Farrell Ballet at Joyce Theater This Fall
Posted 20 October 2011 - 07:29 AM
Posted 20 October 2011 - 07:47 AM
Posted 20 October 2011 - 08:57 AM
That TSFB has achieved what it has on such limited resources is a miracle in & of itself.
Just a quick word in defense of the Kennedy Center (not that I often feel protective of it). Mary Poppins, and the vast majority of musical theater that passes through building, rented(rents) the theater space and the Kennedy Center had no role as a producer; Disney and whoever were responsible. The Kennedy Center did produce the Follies revival that's currently playing on Broadway. I just wanted to point out that the Kennedy Center doesn't lay out the money for everything that is presented on it's stages.
Posted 20 October 2011 - 10:11 AM
Posted 20 October 2011 - 12:15 PM
Posted 20 October 2011 - 05:35 PM
Posted 20 October 2011 - 05:50 PM
Sorry for the "snark & run" comment, let me explain.
I was so excited when I heard that TSFB would be at the Joyce and after seeing them in DC last weekend I could hardly wait for opening night.
That lasted until I got to my seat, opened the program and saw that NONE of my favorite dancers from the DC engagement were with the company in NY. Most disappointing of all was Ogden's absence but there was also no Audra Johnson, no Kara Genevieve Cooper, no Matthew Renko.
So I was somewhat out of sorts at the start, but hoping for the best. I enjoyed the Haieff Variations as an opener, a "Balanchine appetizer" but then the main course started with a Diamonds pas de deux that I found so appalling that my mind simply recoiled in horror.
It was so wrong on so many levels even before the very obvious & disconcerting technical flubs from both principals in the 2nd half of the pdd. And trying to analyze and write about it would have required that I go through it again in my mind - something that I have no desire to do.
I really was unable to focus on the rest of the program and since I'll be seeing it again on Friday night I figured I'd give the company another shot before writing about it.
Now that I'm prepared for the not-ready-for -prime-time Diamonds pdd we'll see how it goes tomorrow night.
Posted 20 October 2011 - 07:16 PM
Posted 21 October 2011 - 02:42 AM
Edited to add the following -
In his Oct. 20, 2011, review for the NY Times, Macaulay writes about 'Diamonds' pdd:
In the “Diamonds” pas de deux Ms. Angelova had three minor mishaps: a tiara insecurely fastened, an off-balance pirouette that misfired, and a slight error of footwork, but these registered all the more sharply because of the stage’s proximity...
Posted 21 October 2011 - 05:20 AM
Haieff Divertimento: Elisabeth Holowchuk (Oct. 19-21, 22 eve., 23 eve), Courtney Anderson (Oct. 22 mat., 23 mat.), Kirk Henning
Diamonds Pas de Deux from Jewels Violeta Angelova, Momchil Mladenov (Oct. 19-21, 22 mat., 23 mat), Michael Cook (Oct. 22 eve., 23 eve)
Meditation Courtney Anderson (Oct.
Elisabeth Holowchuk (Oct. , 22 mat., 23 mat), Michael Cook (Oct. , 22 mat., 23 mat)
Agon Elisabeth Holowchuk, Momchil Mladenov
Violeta Angelova, Michael Cook
Haieff Divertimento, a strange little ballet to Stravinsky-like music, got a crystalline performance, needing only the same bright white light for the quirky principal parts as for the ensembles, but instead the lighting was dimmed for those, in what seems to be the contemporary manner; I am annoyed by it many places, not just with TSFB. But after an intermission, the Diamonds pas got a performance which respected the technique (mostly, except an effortful moment when Angelova's failed her) but not the ballet, to paraphrase an expert friend's summary. (The hoped-for Ogden, as my casting just above shows, is not to appear, nor Renko either.) A disappointment nicely followed by a beautiful performance of Meditation; and then after another intermission, Agon, lead by Holowchuk and Mladenov: I don't find her an entirely satisfactory replacement for Magnicaballi, to say the least, but she has virtues, and stamina must be one of them, for it didn't show that this was her third ballet of the evening, which it brought to a pretty strong close. The little theater was about full; the audience, more enthusiastic than the ones I sit in in the Kennedy Center (or the Broward County CPA in Ft. Lauderdale, where MCB performs, for that matter).
