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REVIEWS: NYCB Week 6


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Wednesday, May 30, 2007

A VERY mixed bill

Tonight's program began with an intense performance of Serenade. Darci Kistler danced with some abandon, and with profound emotion, partnered by Charles Askegard (welcome back!). Ashley Bouder has further refined her role, showing deep compassion for the fallen Darci and Angel, Sara Mearns. The virtuosity was always there, yet serene, purely in the service of higher mysteries. Divine Sara was, of course, to her role born. Stephen Hanna, too, was very fine. A very merited three curtain calls. Too bad the entire corps could not come out to bow...

What total contrast to Maria Kowroski's debut in Bugaku! Toshiro Mayuzumi's score opens with what sounds like many cats meowing. Sure enough four kittens enter, followed by what must be Mr. B's Mourka (Maria). I really suspect Mr. B did have cats in mind with that score, but of course this wasn't a story about cats. After four boys and a man, Albert Evans, had their turn, the two sexes met, politely. The music stopped, there was applause, perhaps politely.... or in hope it was over? Some minutes went bye, and some murmurs of concern. It was just a matter of costume changes, as the dancers dressed for undressing. There were lots of not-for-children things, that looked like fun if you had a chiropractor (or better still, an osteopath) in the family. Legs Maria was a miracle of flexibility. She was amazing, and merited her (and Albert's) three curtains.

Maurice Kaplow, looking in fine fettle, conducted the first two ballets. Then Nicolette Fraillon, who so impressed last week, had her turn with Union Jack. I hadn't seen Ben Millepied in a while, but he looked a bit Peter Boalish leading Lennox. Damian Woetzel looked very Woetzelish, in other words way more than sufficient. Philip Neal and Yvonne Borree were also excellent, and Abi Stafford, leading Green Montgomeries, particularly joyous. Wendy Whelan had the penultimate clan, the role that always maxes Act 1 applause, and rightfully did again. But Tess Reichlen held her own with the RCAF, of course dancing big, but also was most glamorous, well, with those legs, gamorous.

In Costermongers, Nilas Martins was warm and winning in this, his best role. Kyra Nichols was wayward and wild, just plain wonderful! The children, Amanda Kraus and Arden Pickoff-Rafferty, were already accomplished virtuosi. Kyra with children is always something special. But so is Nilas!

For the Navy, Damian let it all hang out, a fabulous virtuosic display, including elevation. But it was that chief WREN, SEXY Tess Reichlen, that ate the audience alive! And seemed to enjoy every moment of it. Despite the hour, three more curtains! With lots of male shouts, seconding my feelings about magnetic Ms. Reichlen.

After the opening sublime prayers, it was a very hot night.

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It was so wonderful to see Tess Reichlen, still growing, finding her own way in Union Jack. Tess looked better than ever in R.C.A.F. but I found myself watching the very Marilyn Monroe-ish Sophie Flack in the Wrens. Such a surprise and fun!! Wendy Whelan never danced better as well in MacDonald of Sleat.

Thought Bugaku's cast was the weakest of the night though I loved the music. Flexibility is not the point of Bugaku.... There was so little "sex" and understanding of this ballet being shown with this new lead cast.... though again, I was thrilled to see an exception with one male, Vincent Paradiso (in the small corps). He was so "hot" in the way Bugaku needs a hot male.... sensual, manly, strikingly beautiful with lots of testosterone, as well as the reserve (on the verge of bursting) needed to make this court come alive on different levels.... Paradiso not only looked the Bugaku male part, so handsomely, but he danced it with all the style suggested in the music. The fantasy costumes and set looked as beautiful as ever.

Bugaku..... Now there's a fine part for Sara Mearns who was exceptionally beautiful, feminine and danced with such abandon and lushness in Serenade last night as the Dark Angel. Maria K. has a stunning body, but her "projection" is too cold for this piece. In the meantime, I'm still keeping my fingers crossed that we'll see Janie Taylor in Bugaku one day soon...

