mcbfan

I must make a CORRECTION!The part of the stage I referred to in my earlier post, between the stage itself and the pit, is called the APRON. It occurred to me late last night that I've confused my terms. Too many years since performing I guess; or just a rusty old brain!

Oh my! I'm sorry to say that once again, I am terribly disturbed (annoyed actually), though not really shocked, by yet another one of Christian's "reviews" of an exceptional series of MCB performances. I hesitate to call any of our commentaries "reviews" as I really don't know that ANY of us are quite qualified to write a truly objective and completely educated review. (Though, my apologies Christian if you feel that you are). Let me begin by saying that not only did I, the freinds that accompanied me, and most of the audience that I overheard during intermission LOVE Miss Kronenberg's (also Christian, please note the spelling of her name, as you seem to always get it wrong)interpretation of the role of the Sleepwalker, but we all also LOVED her hair (granted, I'm not a hairdresser)! As different as it may have been for her, I thought it suited the ballet PERFECTLY and was not at all as distracting as long wavy hair can sometimes be. I won't presume to know what her hair is like in "Real Life", but I know that for "Slaughter on 10th Ave" it was much wilder --- which suited THAT particular role. All "Hair-splitting" aside , let's call a spade a spade... Her dancing both nights was breathtaking, and if some were unable to appreciate her dancing because they were focused on other matters, I pity them. The fact that we are even discussing HAIR on this website is borderline ridiculous. On that note... I did some research on Allegra Kent's perspective of "La Sonnambula" and found a particularly interesting article in a 2005 issue of DANCE Magazine called "Dreamweaver". The first part of the article is from Kent's point of view, and the sister article is from Kronenberg's (being coached by Kent). Hope some of you will look it up! As a former dancer and NYCB enthusiast, I can assure everyone that Kronenberg came as close to following Kent's notes as anyone I've seen (much more so than Darci Kistler of NYCB, though she is a beauty of a ballerina in her own right). While the Sleepwalker must run without hesitation, as if to run into the pit, there is the matter of fact that can not be ignored -- a large presenium between the end of the stage and the pit. Miss Kronenberg's foot was almost past that point TWICE (I especially noted this on Saturday night when my seats were closer to the stage). Further than that I don't think the lack of stage light and flooring would allow. Her bourees backward were seamless and it seemed as if her slumbering top were almost disconnected from her agitated lower half. Most impressive. I also noted in my closeness on Saturday that she simply DOES NOT BLINK! A trick I'd love to know how she pulls off! At the end when she discovers the poet's body, as Christian stated, she does not show any fear on her FACE at all. Rather, she shows DESPAIR, in her BODY that is, with a deep contraction and roll of her head. Again, quite effective. I agree that Mr. Guerra is PERFECTLY suited to the role of the Poet, but I am biased, as I enjoy him in most pieces and have gone to performances specifically to see he and his wife dance. I did enjoy both Ms. Manning on Friday and Ms. Delgado on Saturday as the Coquette, as different as they were. After all, isn't that the beauty of going to more than one show, appreciating the indivdualities of each dancer? Last note...though Tharp is not my cup of tea, I found "Baker's Dozen" enjoyable enough, and thought it was remarkable how the dancers all switch hats so quickly and completely in one evening. A BIG BRAVO to them ALL!!!!!

Just want to clarify who the pricipal ladies actually were in Divertimento #15 Fri. eve. Mary Carmen Catoya, Jennifer Carlynn Kronenberg, Tricia Albertson, Patricia Delgado, and Ashley Knox who replaced Jeanette Delgado. All were exquisite!!!!