Posted 21 October 2011 - 07:35 AM
(What happened? Others who had been there Wednesday and also noticed the loose, swinging back part of her headdress thought it may have rattled her. A little thing like that? Who knows? I can't shake my basic conviction that what they do is impossible - yes, I know what really goes into it - and "explanations" don't work normally in their extraordinary world.)
Meditation, by contrast, with Holowchuk and Cook again, had some agitated, "intense" moments, and so, it seemed to me, became a bit less effective by that, less a reverie, more a present encounter. Not invalidated by this more down-to-earth approach, though. But the light and curtain fall a bit early at the end, so we really don't get to take in the man's transformation as he rises from his crouch and walks out, head raised, and this "point" is blunted.
So the substitution remained in place here, and Courtney Anderson has not appeared either to dance in this with Mladenov nor in Haieff Divertimento. Worrying is one of my useless talents, and I hope she is able to perform, and will. But speaking of casting, or worrying or even lamenting about it, as some have here, let's remember that old line about "subject to change" : It can go the other way, too, and unlisted dancers appear, "without notice". Stay tuned.
(Thanks for the background on Courtney Anderson, PeggyR.)
This Agon has been distinguished by a liveliness, an element of bounce in the men's feet for example, right from the start, and it was further enlarged as soon as we saw her tonight by a certain seriousness or determination in Holowchuk, not merely in her face but in her body, phrasing within the time for greater weight of effect.
I was trying to keep in the back of my mind my continuing complaints about the lighting - these dancers, this dancing, deserves better - echoing another complaint in another connection on the thread about their Washington, DC run last week - when it happened: just in time for the "Bransle Double" - a kind of coda to the second pas de trois - the lights came up and the stage became flooded with beautiful white light, not too warm, not too cool, lots of it, everywhere on stage, magnifying the dance. Light makes the place for the dance, and Agon had its rightful place at last, and the future of ballet, as I still tend to think of it, remained before us in this light, until the curtain.
Posted 21 October 2011 - 07:36 AM
Q: Your company came out of your educational experience at the Kennedy Center.
F: I thought I'd never get old. I don't know where my mind was. (laughter) Teaching extends my dancing life... I teach class to achieve united individuality, not uniformity. It's to find out who each one is. Mr. B. had descriptions for us - I was a cross between a cheetah and a dolphin, some were horses... Class was different every day. Mr. B. didn't mind if you made a mistake, but he didn't want the same mistake every day. Like in Meditation, they have to find their own story; there's a story built in to the ballet, it has to be alive today, not a memory in the past. [So maybe my criticism above is all wrong.]
Mr. B. didn't tell us what he was going to do, so I don't get too intellectual - that might not work for some people.
The Balanchine Preservation initiative are pieces only my company does, no one else. They're like finding pieces of the Dead Sea scrolls or something by Mozart, each opens up a new world. It's like Mr. B. coming back and doing ballets on these dancers. Haieff Divertimento got lost. It's a nice little ballet, where Mr. B. was in the '40s. It was done before I was born! (laughs with us)
Audience Q: Contemporary dance is moving away from Balanchine's classical way.
F: I don't know, if you're painter you take your easel into a museum and imitate what you see there until you find your own way. Balanchine was very generous and ahead of his time. He gave us a lot to continue to see.
Audience Q: How was Haieff Divertimento resurrected?
F: I can't take all the credit. Todd Bolender had a company in Kansas City and did it. It wasn't done after that, but it was filmed.