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May 31

Essential Robbins: In G Major, Dances at at Gathering, I'm Old Fashioned

Okay, ladies and gents, the evening concluded with a never-before event. I always used to wonder why Robbins, in the finale of I'm Old Fashioned, superimposed Astaire and Hayworth behind his dancers. I mean, with Astaire up there, well . . . who's going to even notice the dancers? Tonight was different. Tonight one of the dancers actually upstaged the 30-foot (?) high projection of Fred. Yes indeedy! And while I won't mention who, I'll note that it was the sole lead who has not yet been promoted out of the corps. (The principal cast was Ringer, JAngle; Mearns, Hanna; Krohn, TAngle.) Yup, the corps kid outshone everyone on stage -- and screen. :( Go figure!

The cast as a whole gave one of the best performances of this ballet that I've seen. It's so interesting to see these dancers, so different from the roles' originators, put their own stamp on the choreography and, in some cases, seem to ring truer to Robbins' intentions than the original one did. Jenifer Ringer and Jared Angle took the roles originated by Heather Watts and Bart Cook. Ringer is about as far from Watts as you can get in both physique and temperament. She brought out the romance of the duet with Angle, who partnered her as though she were an uncooked egg -- with great care and delicacy, while making her look like she weighed about a quarter of an ounce, and reflecting her playfulness and longing. I prefer Ringer in this role to the Nichols role. (She's also done the Fugate [gold gown] role.)

Dances at a Gathering (with half of Old Fashioned's cast) also got a wonderful performance. New costumes? They look paler than the last time I saw this ballet -- quite a few years ago, and the Green Man's is a much yellower olive than it was. Millepied, in Brown, danced with too much apparent effort. It was then up to Rachel Rutherford (Mauve) and Amar Ramasar(Green), in the first pdd, to set the appropriate casual tone, which they did perfectly. Sara Mearns, new in Green, brought the right "Welcome to my Manor" feel to her first solo, but she didn't convey Chatterbox's neurotic edge. In fact, it was hard to tell that she was trying to carry on conversations with the gentlemen who crossed her path. With experience, this should improve.

Megan Fairchild (Yellow) continues in a season that shows her at a new level of performance. She is comfortable enough with the responsiblity she bears to allow the charm to just pour out of her.

The men's competition was between Millepied and JStafford. I'm not sure who won. Remember when it used to feature Martins vs. Baryshnikov? Martins vs. Tomasson?

During the calls, it was fun to see the two dancers in blue, both named Stafford, walk forward together to take their bows. Gee, they look so much alike they could be brother and sister!

In G Major, which opened the program, was a bit flat. I don't know if Kowroski is dancing at 100% now (Neal appears to be), and she looked beautiful, but it needed a bit more . . . I'm not sure just what, but more something.

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May 31

Essential Robbins: In G Major, Dances at at Gathering, I'm Old Fashioned

The men's competition was between Millepied and JStafford. I'm not sure who won. Remember when it used to feature Martins vs. Baryshnikov? Martins vs. Tomasson?

It was J. Angle (in purple) rather than J. Stafford (in blue), no? My takeaways: J. Angle can lift anything in his path (at one point I thought he was going to toss Millepied up into the flys, which is one way to win the competition, I suppose) and J. Stafford can catch anything that's thrown at him. :(

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(Carbro): Dances at a Gathering (with half of Old Fashioned's cast) also got a wonderful performance. New costumes? They look paler than the last time I saw this ballet -- quite a few years ago, and the Green Man's is a much yellower olive than it was. Millepied, in Brown, danced with too much apparent effort. It was then up to Rachel Rutherford (Mauve) and Amar Ramasar(Green), in the first pdd, to set the appropriate casual tone, which they did perfectly. Sara Mearns, new in Green, brought the right "Welcome to my Manor" feel to her first solo, but she didn't convey Chatterbox's neurotic edge. In fact, it was hard to tell that she was trying to carry on conversations with the gentlemen who crossed her path. With experience, this should improve.
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The costumes seemed a bit paler to me as well, especially Sara's Green. I really enjoyed her interaction with Amar, but I agree with Carbro that she didn't have the neurotic/needy edge that for me has not been equalled since Stephanie Saland. Amar also seems very very strong these days -- yes he's gained upper-body strength, but he's gotten the upper body and lower body connected and working well together.

