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bcash

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About bcash

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    Balletgoer
  • City**
    Portland
  • State (US only)**, Country (Outside US only)**
    ME

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  1. bcash

    Winter 2017 Season, Attempt Deux

    I agree with this view. I thought this was the case with J Peck when he was promoted, because his dancing certainly didn't improve (and imo has deteriorated since his promotion). Soloists dance less than Corps members so I thought it logical that they want to give him more time to choreograph. Schumacher's choreography seems to be well liked, so the same reasoning for promotion may apply, but interestingly he is not being commissioned a new work for the 18-19 season, and he choreographs much less than Peck anyway.
  2. bcash

    1966 NYCB's "Midsummer.." film.

    The NYPL Performing Arts Branch is screening this version on June 20th. I remember the notes on the program saying it was filmed in 1967, so I assume it's the same one.
  3. bcash

    Friedemann Vogel

    North American audiences get to see this gorgeous dancer too little!
  4. bcash

    Gomes and ABT

    I saw this film way back in the winter of 2016-2017 as part of a Dance on Camera film series at Lincoln Center. Many of his ABT colleagues were in attendance that night. It follows Gomes around the world as he guests with different companies and dancers. As I recall, the film worked because Gomes became very comfortable with the presence of filmmakers, as they went through this long process of getting the film off the ground and during the actual shooting, and thus was able to relax in front of the camera almost at all times, letting many sides of his personality shine through naturally. One thread in the film is his somewhat strained relationship with his father, who at that point had not yet come to NY to see Gomes dance at the Met since he joined the company (if I recall correctly). But I thought there was a bit of a forced drama and sentimentality with that story-line. At the Q&A afterwards, though, Gomes said he still hadn't got word from his dad that he would come to New York that Summer. Overall it was great to see some good-quality footage of him performing on stage, as well as to feel his genuine warmth, adorable sense of humor and total lack of ego coming through the screen.
  5. bcash

    Gomes and ABT

    I consider myself lucky to have been present at his 20-Year anniversary performance. At least he has that moment.
  6. bcash

    Gomes and ABT

    Sorry to dig up an old post but watching Finlay this spring season (and some clips of his dancing in SL) I felt almost the same as Witchel. His upper body carriage is very distinctively danseur noble, compared to most other NYCB male principals. His proportions and looks are very princely on stage (some may say off the stage as well). But to me his legs aren't quite up to some of the challenges in the NYCB rep, including Balanchine.
  7. bcash

    "Harlequinade" 2018.

    Why is that the case though? Isn't the Met season their only "main season" in the entire year? One would expect them to be fully prepared.
  8. bcash

    Roster Changes 2017-2018

    Did NYTimes do a piece on Ricardo and his partner after a workshop performance a year or two ago? I was hoping to see more men being taken in, given how many male dancers have left/taking a leave/are underutilized this past few seasons.
  9. bcash

    2018 Spring Season

    I'm surprised to read so many generous impressions on Sunday's performance. Perhaps my impression was colored by my seat, and the fact that I was and remain rather indifferent to both retiring dancers. Ashley Laracey was certainly much more expressive and spiritual than Reichlen in the primary ballerina role in Barocco. Reichlen, though technically secure, often appears impervious and too "objective" in many roles that calls for more interpretation. And Farley partnered her well, smooth and secure, fully utilizing his height during some of the more complex "pretzeling" moves. Lowery has expressive port de bras but there is this slight disconnect and lack of precision from the waist down. Agon really needs a great cast to exert its power. And this was not one. The (ideally) thrilling opening section (the moving blocks of four, the two rows with dancers switching places) did not project much power, at least not to the fourth ring. Peter Walker was completely wrong for the first pas de trois, his slender height making his central axis wobble wildly and discordantly. Last time I saw Lowery in the second pas de trois, her being one of the least slender women in the company obviously impacted the partnering of the two thinner men who were dancing with her, and this time it improved a little. Miller seemed competent enough in the pas de deux, but I did not sense any star quality or any reason to feel excited, especially given how well Kowroski has been dancing this pas this season. (Miller's Titania last Spring didn't make much of an impression either.) The ending of this Agon just fizzled completely. I'be been told by a seasoned NYCB goer that 4T has been in good shape for many years, while Agon is not. There may be quite some truth in this observation. I've never been "disappointed" by a 4T by NYCB in the past couple of years. I have no opinion on Dieck because he never stood out in any way to me. But I think overall it was a solid, solid performance. Sebastian V-V was lovely, though obviously not to the level of Huxley. Gerrity had projection and presence in spades. The finale never fails to move and inspire, particularly when the score opens up to the major note. I remember in a winter performance a lady sitting next to me exclaimed "This is a masterpiece!" right as the curtain dropped on 4T. With injuries, retirements, leaves of absence, the roster of male dancers at NYCB is looking depleted. I continue to hope for the emergence of a male dancer with the proportion, the presence, the expressive and technical prowess of a true danseur noble.
  10. bcash

