Hal

I think Mr B wanted a choreographer to administer the company and that is why he left it in PM's hands. I gather that Robbins didn't want the job. I think he was wprried that if just a dancer ran the show it would turn into a museum which is exactly what he didn't want to happen. On those grounds I give PM very high marks for keeping the company exciting even after 20 years. My major fault with him is not finding a place for Suzanne Farrell to be with the company in some capacity. So I put him in the second category. But I also can't think of anyone who would have been chosen 20 years ago who would have kept the company as exciting as it is today where it showcases the Balanchine and Robbins repertoire and creates exciting new ballets as well.

I loved Farrell. She is my absolute favorite dancer ever. I am still waiting to see someone come even close to her sassiness in Union Jack, maybe Kowroski will come close... Same with Slaughter and ... well just about any ballet she ever did. I recall when the 4 Seasons was first performed we were at opening night on a Thursday where McBride and Barrish did the fall section. It appeared as if the ballet was clearly choreographed for the male role with poor Patty only getting a secondary part in the shadow of Barishnikov. The following Tuesday it was danced by Farrell and Martins. It was clearly choreographed for the Ballerina with only a secondary role for the male. That was the impact those two dancers had. I have not seen any ballerina that was as exciting to watch as she was. Same goes for Barish. There are very few dancers that have generated so much excitement when I have seen the perform. Farrell. Barish. Neureyev. Thats my list. Everyone else is at best in second place. Of course I was fortunate enough to see Farrell very many times. "Holding on to Air" is exactly what she did.

Its all very weird: New York Philharmonic (no orchestra) Boston Symphony Orchestra Philadelphia Orchestra Cleveland Orchestra Chicago Symphony Orchestra I think those are the big 5 in the US. 1 Philharmonic 4 Orchestras 2 Symphonies

Sorry Manhattnik, I endure them just fine. I love Felix, it is playful, and it is fun. As far as dancers go, I think that Patricia Tuttle is a wonderful ballerina. I find her a joy to watch. That being said, I admit I don't know much about classical technique but I find her a delight with wonderful stage presence. I also love Organon. In what I think is a precursor to it, he had Woetzel weaving his way though bars in a raised plastic cube while Tuttle danced around and below it eventually being raised up on his toes under her arms. As far as the turnover goes, I don't have any inside knowledge, but what I recall is that a few years ago he basically disbanded Felds Ballet and created Ballet Tech with only his own students, with no outsiders in the company. It appears that in the past year or so he has decided to attract other dancers as well. I don't know why, but if I see him at the theater, I will ask him about it. He is very approachable. Also, I am not sure if this group has talked about his school. I think he is possibly doing more for dance in NY than anyone with the possible exception of SAB. He has tryouts at hundreds (really hundreds) of elementary schools in NYC during the year. I think starting in the 3rd grade or so. He is very selective (my wife is a teacher and he has recruited in her school). The kids are then bused once or twice a week to his school for training. As the kids get older the frequency increases and eventually they go to his school full time. It is a part of the NYC Board of Ed and included both academic subjects as well as dance. All this is free for the students. I believe the school is at 890 Broadway in the "ballet" building along with ABT et.al. Many of the students graduate into the company and many are given substantial exposure in his kids dance. He also uses some of the kids in his ballets as does NYCB with SAB students. I was tempted to include him in the greatest living choreographers... but since I have seen very little of Bejart and Petite I decided not to go that way. Personally he is a favorite and we usually catch Ballet Tech 5,6 or more times a year. A note for anyone looking for tickets on the cheap, they will often (but not always) take TDF vouchers at the Joyce. You need to check on the day of performance. We have used them many times there. At $7 a pop its much cheaper than a movie. You can also save 40% by buying 4 different companies in the Joyce membership program.

Calliope: Just to reassure you, I ordered tickets on the web last year on two different occasions for POB, twice at Garnier and once at Bastille. It was easy to do but be sure to do it well in advance. I would order them immediately before they sell out. One set of tickets we had seated us in something like seat 0 in row b. It was a pull down seat in the midst of the center ailse in the second row. Great seats and not as uncomfortable as I thought they would be. We had no idea that was where the seats were until we got there. The seats came promptly to us in NY in the mail.

