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Everything posted by jerryb

  1. I got as far as the ballroom scene and stopped. Maybe I'll pick it up again at some point but to me it was neither a good "film" nor good "filmed dance". Too many close ups. the background murmuring in some scenes, the repeated use of flower pots or planters to give an illusion of depth, the sound of Romeo knocking on the apothecary door yet no sound when crockery and wine bottles are swept from a table, Tybalt pushing a sword into Romeo's chest which surely would have drawn blood just a few examples of pretentious film making. Trying to twist something into something else and failing badly
  2. I remember well the NYCB version with the caller. Saw it many times. I'll never forget "Come on Nick, Come on Pat. Make those feet go wickety wack." Quote it to my friends from time to time - they have no idea what I'm talking about.
  3. I agree Kathleen. I've been telling friends and family for years that this Sleeping Beauty doesn't breathe. I call it Sleeping Beauty on "speed" and I don't mean metronome markings. The first Sleeping Beauty I saw was the Royal Ballet's at the Met many years ago. It was a prologue and plus three or four acts (I've forgotten). I'm not advocating that for NYCB but a breath here and there would be welcome.
  4. Saw the Saturday evening 5/19 performance. While DAG was decently danced what was missing for me was the feeling of dances at a gathering. The dancers seemed to have no relationship to each other or a particular place (with the exception of Tyler Angle, Joseph Gordon and Lauren Lovette). It doesn’t matter specifically where that place is or who these people are because each of us will bring our own perception of that. “Who am I and why am I here.” Most of today’s DAG dancers have no sense of that and it has been so for a few years with DAG. Ballet Alert old timers will remember Villela a
  5. Saturday May 5, 2018 standing ovation at NYCB for "Something to Dance About" which is a pleasant but mediocre work. Well danced but very poorly sung (the person who did the amplification really did the singer no favors) but hardly worth anything but polite applause. However, great work by the corps, Sara Mearns, and Andrew Veyette.
  6. Saturday Evening February 25th. Neverwhere, Mothership, The Decalogue, Namouna. Martins and those responsible for programming must have thought that this program would be good for the $30 ticket night which attracts a full house and a younger demographic. Well I think they made a huge mistake. I half expected wild cheers and huge applause but all the works were greeted very, very tepidly. It seems even the uninitiated know garbage when they see it. I doubt that a single additional ticket will be sold as a consequence of viewing this program. The saving grace was the dancers. From
  7. Both Applebaum and Scordato were very good in Divertimento and I agree worthy of promotion.
  8. Kathleen - I feel much the same. For me it's been 60 years going back to City Center and like you I still feel "Oh wow!" and thankful that NYCB continues to exist.
  9. I was at the Saturday evening performance of MSND. I thought Ulbricht was terrific. Of course, one expects virtuosity (and got it in spades) but I was very impressed with his presence, authority and command when he wasn't dancing. IMHO one of the best Oberons I've seen since Villela. I like Ramasar very much but I don't think the divertissement PDD is his cup of tea. I agree with Amour that there didn't seem to be mush chemistry between him and Hyltin. Schumacher's puck was perfect. Fun without going over the top. Overall, a good performance. I look forward to the magic of MSND every
  10. Thanks Drew and rg. I must have seen a version of Fokine's choreography somewhere along the way. As you said rg, I remember the tossing of balls the size of apples.
  11. I was at the Saturday evening performance of Donizetti Variations, La Sonambula and Firebird. It was more enjoyable than I thought it would be since like many others I'm not a big fan of either La Sonambula or Firebird. For me the evening was rescued by the dancers. Tyler Peck, Joaquin de Luz, Wendy Whalen, Robert Fairchild and Ashley Bouder were wonderful. Can someone help me with some small questions regarding Firebird. I may be getting my productions mixed up or having a senior moment but didn't the women used to roll a ball around? And didn't the men in the beginning of the wedding s
  12. Where did Adrian Clay come from? Googled the name and only found Facebook page which I can't access. He's not listed on NYCB website. Congratulations to all.
  13. Canbelto - Thanks for posting that Lauren Lovettee was the purple girl in Les Carillons. She was outstanding. I don't like Les Carillons very much. The music is too heavy and it goes on for too long. I had a thought while watching that it sounds like music for a bad story ballet. I too found the cast of Year of the Rabitt excellent. I like the ballet and look forward to more from Jusin Peck.
  14. I am also in the "lost for words" category. I saw the Saturday evening performance with TDF seats in the second row to the right and at first thought that the bad viewing angle was coloring my opinion. Alas, that was not the case. Things quickly went downhill. I think what bothered me most was the complete lack of respect for the score. Not only chopping it up but the terribly unmusical choreography. Very sad that the powers that be chose to present the Australian Ballet's dancers in a work that is not worthy of them. I left after the second act. Was surprised the read that . I th
  15. You hit the nail on the head. As a long time NYCB fan I totally agree.
  16. I was at the performance Saturday evening 9/18. It was good to be at an all Balanchine night and I thought the performances good all around. Maria Kowroski was particularly fine in Monumentum/Movements. I have a question about Duo Concertant. If my memory serves correctly the ending was a narrow spotlight center stage only on the two hands. The rest of the stage very black. The last couple of times I've seen it the spotlight seemed much wider and the background only semi dark. In my opionion this dilutes the effect. Is it just my mis-remembering? As Canbelto said the corps danced very
  17. I agree with abatt about Agon. What a pleasure. Sitting further back in the orchestra than usual I was really taken with the structure of the ballet. This pas de deux really does suit Whelan very well. The sharpness of her line and attack made the choreography particularly clear. For my taste Teresa Reichlen's dancing in the second Pas de Trois was a little too "soft". But a very good Agon overall. As for "The Lady with the Little Dog", perhaps it was unfortunate that it was performed after a masterpiece. It seemed very long and made no sense to me. The choreography for the principals
  18. jerryb


    I've been an audience member for over 50 years. Never studied dance but did figure skate when I was younger which evolved into the interest in dance and particularly NYCB and Balanchine. In the late 70s and 80s when tickets were much cheaper I used to see a lot - almost every company that had a season in NY. Now its a few performances a year. Have been a lurker for a long time and decided it was time to join up.
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