Farrell Fan

What if you had to choose four NYCB males for the kind of PBS show that is causing such comment on the ABT forum. I suppose it's a given that Peter Martins would preside, with a fully buttoned shirt, perhaps stuffed, and that the classically-pure Christopher Wheeldon would choreograph the little ballet at the end, thus obviating the kind of criticism Mark Morris has been getting. But who would the four guys be? Please explain.

Hasn't Hubbe had knee surgery a couple of times in the past?

I haven't seen the February Playbill yet, but as of the end of January, the photos of Borree, Fayette, Marcovici, Milllepied, and Somogyi are the same as those in the face book. Photos of the other principals are, without exception, better in the face book, so I hope they will replace those in the Playbill, if they haven't already.

Sebastien Marcovici's tears tattoo makes his photo look like a clown painting.

I enjoyed the show very much, despite its "Born to be Wild" title. The four mini-portraits were well done (I, too, particularly liked the one of Malakhov), and I was annoyed whenever they were interrupted for those silly Mark Morris rehearsal scenes. The four young men came across as extremely likable and talented, and, Anna Kisselgoff to the contrary notwithstanding, I never felt the "regular guy" aspect was overdone. I appreciated the avuncular comments of Jacques d'Amboise, and liked seeing Alicia Alonzo, despite her somewhat odd appearance. The completed Morris piece was anti-climactic, but, overall, the show made me eager to see all four of these guys again -- live.

Good question, BW. It seems to me that much, maybe most, advertising these days strains to be "amusing" and ignores the product or service. Completely forgotten is what the viewer or reader is supposed to do about the message.

There's a lovely, powerful article in the February 10 New Yorker (not online) titled "Dancing in the City," by Alma Guillermoprieto. It's apparently part of a book-length memoir to be published later this year. The author studied with Martha, Merce, and Twyla. She portrays them all incisively and lovingly captures the essence of the sixties dance scene. She is especially poignant in her realization that she was never going to be another Martha, and that "even Manhattan, the magical realm of my adventures, suddenly began to seem like an island under seige" (It was a time of rampant crime, when the social fabric seemed to be coming apart.) I'd like to see regular dance criticism return to The New Yorker, but while waiting, this piece and the Farrell profile last month are wonderful consolations.

Yes. what I called a tone poem was actually Tchaikovsky's Fantasy-Overture in b minor. That was the music Mejia used for Farrell. Whenever I hear it, I can't get the pop tune that was made from it (in the 30s maybe) out of my mind. The line I remember from the lyrics went "This is the story of a starry night." Maybe that was the song title too.

ABT's Romeo and Juliet has choreography by Kenneth MacMillan and music by Prokofiev. There are other ballets to the Prokofiev music -- by Lavrovsky, Ashton, Cranko, and Neumeier. In addition, there's Tudor's to the music of Delius, and Bejart's to that of Berlioz. In the last of these, Romeo and Juliet come back to life. Suzanne Farrell, who danced in the Bejart (with Jorge Donn), was also Juliet in another version, which I saw once in a program called "Ballet at the Beacon." The music was Tchaikovsky's Romeo and Juliet tone poem and the choreography was by Paul Mejia, who gave Suzanne eight, count 'em -- 8 Romeos. As I remember, in the closing scene they grouped themselves to form her bier. Needless to say, that's my favorite. ;) Are there other versions? Which one do you like best? Least?

I, too, would like to see Haiku again. It's an unusual and well-done piece. But I don't want to see the current version of Jeu de Cartes (which ended last night's program) ever again. The Stravinsky score deserves better.

In the film "Elusive Muse," Jacques d'Amboise said his pas de deux with Suzanne continues to haunt him. For me, their final exit remains the most moving ballet moment I've ever experienced.

Yes, she meant McBride. There's only one Patty, but more than one Pat. In addition to the wonderful Neary, there was also a Pat McBride, who preceded Patricia McBride into NYCB. Pat McBride was best friends with Tanaquil Le Clercq (Tanny) and spoke at her memorial observance at the New York State Theater. The name Pat McBride was printed in the program and when she rose to speak, there was a stir in the audience, presumably at how much Patty had changed.

