iwatchthecorps

MCB does Bugaku

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It was thrilling to read that Allegra Kent was down in Miami Beach working with the dancers to prepare Bugaku and several other ballets.

Allegra Kent was rehearsing the principals in different ballets that we will be performing this season including, "La Sonnambula," "Scotch Symphony", and "Bugaku".

Ms. Kent was the original principal woman in George Balanchine's "Bugaku," dancing opposite Edward Villella. On Wednesday, the corps of Bugaku got to join the principals in a rehearsal she was conducting, which was quite nerve wracking I must say. She had such great things to say, mostly about the stylistic aspect of the ballet. She told us to think more about our necks and heads, but most importantly, do what comes naturally instead of over thinking everything. When she would demonstrate, she had such an elegance in her arms and fingers, that was just inspiring.

We have another thread that's just started about Bugaku.

http://ballettalk.in...204#entry276204

I have been reminiscing about Kent, whom I saw in the original Bugaku cast. She was an extraordinary dancer in so many roles, a real one-of-a-kind. She was incomparable in the slightly off-kilter, slightly passive, emotionally and visually eccentric roles as in Bugaku, Sonnambula, Ivesiana, Faun. Adagio roles which depend upon subtlety of gesture. I would have given anything to be able to watch her coach the MCB dancers. Thanks, Rebecca King, for the wonderful report. (Especially the description of Villella and Kent demonstrating together.)

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I have been reminiscing about Kent, whom I saw in the original Bugaku cast. She was an extraordinary dancer in so many roles, a real one-of-a-kind. She was incomparable in the slightly off-kilter, slightly passive, emotionally and visually eccentric roles as in Bugaku, Sonnambula, Ivesiana, Faun. Adagio roles which depend upon subtlety of gesture. I would have given anything to be able to watch her coach the MCB dancers. Thanks, Rebecca King, for the wonderful report. (Especially the description of Villella and Kent demonstrating together.)

It's very interesting to watch her coach the young Darci Kistler in La Sonnambula in that wonderful documentary Dancing for Mr B.

But she is a fascinating to watch in general in that film. Even in the sections where she is reminiscing she comes off personally as a bit "off-kilter" and "eccentric" in a very charming way. So I think that was part of her own personality she used for the roles Bart lists.

Actually, it's somewhat :off topic: but one of the big appeals of that documentary for me is how vibrantly the personalities of the six dancers comes accross.

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Actually, it's somewhat :off topic: but one of the big appeals of that documentary for me is how vibrantly the personalities of the six dancers comes accross.

I think Mr. B. savored individuality on stage, too - not ego display, not too much personality there - but individuality, yes! Today I get more the impression either of technician or show off, either side of that delicious, delicate balance... But, yes, that is OT.

But this is good news to me, and timely, as I was just looking at the season schedule, which caused me some regret where Stravinsky Violin Concerto, the only "leotard ballet" in the list was replaced, by Theme and Variations, to be sure, a very strong ballet. I might have skipped Program II, La Sonnambula so often falling short these days of what I remember from the past; but if the very dancer I remember is preparing it, well! And I was looking forward to "Scotch" anyway, especially after seeing NYCB's miniaturized rendition in June. MCB dances with the volume turned up (on the movement, I mean - NYCB's orchestra was loud enough). But if we're going to get three freshly-prepared Balanchines, even without any leotard ballets, I'll have to come to Florida for three weekends!

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Enjoy!

ETA: most charming part: the fact that Allegra says "Hark! Hark!:

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