's off to Sofiane for struggling through not knowing when the next bomb would go off. I swear I thought I saw her crying.... or definitely in tears when she wasn't trying to salvage what could with her own magic. I doubt we'll ever see these two dancers paired together again......... esp not in Sym in C's 2nd movement.... and that would be fine by me.

Sofiane did manage some beautiful dancing on her own, however flustered at times, including stunning balances before the famous, gorgeous penchee. I think if she had managed the famous head to the working leg's knee, the audience would have exploded into applause just to thank her for not giving her partner a well-deserved karate chop instead.

I've been thinking about this discussion and realize that yes, the real "faux" pas (pun not intended until I noticed it) did happen during the second movement, and I did not catch it at all, BUT there was ALSO something wrong in the finale, when the four couples are finally all downstage. THAT's when I saw Ask look very shaken, and turned to a friend near me and she had also seen that symptom of something gone wrong. So, I don't know if there was another screw-up there, or if he was just terrified that something else would happen. What a way to premier in such an important role.

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