    2018 Spring Season

    I have been rooting for Sebastian V-V to get soloist roles for a while now, so I was obviously excited to see him dancing this part. He has a very easy musicality and a fluidity of movement with just the right inflection to make it interesting. (He also has movie star looks--just check out his "screen test" interview on Youtube.) As to this particular performance, I thought he could have been freer, but I guess nerves were understandable. I know LeCrone is not widely loved but I've always liked her in 4T and Agon, mixing angularity with a hint of seductiveness. I certainly prefer her to Reichlen in Choleric. Neither la Cour nor Janzen works for me as Phlegmatic. I wish I had seen Adrian D-W live for once.
  11. bcash

    Coppelia 2018.

    Agreed re. Discord and War. I think you are right. At least Macaulay seems to think those are what they stand for.
  12. bcash

    2018 Met Season

    What happened with Lendorf? Injury? I was hoping to see him in something this season.
  13. bcash

    Coppelia 2018.

    Last night was a delight. Tiler Peck is obviously in her prime and delivers every time. De Luz is in better form than last Spring. I always trusted his commitment to acting and his stage presence suits this role very well, but it was the air in his jumps/precision in his turns that surprised me. Apart from the usual highlights, I love the brief adagio passage in the 1st act where Franz briefly and lightly partnered Swanhilda when she was holding that golden wheat strand. As to the ballet itself, the music is so lovely and suited to dancing, as well as to comedic storytelling. The miming can be hard to read in full clarity (someone sitting behind me did not get it at all, presumably having not read the synopsis.) I felt the First Act character dance was a little too long, and I concur that Peter Walker was somewhat unsure in his execution in the 3rd Act, which made Discord and War feel more tonally out of place. I do wonder how much we should feel sympathy for Dr. Coppelius. I did feel for him at the end of the second act and I felt Swanhilda and Franz could have been kinder to him throughout. And I read in the Lincoln Kirstein program notes that he is supposed to be a "quasi-tragic" figure, a creative-genius type of individual mocked by the local philistines. But the joyful and radiant 3rd act almost made the audience forget whatever sympathy they might have felt prior. That moment when he came on stage to air his grievances to the Mayor at the start of the 3rd act did not register much, which I thought could have been acted with more thought and layers of emotions.
  14. bcash

    2018 Spring Season

    Any info as to why the Pulcinella Variations was replaced for this one night? Injuries too many? Tchai Pas: It's an interesting paring. I don't believe they've danced this together and it should be Catazaro's NY debut.
  15. bcash

    ABT 2018 Firebird / AFTERITE

    The thing is, McGregor doesn't make ballets. He does his own thing with the addition of some pointe work. There's a rehearsal video on YT of him and Wheeldon working one after another in the studio and the contrast in language used to convey ideas to the dancers and to fine tune their movements is so clear: that Wheeldon is a ballet choreographer and McGregor is not. Of course, this is not to deny other possible virtues and contributions McGregor might possess and make to a dance company. As to why the Royal under Monica Mason made him the resident choreographer, I defer to more knowledgeable commentators.
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