The men's competition was between Millepied and JStafford. I'm not sure who won. Remember when it used to feature Martins vs. Baryshnikov? Martins vs. Tomasson?

I remember Martins and Lavery (in purple)doing that, or maybe it was another Robbins' male competition.

On the whole I really felt DAAG got a wonderful performance -- the ballet holds together so well. Each dancer claimed their "character" and expressed that very well. Good performances from Adam H., Jonathan, Megan, Rutherford and Abby especially. Quite the opposite with "In G Major" (which really has a lot of minor chords and melodies!), I see no flow or connection between the corps segments and the principal segments in both music and choreography. That's just the way I "read" it. Having seen "I'm Old Fashioned" a number of times, I didn't stay.

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Friday, June 1, 2007

Four Debuts

Mr. B's Concerto Barocco, with perhaps the current cast of choice, Whelan/Rutherford/Evans, opened this evening's all Bach program. I felt it was a particularly fine performance, and thus everything that could be said of Bach had already been said before the other two works could begin. Fortunately each offered two very significant debuts.

Ana Sophia Scheller appeared in the program insert, a sub for Tiler Peck in Chris d'Amboise's Tribute. While the piece is really too light-weight for NYCB, it is a good vehicle to display young talent. Devin Alberda reprised the opening solo that launched him onto City Ballet's Most Promising List. Then Ana Sophia displayed her mastery of classicism, and Robert Fairchild his potential for partnering.

Then came the PdQ, with the second debutante, Kaitlyn Gilliland (why, in great part, I by-passed ABT's SB premiere). She was partnered by Tyler Angle, while Gretchen Smith danced with Adrian Danchig-Waring. Odd that the pairing wasn't tall-tall, less tall-less tall, but the proof was in the dancing. Tyler and Kaitlyn made a potent impression, as, facing each other in profile, his young Nureyev gaze cast at her as she unfureled the arabesque of the season, created a spell-binding moment. As a soloist she is not confined to conform to the corps, and she could let Bach rip through her, her back tracing a perfect Russian arc, sweeping through long arms to her very fingertips, seeming a world away. She is most like Tess Reichlen, already famous for arabesques that tell whole stories. But Kaitlyn's have their own special flow and music. Really distinctive (and ravishing) arabesques, one reads, don't hold the place they once did in ballet. Of course, there's Veronika Part's, and there was Farrell's. Kaitlyn's is worth a trip.

Much dancing followed this, the ballet is longer than its invention, but the dancers were so enjoyable... And of course there was our Ashley. Ms. Bouder had lots to do, but I especially like her PdD with, yes, Mr. Charisma a/k/a Tyler Angle. A Kingdom for their Giselle! She took a solemn, Romantic (not romantic) approach. Early in the pas, she extends her hand toward him, but withdraws it just before he can touch. A little later the gesture is repeated, the withdrawel just tentative enough to permit a nano-second of contact. Later still, she reaches toward him, but he turns away. They come together again and he lifts her, then seems to be bringing her down. She chooses to stay up, wraps her arms about his neck. They exit, Tyler turning and turning as Ashley caresses the hair on the back of his head. She is such a phenomenal technician, but I love her best when she turns it loose on art, contemplative, expressive, our own American Soul of Dance.

