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New York City Ballet Moves


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#16 Helene

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Posted 11 January 2011 - 01:12 PM

The union issues were noted in today's Links:

http://balletalert.i...post__p__280281

#17 melange

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Posted 11 January 2011 - 02:21 PM

So are we to assume then, that AGMA's objection to Moves simply is an attempt to gain leverage during contract negotiations? Correct me if I'm wrong, but I cannot see how objecting to Moves does anything good for NYCB's dancers, as squelching the project (i.e., tour with the entire company or not at all) would deny them the opportunity to have additional off season work while giving them extra practice dancing the company's repertory with one another, as they would during the season. Since Peter Martins intends to rotate the casts, one cannot say that Moves will be an extra opportunity for a privileged few dancers, to the exclusion of the rest of the company; it's just that the entire company won't touring at a time. Moreover, Moves cannot be anything but good for NYCB, as it will expose the company to a wider audience that may know little of NYCB, or ballet itself, and if Moves captures additional interest in the company, it may result in additional attendance, to the benefit of the company's coffers. Surely the union understands that this cannot be anything but a benefit to the dancers as well, particularly when one recalls how AGMA could do little but sit by and wring its hands when NYCB culled its corps in 2009, ostensibly for lack of funds?

A union has the responsibility, indeed the duty, to get the best deal possible for its members, so anything AGMA can do to gain a tactical advantage in contract negotiations is fair play, I suppose, but to object to a scaled down touring company simply because it doesn't include the whole company is simply taking sugar plums out of the dancers' mouths, isn't it?

#18 ksk04

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Posted 11 January 2011 - 05:19 PM

Not surprised...it results in additional income and stage time for the "chosen" dancers, while probably excluding those who the union has to work to protect the most (the corps). The original press release made it pretty clear it wouldn't just be a bunch of corps/apprentice dancers on the tour (not that the corps isn't great, but they did have a lot of starry names in the first roster). Doesn't bode well especially since there is probably lingering resentment from the corps and union over the layoffs and the way they were handled. Even if it's a rotational thing, for the corps dancers there's no guarantee they will still have employment when it finally gets to be their turn for the extra weeks and they are the ones who don't get to make up their extra income with guesting gigs and galas during the off season like many of the principals and soloists.

#19 California

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Posted 12 January 2011 - 10:59 AM

Program details have now been posted on the Vail Site for NYCB Moves:
http://www.vaildance...t-a-glance.aspx

July 31: Dances at a Gathering (Robbins), Duo Concertant (Balanchine), and A Fool for You (Martins)
August 1: Polyphonia (Wheeldon), After the Rain Pas de Deux (wheeldon), Hallelujah (Martins)

#20 Andre Yew

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Posted 19 October 2011 - 04:40 PM

So we saw the first of two programs last night here in Santa Barbara at the Granada. I listed the program above, but it's Dances at a Gathering, After The Rain, and A Fool For You.

This is the first time I'd seen Dances completely --- I'd only seen very short excerpts here and there --- and it really, really made me wish we had better classical choreographers today. It looks like a modern composition of classical steps, and yet manages to weave so much humanity into it, too. The musicality of the piece was also really interesting. I loved the ending and its simplicity that managed to still speak volumes.

The cast was:

Lauren Lovette, apricot
Sara Mearns, mauve
Tiler Peck, pink
Abi Stafford, blue
Wendy Whelan, green
Antonio Carmena, brick
Chase Finlay, green
Gonzalo Garcia, brown
Jonathan Stafford, purple
Christian Tworzyanski, blue

Tiler was beautiful, and her ending pas was just stunning. I can't get enough of her dancing! I'd been looking forward to Sara after hearing all these great things about her, and I can see why people like her --- she has a wild, edgy quality to her dancing --- but this didn't seem like her ballet. I'd love to see her in any of the leotard ballets, especially 4Ts. Her shoes were also really, really noisy. Lauren Lovette is super young, and was really nice as the yellow girl --- she'll be one to watch for sure.

Next came After the Rain with Wendy Whelan and Ask la Cour. I don't think much needs to be said beyond the fact that she is incandescent.

Finally, A Fool For You ... to borrow a phrase from Clement Crisp, it was quite simply total rubbish. What an embarrassing excuse for a dance piece. It was like a warmed-over Dolly Dinkle recital piece. Ugh.

Tonight we get Polyphonia (with Wendy!!), Sonatine, Zakouski, and Hallelujah Junction.

#21 Andre Yew

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Posted 19 October 2011 - 09:58 PM

Program B was pretty great. Capped by Polyphonia and Hallelujah Junction, with Sonatine and Zakouski, it was more satisfying than the first night, which ended on a sour note. Polyphonia reminded me why Christopher Wheeldon was exciting everyone back then: it had invention, wit, mystery, even soul. It felt consequential. Then why does he look like bad copy of himself these days? Anyway, at times it was an embarrassment of riches: who do I look at? We had Sara Mearns, Wendy Whelan, Tiler Peck, and Brittany Pollack (partnered respectively by Christian Tworzyanski, Ask la Cour, Gonzalo Garcia, and Jonathan Stafford), and they were all fantastic. I was really happy to see Sara in a leotard ballet, and as expected, she was pretty darn great, especially her slow solo. Tiler's musicality really shone in her waltz duet, but really all the couples looked great.

Hallelujah Junction is a great calling card for the company: it shows off the lines and speed that you can only find in this company. Janie Taylor danced the girl in white, and had a really dark quality to her dancing, like she was really angry or dancing from some really dark place. At times, she looked right on the edge of control. Daniel Ulbricht danced the man in black, and was just jaw-dropping in his virtuosity and speed, while still remaining really musical. The other couples (Ashly Isaacs, Antonio Carmena, Lauren King, Tworzyanski, Lauren Lovette, Allen Peiffer, Brittany Pollack, Taylor Stanley, along with Gonzalo Garcia as the 3rd lead) all looked great, too.

The two pieces in the middle were OK, if a bit inconsequential. We had Abi Stafford, and Chase Finlay in Sonatine, and Tiler and Joaquin de Luz in Zakouski.

I would happily see this whole program again.

#22 miliosr

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Posted 26 July 2012 - 03:15 AM

MOVES will be at the Orpheum Theatre in Minneapolis on 10/23 and 10/24 as part of the Northrop Moves 2012-13 season. The rep will be:

Polyphania (Wheeldon, 2001)
Duo Concertant (Balanchine, 1972)
Herman Schmerman Pas de Deux (Forsythe, 1992)
Zakouski (Martins, 1992)
Hallelujah Junction (Martins, 2001)

#23 Helene

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Posted 26 July 2012 - 08:17 AM

Here is the link with more information about the appearance in Minneapolis:

http://northrop.umn....ty-ballet-moves

#24 abatt

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Posted 26 July 2012 - 08:26 AM

It seems like they are choosing works based on whether a full orchestra is needed. Polyphonia only requires the strings, I believe. The other works only require pianists and violinists. Herman Schmerman uses recorded music.


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