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2016 Winter Season


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I have a question about Glass Pieces for anyone in a position to know. All the movement that we witness in the first section of the ballet and the positioning of each member of the corps at all times are carefully laid out, right? There is no "Musical chairs" sort of thing going on here, correct? Because I think I detected someone ending up on opposite sides of the stage at two performances.

No,I don't believe there are any "musical chairs" going on, Drew.

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On a different topic, I just saw Justin Peck's The Most Incredible Thing. IMO, it should have been called The Most Dreadful Thing. I thought it was awful; gimmicky (oh those terrible costumes), and for the most part had very pedestrian choreography. The piece is a series of vignettes, each one titled thing like "one o' clock, the cuckoo bird; two o' clock Adam and Eve, three o' clock The Three Kings" etc. These vignettes seem to have nothing much to do with each other so, as a narrative piece, it doesn't hang together very well. I did like the Adam and Eve section, performed tonight by Adrian Danchig-Waring and Rebecca Krohn. But I'd have to say the piece struck me as completely superficial and trivial. And on a program that also has the three new works from the fall plus Chris Wheeldon's Estancia, there was no really substantive work and the evening was very long. I can't believe they have devoted TWO of the Art Series programs to this mess of a night. I immediately decided to apply those two nights towards a ticket towards Anthony Hyxley's Sylphide. At least I'll be seeing a night with two great works.

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On a different topic, I just saw Justin Peck's The Most Incredible Thing. IMO, it should have been called The Most Dreadful Thing. I thought it was awful; gimmicky (oh those terrible costumes), and for the most part had very pedestrian choreography...

Oh dear. Sounds like this may be NYCB's answer to all of those Alice in Wonderlands and Draculas out there.

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I agree that most of the choreography of the New Peck work was pedestrian. There were a few passages that had good choreography - the Adam & Eve segment, the choreography for Daniel Ulbricht, the segments in which Tiler Peck appeared, and some of the choreography for Sterling Hyltin. However, the problem was that these very fine segments were few and far between in a 45 minute ballet. I think part of the problem was that large portions of the score were unsuitable for dance. Additionally, it seems like the design elements - the big, bulky costumes - prevented the dancers from doing much in the way of actual ballet. Large numbers of the cast just wandered around and flapped their arms around, since their costumes would not have permitted anything more complex.

It looked like a lot of money was lavished on these costumes and the scrim. Unfortunately, style won out over substance. When a second tier Wheeldon ballet like Estancia looks like the masterpiece of the evening, you're in big trouble.

The program was definitely too long, but it seemed a lot longer than it actually was because the overall quality of the works on the program was, in my opinion, poor. Like Zobeide, I will be exchanging out of the one remaining ticket I have for this program. I think there may be many people who will be entertained by this new ballet and the design elements, but it was not my cup of tea.

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Interesting. I was excited about this ballet , then yesterday read an article about the costumes and how Peck really had to dial down on the choreography or it would have been too overwhelming to the viewer to have all these big costumes move... That struck me a little, and I remember thinking "well that's not good." I guess now it does fit into what you guys are saying so far.

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What a shame about the extravagance of the costumes and the failure of the dance because of it. I have been privileged to see only one J. Peck ballet, Year of the Rabbit, which was so refreshing, innovative and playful and had simple costumes that showcased the choreography, and I loved it. I saw excerpts of Everywhere We Go with the perfect costumes by Janie Taylor, and Rodeo, also with costumes that enhanced the choreography, and I hope Mr. Peck will get back to his real gift-- wonderful, contemporary takes on classic choreography where the costumes and scenery (if there is any) complement rather than detract from the dance. This whole discussion reminds me of the discussion on this board of the wigs in ABT's Sleeping Beauty.

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We aren't living in the era of Balanchine--for some, I guess that's condemnation enough of ballet today. It isn't for me though, however much Balanchine remains my touchstone. I would even say that we are living an era of renewed creativity and talent on many fronts especially at NYCB.

I said nothing about feeling that Nichols' performance wasn't exquisite and profound (it was) nor that I felt it wasn't valuable. I certainly did not say nor do I think my judgment was 'suspect.' I have seen Peck in the McBride role, and seen the video (admittedly a pale shadow of the real thing live) of McBride in Who Cares, and I disagree completely with Gottlieb on that one. Peck is very good in the part; McBride was definitive. That is not to say I don't enjoy seeing Peck dance the role, or that I didn't love Fugate's wonderful performance of the solo in the Balanchine Celebration, for example, or that Ashley (whom most would say was unsuited to that role physically) wasn't absolutely fascinating in it, though completely different. Elizabeth Loscavio, a goddess if ever there was one, at SFB, and Melissa Hough, at Boston and Houston Ballets, both gave incandescent perfomances of both Rubies and Theme and Variations; Lorna Feijoo, at Boston Ballet, did one of the most dazzling Ballo della Reginas imaginable. The point is not that roles cannot be assumed later on by great dancers who will be great and even magical in them; it is that this circumstance is rare and growing rarer.