Pithoprakta [just performed on Program B at the Kennedy Center last week, revived from 2007] was done nine months after Diamonds. When it was filmed, Arthur Mitchell was absent but the crew and everything were rented, so we went ahead. But there's no man in the film. I asked the Balanchine Trust if I could do it without a man, and they said, yes, but with a man; I put the man back in. There are places where no one does anything, I thought that's where he was. I had to re-choreograph his part. I think, Mr. B., if you don't like what I do, tell me.
Audience Q: How do you stage Agon?
F: I was in it since I was 17. We [I?] mostly danced Tchaikovsky and Stravinsky and it always made sense... Nobody broke up time like Stravinsky and Mr. B., to the millimeter - millisecond.
Audience Q: How complex were Mr. B.'s classes compared to yours?
F: Mr. B. wanted to pass on those things he taught but sometimes we did a hundred tendus. He gave us what we needed or what he wanted to explore or make on us. At the New York State Theater [with its larger stage] we had to move farther without adding steps so we had to move faster instead, which saved us using up our instrument [our bodies].
Class was always fun. He learned about us and we about him.
Posted 21 October 2011 - 10:14 PM
Courtney Anderson & Kirk Henning were the principals in Haieff Divertimento tonight. It was very enjoyable, charming actually, and it was great to see an early example of Balanchine's inventiveness.
Then came Diamonds, followed by Meditation. I had never seen Meditation before this engagement. Many of my friends consider Duo Concertante and Elegie examples of 3rd rate Balanchine too soppy & sentimental to merit serious attention. Anyone who feels that way should skip Meditation. I do not,and I loved it. Holowchuck danced in both performances I saw, partnered by Cook on Tues and by Mladenov tonight. There were subtle differences, but this was pure fantasy romance - Romantic writ large. A remembrance? An impossible affair? A great artist in thrall to his muse? Pick your interpretation, they all work and I LOVE the romantic Balanchine.
Agon still really has the rush of the new. There's no way around the fact that we here in NY are used to better individual performances but this was a fine effort, filled with bright, pulsating rhythm and honest performances. Violeta Angelova danced the soloist role - the Bransle Gay - and it suited her very well, showcasing her long limbs and cool persona. Cook tackled the Saraband and Holowchuck & Mladenov danced the iconic pdd.
And now lets talk about the Diamonds pdd. I was so horrified by what I saw Tues night that despite my best efforts I kept dwelling on what went wrong. I think there were several factors in play.
For starters, the Joyce is too small for it. I hadn't really thought about that while I was watching it on Tues night, but Macauley talked about it in his review and upon reflection I think he has a point. It may only be a pdd, but it is a majestic pdd and at its best it conjures a world of imagination. The small stage space makes that difficult and the close proximity of the audience to the stage takes away some of the grandeur and magnifies any mistakes - which really did no favors to he opening nght cast.
Further, with all due respect to Ms. Angelova I think she was simply all wrong for the ballerina role. I saw her as the lead ballerina in Concerto Barocco in DC and while I had reservations about her use of the upper body I thought her extensions and musicality in CB were beautiful. They were also shown to great advantage in Agon, but in Diamonds she looked all wrong
The tutu made her legs look short, her arms looked limp and were unable to describe the beautiful sculptural elements of Diamonds, her unsecured tiara bobbled distractingly throughout, her technique failed her, but the worst part was that she seemed (understandably) just intent on getting through it. There was no world of imagination here, and what is Diamonds with a ballerina who can't create a world out of her imagination and draw you into it?
Fortunately the cavalry was called in, and all was right with Balanchine's world tonight. The size of the stage, the lousy recorded music, the blindingly white tutu - all faded into oblivion with Ogden weaving her magic. Technically secure, presenting a multi faceted wonderfully evocative Czarina - she is a true Diamonds Ballerina. This was my last performance of the run, but - for all my friends sake, and for Ms Farrell's sake - I hope Ms Ogden is cast in Diamonds for all the remaining performances.
Posted 22 October 2011 - 08:02 PM
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