Farrell Fan

To be precise, the Cage music is from two sources: "Six Melodies for Violin and Piano," Nos. 1 and 2, and "In a Landscape" which gives the ballet its title. They are among Cage's more accessible pieces. Balanchine used to put women on a pedestal, and I suppose Evans could be said to perpetuate that tradition, but it's a very low pedestal.

Balanchine's PAMTGG* from 1971. This was certainly the lowest point of Mr. B's career at NYCB. The title, and music, came from a television commercial of the time -- PanAm Makes the Going Great. But it was not the trifle such a genesis might suggest. It was an opulent production with decor and lighting by Jo Mielziner and costumes by Irene Sharaff. Repertory in Review called it "an expensive disaster." What I remember about it were the plastic costumes and lucite luggage. My theory is that Mr. B was still in despair over the departure of Suzanne Farrell the year before, and had temporarily lost his bearings. * pronounced "pam-teh-guh-guh."

Congratulations to Mr. Wilkins. He did a wonderful job conducting the Suzanne Farrell Ballet's revival of Balanchine's Don Quixote at the Kennedy Center this past June.

I realize "me, too" posts aren't very interesting, but I can't resist this one. Me, too.

It's the current Ballet Review (Fall 2005).There are three noteworthy interviews in it -- with Stephanie Saland, Daniel Ulbricht, and Monica Mason. The Saland one was the most surprising to me, since I'd never heard about the mutual admiration between her and Kirkland.

"Gelsey left City Ballet because she wanted a larger berth. She didn't want that absolute autocracy there demanding her time. We were in a harem there, plain and simple. And all the women were there to please Mr. B, That was difficult for Gelsey." -- "A Conversation with Stephanie Saland," by Michael Langlois, Ballet Review, Fall, 2005

"I could do a double tour or an entrechat six, something like that, before I could do a tendu, a ronde de jambe, or a plie. I wasn't interested in the basics I wanted to go straight to the action." -- "A Conversation with Daniel Ulbricht," by Harris Green, Ballet Review. Fall, 2005

Wow. I don't think even Robert Gottlieb had ever dismissed Peter Martins as "a wretched choreographer."

Now you're talking!

Oberon, what you say is true, and totally irrelevant to NYCB's opening night benefit. This is, or used to be, a special occasion. I find the fact that second ring seats are available for $40 -- $60 off the original price -- and orchestra seats for $60 -- $140 off the original price -- terribly shocking. This is the beginning? To me it sounds like the beginning of the end.

I know the feeling jimmatimore is talking about, having first experienced it some forty years ago after visiting an SAB class taught by Alexandra Danilova. She was so glamorous, and so kind and gracious to my wife and me that even though we were on the bus, we seemed to float home. I was there last night too, for Jock Soto's demonstration of partnering the Nutcracker pas de deux with two lovely young dancers. Even though I'm now alone and take taxis back and forth, I still felt something of that same excitement. The fact is that every visit to SAB is an exhilarating experience because of the talent and dedication of the students and teachers. They give us hope for the future.

This is heart-breaking. May perpetual light shine upon him.

Wouldn't it be nice if Darius Crenshaw some day got to dance Sugar Plum's Cavalier at NYCB?

In my case, flattery is just as good as money, carbro.

Samuel Johnson would not have approved of Wilkipedia. Boswell quotes him as saying (on April 5, 1776), "No man but a blockhead ever wrote except for money."

My favorite ballet photographers are those who take good pictures of my favorite dancers. So I, too, greatly admire Steven Caras and Paul Kolnik. There's a stunning Caras photo of Suzanne Farrell and Peter Martins in "Sophisticated Lady," the farewell piece Martins choreographed for her, which hangs on my wall. In my bookcase there's a static Paul Kolnik photo of Suzanne and me at the Kennedy Center. There'd be more movement in that one if you could see me shaking. I think we should make a distinction between those photographers who take photos of dancers in performance and those who take posed photographs. The distinction is usually clear in New York City Ballet brochures. Those that elicit the most comment on Ballet Talk are of corps members posing in parks, museums, or on rooftops. I prefer the performance photos.

Just so I can get there before anyone else does: Merrill Ashley.

Thanks for the article. I miss her too, and hope we'll get to see her again. I noted that line about "a dispiriting meeting with Peter Martins" which led to her leaving NYCB.

The photo shows Diana Adams as Isuelt. (Ashton's ballet is a version of the story of King Mark, Tristram and Isuelt.) Jacques d'Amboise portrayed Tristram, in his first leading role with NYCB. He was seventeen at the time. In the Suzanne Farrell "Elusive Muse" film, Jacques recalls how jealous Balanchine was of Ashton during rehearsals because of all the time he was spending with Adams.

Now you tell me! Had I but known, I would have insisted on a seat down front for ideal watching under tutus. As it was, from Row P, I was totally oblivious to all that was going on in the panty areas.

Balanchine never understood rock music, let alone punk rock. (Just a slightly off-topic aside.)

"Consistency" can be one step removed from "routine." In that sense, except when Ashley Bouder dances, I think NYCB performances are much more consistent than they are "immediate." That's a colorful quote from Gia Kourlas about NYCB being "the punk rock of ballet," but I still have no idea what she means. As for whether NYCB is still Balanchine's company, I don't think even the most fervent admirer of NYCB today would claim that it is.

Lately the title of Frederick Ashton's ballet has appeared as "Dream" instead of "The Dream." The latest example was in this morning's NY Times Joffrey article. It seems to me that without "The" the title acquires an altogether different meaning in print. Is anybody else bothered by this?

Fred Astaire was a wonderful singer -- a sensitive stylist who was absolutely the greatest interpreter of Irving Berlin ever. I would not have described Bing Crosby as a "powerhouse" singer, but he was terrific too.

I saw Helgi dance. Helgi was not stocky.