I was there too, and Mary J did a marvelous job of covering what happened. Thanks. NYCB has had many different moderators over the years for its ballet guild seminars. Ellin Sorrin was neither the best nor the worst. Among the best have been Francis Mason and Peter Boal. (Boal can do anything, in my opinion.) Joan Quatrano, the woman who was repeating the audience questions last night, is also quite a good moderator. In my opinion, the worst was Lesley Stahl, a member of NYCB's Board, who drew the plum, but perhaps unenviable, assignment of interviewing Suzanne Farrell and Peter Martins. Together. It was interesting that Kyra said she owed so much to Jacques. Because Suzanne says exactly the same thing -- how he was the one who brought her to Balanchine's attention As you see, I'm using the first names of Kyra, Suzanne and Jacques. It's a ballet habit that's hard to break. But I agree that a moderator is obliged to make things clear. For one thing, neither she nor Kyra mentioned the name of Kyra's mother. Her name is Sally Sally Streets.

Yes, BW, Francis Mason is the editor. Subscription rates for individuals are $23 for 1 year (four issues) or $41 for 2 years. The address for subscriptions is Ballet Review, 37 West 12 Street, Apt. 7J, New York, NY 10011. Incidentally, when I got the Fall issue I put it aside intending to get to it later, and I didn't know about the Davidsbundlertanze article till ATM711 and dirac mentioned it. Thanks to them, I've now read it. I found it interesting but a little far-fetched.

The Peter B. Lewis Theater in the Guggenheim Museum was packed on Sunday evening, January 26 for the Works & Process program devoted to Leigh Witchel's Dance As Ever. Two of the three works were solos for the magnificent Peter Boal. In the first, Midare, from 2001, the onstage koto player of Yatsuhashi Kengyo's music was Masayo Ishigure. It was a classical ballet to a Japanese score with a wonderful set by Matthew Mohr. The set featured a column that looked something like a Noguchi lamp. Boal was mesmerizing. The second piece, Word Become Flesh, dates from 1996 and as the title indicates is both a spiritual and temporal work to ancient religious music -- some of it anonymous and some by the first composer ever whose name has come down to us -- Perotinus Magnus. It was danced by four beautiful women -- Mary Carpenter, Sarah LaPorte Folger, Morgan Friedman, and Christina Paolucci. The final ballet was A Shropshire Lad, danced to songs by George Butterworth to A.E. Houseman's poems. It is a look back at life -- bravura in spots, contemplative in others, and ultimately heartbreaking. I'd been wanting to see it since its 2000 premiere and I'm so glad I finally did. During the between-the-ballets discussions Nancy Reynolds conducted with Leigh, Peter, and Mary Carpenter, Peter revealed that he was considering retiring from ballet at the time Leigh did Shropshire for him, so his performance had a special poignancy. And, since he didn't retire, a happy ending. The program is being repeated on Monday, the 27th. I don't know if you can get in, but I hope so.

The New York Mets first baseman, Mo Vaughn, is a huge, lumbering man who seemed overweight and out-of-shape during all of last season. The Mets had threatened to void his contract. But according to Mets owner Fred Wilpon, Vaughn has been working hard and looks strong. "He's a big guy," Wilpon said. "He's not going to look like a ballet dancer, nor should he."

As Leigh has suggested, Balanchine called the ballet "Robert Schumann's 'Davidsbundlertanze'" for a specific reason -- the ballet is about Robert Schumann and his relationship with Clara Schumann (Charles Askegard and Kyra Nichols in the January 24 performance). A possible way of looking at the ballet is to regard the three other couples as representing various aspects of the Schumanns' life together. The ballet is a progression toward madness and oblivion, propelled by the forces of philistinism, sometimes known as critics , who brandish their quills and then recede. According to Bernard Taper's biography, Balanchine had intended for these quill-bearers to be drowned in a great flood, but that proved technically impractical. In her memoir, "Split Seconds," Tamara Geva wrote, "I doubt that anyone will dispute that 'On Your Toes' was a milestone in the history of musical comedy, changing the format, eliminating the chorus line, and incorporating dancing into the story." The 1982 revival starred Natalia Makarova until she was injured by some falling scenery. She was succeeded by Valentina Koslova. Unfortunately, the show's run coincided with Balanchine's final illness. While we're talking history, let's not forget the history of "Square Dance," which opened the program on Junuary 24. At its premiere in 1957, there were fiddlers and a square dance caller on stage. Twenty years later, the musicians were in the pit and the caller was gone, never to reappear for NYCB, although a caller is sometimes featured in other companies' productions.

