NYCB photo exhibit feature in Time Out NY

[Dale]

Time Out NY dance editor (and Dance View contributor) Gia Kourlas interviews NYCB former dancer and administrator Edward Bigelow on "The Balanchine Centennial Exhibition at New York City Ballet" in the Jan. 1-8 issue.

A few snips from the article:

"With the help of Kathleen Tracey, a former NYCB soloist, Bigelow curated "The Balanchine Centennial Exhibition at New York City Ballet," which explores the choreographer's life and work, beginning with his childhood (he was born January 22, 1904). More than 300 vintage photographs will be displayed throughout the State Theater's five rings, providing a tangible sense of the past in the ephemeral world of dance. Also featured is a series of 25 photographs (to be shown in the theater's greenroom) from Balanchine's 1933 Errante, taken by Ilsa Bing and on loan by Mikhail Baryshnikov."

(I hope everybody will be able to see these Errante photos and not just the big donors)

However, wouldn't you know that there will be photos from the company's new works, including the Diamond Project commissions. (?!)

While Bigelow is less than enthusiastic about Farrell's company, Kourlas was able to defend the project. The writer also appears to put defend those who claim that casting is not done well at the company, while Bigelow defends the current regime.

================

From NYCB:

New York City Ballet will also produce a special Balanchine 100 Centennial Exhibition, which will be on display at the New York State Theater during the winter (January 6 through February 29) and spring (April 27 through June 27) seasons. Curated by Edward Bigelow, who worked with Balanchine throughout much of his career in America, the theater-wide exhibit will explore Balanchine’s life and work. A limited-edition catalogue will accompany the exhibition.

[carbro]

While Bigelow is less than enthusiastic about Farrell's company, Kourlas was able to defend the project.  The writer also appears to put defend those who claim that casting is not done well at the company, while Bigelow defends the current regime.

Given the history of those artistic staffers who have in the past questioned or challenged aspects of Martins' direction, this seems at least prudent. I am not, however, claiming to know Bigelow's honest opinion. For all I know, he may be completely sincere.

Thanks, though, for the info, Dale. Yet again.

[Dale]

That's a good point.

I am annoyed about the inclusion of photos of post-Balanchine ballets into what is supposed to be about Balanchine. But I'll try to be openminded. If they are included in a "after Balanchine" section that's fine. But the inclusion of non-Balanchine works in this and the season makes me wonder if you can have a survey of Balanchine without it becoming a history of the New York City Ballet. If not, then it makes more sense to feature the post-Balanchine history.