Last on the program was Brandenburg, not the Paul Taylor masterwork, but the late Robbins ballet. The first three movements comprise the BB Concerto #3. It really is a ballet in itelf, and featured debuts by Ms. Bouder and Andrew Veyette. We speak of men as partners, some, we call great (Bruhn, Dowell, Bocca, Soto, Malakhov, Gomes...). But it takes two to partner, and among ballerinas, Bouder is, I think, a great partner. Just as Mr. T'Angle was great in Tribute, so was Mr. Veyette here. It takes one to make one? The Allegro found good old Ashley, that dancer of joy. Tearing things up, yet so true to the music, and to Andrew. An adagio, then another allegro. Because it was Robbins, the corps really wasn't a corps. It contained some big names, and every single one of the eight women and eight men had plenty of visibility, as there were still three movement to go. The first of these was an adagio for Maria Kowroski and Philip Neal (BB Concerto #2, Andante). Mr. Neal is having a hot streak, and that continued this evening. This may well have garnered the biggest applause of the evening, save Barocco, of course. Then it was showtime for every dancer, to BB Concerto #1 Menuetto-Polacca and BB Concerto #6 Allegro. This ballet's parts are greater than its whole, yet it gave so many dancers a chance to shine, that...

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Kyra Nichols' final Mozartiana this afternoon was very moving; a clean and above all an honest performance. Her honesty will not be the the least of the qualities that will be missed.

In TP2, it was the Bouder cast, her second performance. Her size will take a little getting used to for me in this, it changes the architecture of the ballet, particulary in the first two movements. Though her 3d movement was stunning, wild and loose. Teresa Reichlen's perfomance, on the other hand, was astoundingly good. The absolute best I've ever seen her, a breakout performance in how she presented herself, especially the strength and presence in her upper body and in the joy she projected in just being on stage. This is the one we've been waiting for for a couple of years.

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Kyra Nichols' final Mozartiana this afternoon was very moving; a clean and above all an honest performance. Her honesty will not be the the least of the qualities that will be missed.

In TP2, it was the Bouder cast, her second performance. Her size will take a little getting used to for me in this, it changes the architecture of the ballet, particulary in the first two movements. Though her 3d movement was stunning, wild and loose. Teresa Reichlen's perfomance, on the other hand, was astoundingly good. The absolute best I've ever seen her, a breakout performance in how she presented herself, especially the strength and presence in her upper body and in the joy she projected in just being on stage. This is the one we've been waiting for for a couple of years.

I'd just like to add that Philip Neal, in Mozartiana, was a perfect partner to Kyra, strong technically and emotionally. He, like everyone in the theater, was moved and honored to be there (but only he got to kiss her hand during the curtain calls). Kyra accepted the beautiful bouquet of pink peonies with her usual understated grace.

Piano Pieces was given a very good performance, and Anthony Carmena "framed" it with aplomb, charm and bouyancy. Jenifer Ringer was calmly beautiful and as ever, sweet. Stephen Hanna replaced Ask laCour. It was the first I'd seen of him since his injury, and I was pleased that he was back, with added gravitas I feel. Megan Fairchild and Amar Ramasar did the little "Troika," where she "partners" him from the rear, peeping out from behind. They handled the partnering and the little comedy, and made a good pair. Jennie Somogyi and Jared Angle were also very good, as was the corps. The standouts to me were Glenn Keenan and Troy Schumacher (not partners). This is not a ballet where technique stands out, but rather the embodiment of the lighthearted and sweet music. It was interesting to see it soon after DAAG, both being all piano all the time.

I am not familiar enough with TP2 to be bothered by Ashley's size. My only addition to Michael's comments are that J. Stafford suprised me with his dignity. He was quite good technically in his "solo" with the two lines of women, though no one for me comes up to my memory of Sean Lavery in that (or Who Cares for that matter), and that Reichlen really gave everything, and even came across as more musical than she usually does for me.

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Yesterday afternoon at NYCB I saw one of the best performances of any ballet in all my over 40 years of ballet going. The occasion was Ashley Bouder's second Tschai. Piano No. 2. I don't understand the quibbles about Ashley's height. Patricia McBride -- shorter than Ashley Bouder -- was one of the greatest dancers of this role after it was stripped from its imperial moorings in the early 70's. And the casting was by Balanchine himself!! What's the problem?