The New York Observer's columnists and critics are the reasons for reading it. It's not a daily newspaper. There's nothing sneaky about Gottlieb, he's been consistently upfront about his past affiliation with NYCB. That affiliation doesn't disqualify him from having provocative, often brilliant, opinions on ballet and dance. I find him a pleasure to read. The first thing I do when I get my weekly copy of the Observer is check to see if he's in it. I used to do the same with The New Yorker and Arlene Croce. Come to think of it, wasn't the rift between Gottlieb and NYCB initiated by Peter Martins' objections to Croce's criticisms?

Just an aside: Anna Kisselgoff did NOT love "Thou Swell." It seemed to me that she and Clive Barnes were basically of the same opinion, although AK is allowed many times more space than poor Clive.

Thanks, jayo, that was very thoughtful of you.

Actually, it's Nikolaj Hubbe, topless and wearing white tights, on the cover of the NYCB spring subscription brochure. He's been caught in mid-jump on the rooftop so beloved lately by photographer Nicola Majocchi. But Hubbe seems to have achieved superhuman elevation, outlined against the white clouds and blue sky. It's quite something! Inside there's a photo of a pensive (or maybe just tired) Aesha Ash, on pointe and leaning against a ledge. The rest of the photography consists of performance photos by Paul Kolnik. The accompanying subscription renewal letter from Peter Martins is breathless with excitement -- not so much about the Spring season, but about the Balanchine Centennial year to follow.

Whoever they are, they should dry themselves more thoroughly before heading for the pub.

Thanks, Dale, that was very welcome. I only wish I could post the Saratoga schedule now too. Apropos that strangely-named series, an apostrophe makes all the difference. I thought Ballet Masters Choice would include "the best" of Balanchine, Robbins, and Martins. Turns out it's Ballet Master's Choice -- the choices of the Ballet Master in Chief himself. And as if to confirm what his detractors have been saying, it includes just one Balanchine ballet and no Robbins. :confused:

At NYCB, "Symphony in C" means Bizet, not Stravinsky. But way back when, there was a ballet to Stravinsky's Symphony in C. Perhaps even more surprisingly, it was not choreographed by Balanchine, but by John Clifford. All I know about this ballet comes from "Repertory in Review." So I know that it dates from the 1967 SAB Workshop, had its NYCB premiere a year later, and was the first work choreographed by the 20-year-old Clifford. He is quoted as saying, "It had a hundred versions -- every performance was different, even the costumes were changed constantly. A real baptism by fire. Mr. B kept asking for changes and more changes. I guess he was right -- he was pulling out as much as he could. But I started to hate the music." I didn't see any of the "hundred versions." Did anyone here?

I too was disappointed in the Balanchine/Stravinsky film. It grew tedious after about an hour, but went on for at least another half-hour. As Morris Neighbor says, the same basic points kept being reiterated, often by the onscreen Stephanie Jordan herself, looking earnest. And I can report that sheet music, even Stravinsky's, does not make for visual excitement. Some redemption was provided, unsurprisingly, by Suzanne Farrell. She was seen, with Balanchine and d'Amboise, in some old (and too dark) rehearsal footage of Movements for Piano and Orchestra. Today's Suzanne was seen and heard commenting on Movements and on Agon. There was also a nice bit of old film of Violette Verdy in Agon. Nothing against Wendy Whelan, Albert Evans, Peter Boal, Jennifer Tinsley, Kathleen Tracey, or Alexander Ritter, all of whom were seen in a ballet studio demonstrating Jordan's points, but the film could have used many more of those old performance and rehearsal segments.