Villella is a good example; even on film (and I was too young for him as well, sadly) his performances of the roles made for him by Balanchine are pinnacles unapproached since.

Clearly, I like and sometimes love Peck's dancing, and think she is a beautiful artist. I do not agree that she reinvents, reimagines, revivifies, or makes new either Emeralds or Who Cares, and I completely disagree that 'we are living in an era of renewed creativity and talent on many fronts especially at NYCB.' The death of Balanchine was inevitable; he himself called his ballets 'butterflies' and said that no one wanted to see last season's butterflies. He also, presciently, said 'Apres moi, le BOARD...' which sadly was the complete truth. The reason that NYCB's Jewels has for years been vastly inferior to those at SFB, MCB, etc, is that the directors of those other companies invited and welcomed the creators of all the ballerina roles to come and coach them. All you need do is read comments from any ballerina who worked with Verdy for example (Maria Chapman, Louise Nadeau, Mary Carmen Catoya, Deanna Seay--I could go on for hours) to realize what sort of experience NYCB ballerinas have been denied by Martins in this realm. This is, after all, the guy who fired Farrell, remember?

My disgust with what Martins has done to NYCB is in no way connected with the absence of Balanchine or with the unavoidable changes and differences which transpire in any living art form; it has to do solely with Martins' actions and their consequences, as eloquently chronicled by Gottlieb, Croce, and a host of other critics, as well as many amateurs and observers.

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Casting is now up through Feb 21. Lovette is out of all Sylphide's. The role goes to Indiana Woodward. Megan Fairchhild will also debut as Sylphide (partnered by Garcia). Most thrilling is that Tiler Peck will debut with Ramasar in Tchai Piano Concerto. I was hoping she would get that role. I think she will be amazing. Can't wait to see it.

I like Indiana Woodward and I hope her debut is a big success. I've only seen her in small roles. I hope she can carry the lead in a full length dramatic ballet like Sylphide.

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I haven't seen it yet (and won't until the spring) but it's a shame that they went so overboard with the costumes. While I like to look at (some) pretty costumes, and I think they can enhance (certain) productions, they certainly are not worth it if they hinder the movement. You could tell by looking at the cuckoo bird costume that it would hinder Tiler Peck's line. And as much as I disliked the cuckoo bird costume, some of the others shown in the W link looked even worse.

But I'm sure Justin Peck will bounce back with future works. Sometimes it takes a few skunks to turn out a masterpiece.

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Looks like Dzama was a fan of SNL's skit The Coneheads. :lol:

:rofl:

I think that the Five Senses costumes are the worse to me (although I also kind of abhor the Empty Nest, The Monks and the whole look of the Nine Muses). I just don't get using that type of shape for the body (or on the head) for a ballet. But maybe I'm just an old fuddy-duddy.

And what is with the weird eyes and hair on the Nine Muses? I just don't get it.

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Peck seems to be getting more into aesthetic issues. During the fall NYCB gala there was a premiere of one of his new ballets (forgot the title) in which heavy eye makeup made some of the dancers look like they had been punched in the eye. It was distracting. Time to return to pure dance.

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Backing up......
The double fouettees are not what I was referring to when I mentioned that in Marnee's solo (the turning girl solo of Who Cares?) had been modified with Pollack's and Isaacs' debuts.
There was an entire diagonal of turns removed and substituted for steps that did not involve turns. Double fouettees or not doesn't really matter much to me, as long as the fouettees are beautifully done.
Yes, Marnee's version of the variation was absolutely incredible. And btw, she had a little trick to staying on pointe, while turning, and in her fouettees, so that she didn't have to come off pointe. I've never seen anything like that since.

"The Most Dreadful....." sounds awful. Not a great evening overall either if they had hoped to encourage new audiences to attend. Sigh....

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Backing up......

The double fouettees are not what I was referring to when I mentioned that in Marnee's solo (the turning girl solo of Who Cares?) had been modified with Pollack's and Isaacs' debuts.

There was an entire diagonal of turns removed and substituted for steps that did not involved turns. Double fouettees or not doesn't really matter much to me, as long as the fouettees are beautifully done.

Yes, Marnee's version of the variation was absolutely incredible. And btw, she had a little trick to staying on pointe, while turning, in her fouettees so that she didn't have to come off pointe. I've never seen anything like that since.

Is Marnee's version available at the NYPL/on DVD? It sounds incredible!

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Wow that is harsh.

