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Natalia

ABT D.C. opening: 'Black Tuesday'...lives up to the title

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Patrick Corbin is a great case in point for talking about cross-over talent. A good modern dancer needs great ballet training -- training he certainly got at Washington School of Ballet. But, unfortunately, too few ballet schools take their modern training seriously so they are launching young dancers who not only don't have the skills, they don't have the awareness that the skills are different and, worse, some don't have respect for modern as an expression essential for every working dancer in a classical company today.Oddly enough, it was Joaquine DeLuz, who had to go ask someone what "Black Tuesday' meant, who looked far better, even in a snippet of the final solo shown at the Performance plus talk, who "got" the urgency and depth of that solo better than Stiefel.Likewise Ericka Cornejo was surprior to Murphy in the Blvd. of Broken dreams. All the dancers say they called on their character dance training for this piece. (Alas, my kiddo studies where there is no character training.) Taylor's works don't necessarily require age, although age often gives a dancer the life-knowledge to use in a role. Consider Elizabeth Gaither, a young corps girl, dancing one of the streetwalkers, who clearly "got" the technique. Speaking of Murphy, I'm having trouble with her clean but dull performance. I've seen her coached for Swan Lake, which she will perform with Gomes, and she's not hold up her half of the chemistry at all. But she's young and perhaps will grow into it. I regret my Giselle tix will not show Wiles as Myrta. I'd go back for that Sunday if I could but gotta work on Easter.

[ 04-13-2001: Message edited by: samba38 ]

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In answer to Leigh's question, an ABT press release states that Black Tuesday was staged by Susan McGuire.

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