In any event, everybody, but everybody was "on" yesterday. The corps, both male and female, were the best I've ever seen. I'm sure Mr. Balanchine, looking down from his heavenly perch, leaned over to Peter Ilyitch and said, "Peter, that how I envisioned this ballet to be performed." The male corps, led by Seth Orza and Sean Suozzi, just soared. And the female corps, led by the appropriately regal and "snooty" ladies in waiting Faye Arthurs and Amanda Hankes were just perfect. There was only about 15 seconds that brought me down to earth, and they were when Jonathan Stafford's arms went out of cavalier mode in the first movement when he was walking to center stage. But it was only because his performance was at such an extraordinarly high level, that one noticed the difference. He is turning out to be one of NYCB's greatest male assets.

And Teres Reichlen is really getting the second ballerina role down pat. She is starting to phrase. Great job. Her height makes her a great "foil" to Ashley's.

And what kudos can I heap on our Miss Ashley to give you the flavor of her performance yesterday? The Times critic was right to say that last week's debut was the event of the New York City Ballet season. I very much concur. I also agree that last Sunday her look was way to serious. But for regular Ashley followers, we knew that the look was just tension. Yesterday, however, she already felt comfortable in the role and was starting to play with phrasing. Her performance was so perfect that she brought tears to my eyes.

What also made me "teary" was Kyra's last Mozartiana. No, it was certainly not her best by any means. She was "careful" and careful and Kyra are two word one doesn't usually see in the same sentence. And it was a very nice touch -- and very un-City Ballet like -- that she was given flowers on stage at the end of the performance. Thank you, Kyra, for all your years of artistry.

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I don't understand the quibbles about Ashley's height. . . What's the problem?

I admire Bouder tremendously and always have. So I was surprised not to be more excited by yesterday's performance. I'm also very happy with Macauley's review -- It was an important one for him and for her -- I don't think Macauley has put a foot wrong since taking over at the Times.

I'll try to explain:

What I missed is in Bouder in the first two movements was, in the first movement, something more Regal -- a sense of more weight, command and of social authority among the other dancers. I look on that role as that of the Queen or Czarina in the imperial court of Ballet Imperial, while the second role is that of the Princess: when the Queen circles the stage and the others tendu to her in reverence, I want that authority. I didn't think Bouder had as much of it as, for example, Ms. Sylve had in the same moment two weeks ago. Although that performance (two weeks ago) by the ensemble as a whole was a much weaker one. Physically, I want something similar: more sweep in the opening series of pirouettes; more extension in some of whipped turns into arabesque.

In the second Movement adagio, similar things, both emotional and physical: there, the role as I see it is that of an elusive romantic heroine. When the Leading Woman comes up the line of parting corps dancers and bends over her hero in a deep penchee and embraces him, I wanted a bigger, more emotional moment than Bouder offered. More emotional weight. Again, that moment had more sadness and lyricism, to me, with Ms. Sylve two weeks ago, and much of it because of Sylve's greater size. I actually also liked that same moment two years ago at ABT with Gillian Murphy and one of the Latin Men, for the same reason.

I do hope this won't infuriate you Bobbi. I don't consider these to be "quibbles." I also fully respect your different reaction to the performance. I'm not right, you're not wrong: I just saw it differently.

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From James Wolcott's blog entry that Dale posted on the Veronika Part thread:

I imagine tickets will be covetous items for Monday night's perf because Carabosse's wig will be worn by the legend-encircled Gelsey Kirkland, who joined the cast and conductor onstage last night during the bows. I must say it's impressive how formidable someone that diminuitive can look. Simply standing, she projects presence.

Dancers like Kirkland and McBride, for example, can make one forget about actual height in majestic roles. (As Madeleine Eastoe is doing for the Australian Ballet.)

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I saw Ashley's debut last week, not her second perf., so I cannot comment on that.