I haven't seen it yet (and won't until the spring) but it's a shame that they went so overboard with the costumes. While I like to look at (some) pretty costumes, and I think they can enhance (certain) productions, they certainly are not worth it if they hinder the movement. You could tell by looking at the cuckoo bird costume that it would hinder Tiler Peck's line. And as much as I disliked the cuckoo bird costume, some of the others shown in the W link looked even worse.

But I'm sure Justin Peck will bounce back with future works. Sometimes it takes a few skunks to turn out a masterpiece.

I agree with you on the costumes. I liked the 4 main character's costumes, and was thankful they changed Peck's costume a bit to make it a little lighter and less... oppressing on her? The costume in the preview video was a little too much, so I'm glad they changed it. Now having seen most of the other costumes, I could see how it gets overwhelming on stage. I agree that it's too much. I agree with a lot of points in the NYT review as well.. why are the 5 senses dressed the same? Why are the monks dressed with Hogwarts hats? I like that they tried to take us really into another magical dimension, but it didn't translate well into a ballet. I find the 9 muses pose (inspired by Balanchine's Appolo) very beautiful, and loved it when Peck posted a little excerpt from rehearsals... However, seeing it in costume just doesn't render the same effect.

I look forward to reading further reviews.

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Last night's All-Balanchine program (Ballo della Regina, Kammermusik No. 2 and Tchaikovsky Suite No. 3) was the perfect antidote to the very disappointing Tuesday evening. And I agree with the Times' review with the exception of the costumes. I actually liked them; I thought they were creative and beautifully executed.

Anyway, about last night.... Megan and Joaquin were fabulous in two killer roles, as were Ashly Isaacs (doing Debra Austin's great jumping part), Erica Pereira (doing crystalline diamond pas de chats in Sheryl Ware's part), Lauren King (in Stephanie Saland's part) and Ashley Laracey (in Bonnie Borne's soaring part). It was pure joy from start to finish.

I'm a big fan of Kammermusik and it was just terrifically done by Mearns, Reichlen, Jared Angle and Amar Ramasar. The mens' corps was also spot on.

Tiler Peck and Andy Veyette turned in an exquisite T&V performance.

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Sadly most of the third ring was empty last night, and the fourth ring was entirely empty. Given the great quality of the works that were presented last night, you have to wonder what is going on. I think it has to do with the fact that the prices are too high for these upper levels.

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They're typically only opened when a performance is selling well (i.e. the second ring is nearly sold out) and are priced similarly to the second ring (maybe a few more center $60 tickets here or there in the 3rd ring).

how much are prices for 3rd and 4th ring seats?

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In comparison, the top level of McCaw Hall in Seattle sells for $28-35 depending on the rep (mixed or story). But NYC is more expensive than Seattle (although the influx of investment money from China is making Seattle Real Estate jump closer to NYC!)

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It's a good thing that great works can be taken up by new generations of interpreters even if loss is involved as well. That's the kind of art ballet is: even with the greatest and most pious of coaches, the tradition morphs. Bodies change, contexts change, cultures change. With the greatest devotion and greatest luck important dimensions of older works are preserved and something new is brought to them as well. Say, Tiler Peck in Emeralds or Who Cares...Sara Mearns in Chaconne.

The point is not that roles cannot be assumed later on by great dancers who will be great and even magical in them; it is that this circumstance is rare and growing rarer.

No matter what Balanchine may have felt, what counts is that all of us here like his "butterflies" and want to see them survive. The only difference is which portion of the glass we are going to focus our gaze on, and whether we have any cause to be optimistic going forward.

jsmu, I knew beforehand that my questions have no quick and easy answers, but the information and opinions expressed in your posts and the one by Drew enable those of us who are relatively new to the world of Balanchine and NYCB to enlarge our perspective and broaden our horizons. Since I have been familiarizing myself with his works only in recent years, I particularly wanted to hear your views about today's dancers.

You probably have never seen Don Quixote. I would certainly like to see that and as many others of Balanchine's ballets as possible. The conversation about Mozartiana and the different ways it has been interpreted mystifies me, I must confess. I just throw up my hands and simply just want to see it!

There isn't the slightest doubt in my mind that Verdy was a great artist and technician, especially since in recent months I had the opportunity to see her on DVD in a couple of works --Orpheus and Agon. So your observations about Sonatine were very useful and made perfect sense to me. However, I would rather see this ballet with anyone currently dancing at NYCB than not see it at all. To say nothing about the fact that I consider Tiler Peck to be phenomenal! Did I like watching her do those "bent knee piques and pointe steps"? Absolutely!!! Strength which is formidable and (particularly) invisible in a woman awes, I think. I would have loved to have been there yesterday; but I am also very, very happy to be here today.

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