rnl

As for the Nutcracker chronicles! I have always loved the NYCB production, and have thoroughly enjoyed some of our local productions - some of which have amazing and elaborate productions, others which are pared down to a few dancers, capturing just the essence of childhood joy, and perhaps the magic of Tchaikovsky. (I'm a sucker for the Waltz of the Snowflakes.) I never get tired of it, and every year, something brings a tear to my eye!

I loved the bulk of AM's original review - he writes beautifully about the ballet. The critique of the actual dancing thrown in at the end was coarse, and yes, snarky. I find he often makes little remarks that should just be tempered or edited out - it taints his otherwise thoughtful prose. I completely agree that critics have the right to criticize, and to be colorful; however, as mentioned earlier in these pages, that element of controversy seems to be condoned and encouraged in this age when everyone's opinion is out there in the blogosphere, and people can say whatever they want (but shouldn't necessarily). As for the weight issue: Eating disorders are deadly, and although they are prevalent in ballet, a "like it or not" attitude is insensitive and harmful, and it is more than a matter of someone's feelings getting hurt. Eating disorders have the highest mortality rate of any mental illness. And, a growing percentage of sufferers are men. As a ballet audience, it is our responsibility not to continue this prejudice. So many people in these pages have commented on the beautiful dancing of so many different bodies! And Jenifer Ringer said it herself in her Today show appearance. Hopefully discussions like this one will sink into the ranks of ballet masters around the country, who can put these different body types onstage, for everyone to appreciate their artistry. In truth, I have been painfully aware of this dilemma for awhile, having been in a position to watch numerous local dance studio performances over the last few years - ballet, jazz, musicals... Numerous girls are overweight, and it is not always pleasant to watch them. However, some "heavier" dancers have a remarkable command of technique, which transcends the weight issue. And a passionate dancer shines no matter what her physique. (I refer to girls, because very few boys dance in these regional shows, at the high school level and below). And often I am really glad the dance teachers put these girls onstage, giving them confidence and encouragement, to express themselves joyously, no matter what their physical appearance. Healthy bodies are neither frail, nor obese, and as dancers mature, hopefully their bodies will become the best instruments their art allows them to be.

I saw this afternoon's performance, which was introduced by Jonathan Stafford. Although he was quite charming, he really had nothing to say! What is the point of telling an audience of balletgoers that they should really enjoy these performances, and that Who Cares? is really fun because the music is by Gershwin? I think they should save these introductions for new, or special, performances. I enjoyed the dancing, but the choreography of Namouna is a bit gimmicky. And although the speed is fun, a lot of the steps get mushy (except for Daniel Ulbricht, who has amazing speed!) It certainly paled in comparison with Who Cares, in which Balanchine just milks the music - the pas de deux with Tiler and Amar was fantastic. He does have a wonderful quality about him. Loved Sterling Hyltin, also, and although Teresa Reichlen danced very well, she didn't quite have the spark in her solo that I would have expected. Lovely turns, though.

I have that 1980 souvenir book, also! I loved it. I like the current photos, too. But I have to admit that I got on the Shuttle a few days ago, and the train car was plastered with the faces of all the principal dancers, and I thought, they are trying to make them all celebrities. It was too much. I want the dancers to remain dancers, not actors. I think some of them might say the same. Too much focus on image, and not substance.

I agree that "wretched" was too harsh a word. Although she did look tentative, she still brought a quality of precision that had earmarked her earlier dancing. A vestige, perhaps, but a reminder that this was her style as well, and not only the traditional roles of Titania and Swan which we saw later. And there, she still carried that lyrical quality and confidence that I see much more rarely these days! I was glad to be able to watch her perform one last time. As McAuley notes, it was her presence, the turn of her head, that could connect so well with the audience.

A video of Damian Woetzel talking about future prospects is available online through the Wall Street Journal Online: http://link.brightcove.com/services/link/b...bctid1641204265 (Just wait for it to come up, and the commercial to finish....)

I hadn’t seen the Robbins/Chopin ballets in years – how refreshing to see them again! I have really enjoyed Yvonne Borree’s dancing this past week, on Wednesday with Damian Woetzel, and in Saturday’s Dances. She seems to be letting go. Whereas Joaquin de Luz danced beautifully, I didn’t feel he really fit the easy-going Robbins style in Dances. Too classical! On the other hand, I thought Garcia had a great energy in Other Dances. And The Concert - just so much fun. Particularly enjoyed Tom Gold, as always. The Robbins choreography brings out a different feeling from the NYCB dancers. The movement of the upper body, and relaxed arms, is a great counterpoint to some of the precise classicism of the Balanchine ballets (which I felt the corps didn’t always “get” last season – ie. Serenade.) Working some of these ballets consistently back into the repertory would really play up NYCB’s strengths. In years past, some of the Robbins style of movement (as captured in the videos they have been playing during the Festival), was absorbed into the Balanchine ballets as well. In Sunday’s performance of Goldberg, I thought Wendy Whelan and Gonzalo Garcia partnered very well together. And I enjoyed Sara Mearns performance here, as well as in Dances at a Gathering, where I thought her dancing was sharp and precise, and yet lyrical. Also, Amar Ramasar has been exciting to see. Fun to see Wendy Whelan again in the second ballet, Brahms/Handel, with the energetic Ashley Bouder bright as ever.

I am so sad to hear that Tom Gold has retired! I'm always happy to see his name on the program, in any capacity.

I'm glad DW did Rubies, also - a big burst of energy and fun! And, I thought it was a moth or two flying around - was it really a bat?

It was a lovely evening - I hadn't seen Rubies in a while, and I was a little confused by who was who, but Woetzel's partnering strengths and sense of fun came through beautifully in his brief appearance! And in Prodigal Son, there is such an intensity in which he inhabits the role. The section after he is stripped bare, and stands, grieving, on the darkened stage, is such a powerful moment. Daniel Ulbricht really caught the power of the role, but has yet to grow into the acting. Damian Woetzel had all that going for him. And Fancy Free, of course, is such a wonderful showcase for his signature easy-going style. His graciousness and elegance will be sorely missed!

Yes, that was a lovely moment - especially since someone had commented on how labored it looked in a different performance. My comments on the corps are based on only a few performances; a few weeks ago in Western Symphony I thought the same thing. I'm glad to hear that except for those few occasions, it probably was just end of season fatigue!

I saw Sunday’s performance, and while I agree that Darci Kistler looks tentative, she still has some of that lyricism that has made her worth watching. In Mozartiana, Wendy Whelan was lovely, but for me, lacks something in this role. And Ashley Bouder made the afternoon. She is so sharp in her technique, and truly fills the shoes in this role. In every other role, I find myself thinking of those who have danced it before – for instance, Kyra Nichols, Suzanne Farrell in Serenade and Mozartiana… Ashley made me appreciate the moment. In the last several performances I have seen, I have found the corps not quite together. They were there for the big finale moments in TP2, but not for most of it. With so many people on stage, it looks sloppy. But this seems to cycle in NYCB – some years I find the corps work outshines the principals.