She can be a very brash dancer, which in many roles is a large part of her appeal*, and it helps her project beyond her size (which I think of as medium, rather than short). She seems to understand that brashness is inappropriate to TPC2, so kudos to her for eschewing that habit which would have been easy to fall back upon. I detected in the debut a relative (for Ashley) lack of confidence, which was commented upon by others as caution, so I have confidence that in future performances, she'll find a way -- a distinctly Bouderesque way -- to take command without brashness.

Bugaku..... Now there's a fine part for Sara Mearns who was exceptionally beautiful, feminine and danced with such abandon and lushness in Serenade last night as the Dark Angel. Maria K. has a stunning body, but her "projection" is too cold for this piece. In the meantime, I'm still keeping my fingers crossed that we'll see Janie Taylor in Bugaku one day soon...
Yes, to Taylor! Bugaku is a ritualized deflowering, so the woman needs to have an air of innocence, vulnerability and resignation. Mearns is a luscious dancer -- sexy, yes, but also quite worldly and sophisticated. I don't think she can embody the qualities that evoke Bugaku's intended poignancy. Taylor seems to be the perfect inheritor for the roles that drew on Allegra Kent's utter guilelessness.

Give Maria time to grow into this role. I think she has a good Bugaku in her.

*Which is exactly the quality that has me yearning for a Bouder Rubies. :FIREdevil:

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Thinking about yesterday's matinee and what's been said here, I'll add that Bouder began with a solemn expression, which could have morphed into "regal" (which is what the ballet requires, as mentioned) but when she got excited about what she was doing, she became all smiles, and charm. That may take a little while, and some coaching, to outgrow.

Today's "International" program was well received, though by no means as wildly as yesterday matinee's, with the cheers for Kyra's Motzartiana and everyone in TPC2.

Serenade was as ever, when considered overall: Ashley, Stephen, and Sara especially, but Darci was very abbreviated in many of her steps and especially her extensions. When she fell, she first took out her hair, and then carefully slumped and arranged herself correctly on the floor. Charles "phoned in" his performance, he may have it on "auto-dial." Bugaku seemed dated: the green rug looked shabby (someone commented that it looked like a miniature golf course), the costumes seemed re-made with smaller than remembered "petals" on the tutus. But the problem seemed to be the size difference between Maria and Albert. She is a full head taller than he is when she stands en pointe, and I think that a bride who so towered over her groom would be a little daunting to him, don't you. Her legs are so very long as to make the symbollic "penetration" look grotesque.

Then came Union Jack, which was wonderful. The opening section was appropriately somber and then energetic. Wendy nearly created a cyclone with her energy in the "MacDonald of Sleath" section, and Philip, Abi Stafford, Benjamin Millepied, Damian, Teresa and even Yvonne just had a ball. Damian however, did not really let loose with his turns, and on the way out of his variation with Dress MacLeod spun into the downstage "foot." Kyra and Nilas really hammed it up marvelously as the Costermongers. and the "Royal Navy" section was fun, not as "all out" as some I've seen tho. Teresa did look very good in the "Wrens" section, but again, she was not right on the music. There was applause all through the cannon blasts. It was puzzling though that Kyra and Nilas did not join for the final curtain calls. Anyone recall if that is standard? I couldn't help think that even if it was normal, this time should have been different. She's not scheduled to do it again.

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Hi, Michael. I'm just getting around to responding to your post. No problem with having different views on Ashley's performance. That's why they make chocalate and vanilla. I certainly understand -- and actually agree -- with your comments about the less regal approach Ashley uses. She is more Merrill Ashley than Patty McBride right now (who is stll my gold standard in this part). But I think that Ashley will eventually get more "regal" in the coming years -- and make you happy. What got me "bent out of shape" was just the idea that it was Ashley's height alone that precluded her from becoming one of the great interpreters of this role. And personally I do like a more "cool" approach to many ballets anyway (more Suzanne's way of dancing).

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