Thank you so much Leigh, Alexandra and Julip. I very much appreciate the level of detail and thoughtfullness that has gone into your remamrks. It has helped me a great deal. But unfortunately I need some more help from you guys. I love dance. Nearly all dance. I have been watching ballet and modern dance for over 35 years, but I never studied dance. Well, that's not completely true, from 8-10 yrs old I studied tap at the Charlie Lowes studio in what I think was the place where Letterman has his offices. All the kid dancers that performed on Milton Berle came from our studio. Unfortunately when we moved to Bayside from the South Bronx the schlep was too much, so I stopped going. I never forgot that and vowed to raise my kid in Manhattan so he could have the wonders of the city to grow up with. Well enough digression the point is I really know squat about Ballet. There was a piece by Robert Caro, an historian, in the Tribute book, Celebrating 50 Years of NYCB (page 46) that somewhat describes my experience. His point is that he also knows nothing, but thinks that allows him to dwell on the beauty and wonder of the ballet and doesn't want to loose that by knowing too much. When I first read that I thought yea, thats me too. Don't confuse me with the facts. But I have come to realize that I am missing a great deal by not knowing the details. I have also read many ballet biographies including all of them by NYCB dancers, even a cook book. But I have never read a book on technique or method. Just through reading news groups and now Ballet Alert I sort of know what an arabesque is and I think I figured out what port-de-bras and jetes are. But I don't have the knowledge to properly evaluate good ones from bad ones. I know if I like the impression I get from watching dance but nothing more. And I know I can sense when someone is doing something very special, but not necessarily why. So what would you guys suggest as a place to start my technical knowledge. Can you recommend a beginners book on technique that was not written for an 8 year old that would make sense to one nearing senility? How about any videos? Thanks for any additional help. You guys are terrific.

Mussel said: "The possibility of seeing a corporate logo attached to State Theater is very remote. State Theater is owned by the City of New York, nothing can be done to the building without the City's permission. Selling naming rights may be an entirely different matter." Well NY State Theater was named for the state who I believe funded it, and might not be too happy to lose the designation. But lets not forget the granddaddy naming rights of them all Avery Fisher Hall. Avery Fisher, founder of Fisher Electronics donated huge sums of money for the re-doing of what was Philharmonic Hall. Cant wait to go to the Philip Morris Opera House where one can hear the Metropolitan Opera perform. [ March 08, 2002, 03:14 AM: Message edited by: hal ]

I really appreciate the time and effort that both Leigh and Alexandra spent in respondig to my inquiry. The problem is I am more lost than ever! And if an experienced choreographer like Leigh fell into the same trap I think this needs discussion and resolution if that is possible. I fully appreciate that you want this site to be primarily about "ballet" and not dance in general. The problem I have is what is "ballet"? Is it like pornography, you know it when you see it? I have yet to find a definition of it that would allow me to confidently make a decision as to whether what I saw was ballet or modern dance. Ballet Tech dances many of Felds stuff that is not on pointe. I would guess that the majority of his ballets are like that. Are they still ballets or are they modern dance being done by a ballet company and choreographed by a ballet choreographer? Does turnout matter? How about lifts? How can you tell? I would guess this deserves a thread of its own or has it already been hashed to death? I like the definition from the alt.arts.ballet faq. It is certainly not very definitive but it does give a sort of sense of the differences. The following is in the alt.arts.ballet faq: Tom Parke, posting in rec.arts.dance, offered the following definitions: "If the dancers are attempting to prove that gravity does not exist, then it's ballet. If the dancers are attempting to demonstrate that gravity does exist and it's a bitch, then it's modern. If the dancers are attempting to demonstrate that gravity does exist but they'd rather die fighting it than give in to it, then it's jazz. " Its a cleaver and fun definition... but not really discriminating. What are the discriminating criteria that can be used to distingish modern from ballet. HELP! [ March 08, 2002, 02:52 AM: Message edited by: hal ]

"Actually, Hal, I meant ballet, not dance in general (or ice skating ). Sorry if the Taylor-Cunningham discussion confused this. On this site, generally "ballet" means ballet " I don't know what you mean by "Ballet" means "Ballet". By whose definition. When the NYCB dances works by Cunningham (that were originally for his own company) like Summertime, how do you classify that? Also as noted in another thread, most definitions found in anything but large unabridged dictionaries doesn't even mention pointe. And one of my old dictionaries from college, Websters Mew World Dictionary of the American Language (1958) would omit nearly all of Balenchine but include most modern dance! Ballet 1. an intricate group dance using pantomine and conventionalized movements to tell a story, 2. dancing of this kind, 3. dancers of ballet. Even my unabridged Websters Third New International (1976)has a fairly broad set of definitions: 1. artistic dancing to which conventionalized poses and steps are combined with light and flowing figures and movements (as leaps and turns) (a lesson in ~ usu. includes exercises in balancing), 2. a) a theatrical art form by which ballet dancing together with music, scenery, costume, and sometimes pantomimeor speach conveys a story, theme or atmosphere to the audience, B)...... 3. a company of persons who perform ballet (the New York City Ballet). So I think while everyone would agree that Ice Skating is not ballet, but what about Ice Dancing? Not the crap at the olympics. But I recall when a number of years ago Currey (tim's brother - cant remember his first name) got a group of real ballet choreographers together to choreograph a broadway production with his professional skater/dancers. The choreographers included Peter Martins and other well known ballet choreographers. It was a wonderful breathtaking and ground breaking show.

When I was much young I HATED story ballets. Now I have mellowed and only dislike them. I disliked highly emotional story type modern dance (i.e. Graham). Still don't. I also disliked operatic voices. Now I tolerate them, but only if I like the ballet. I still don't get opera. Stupid stories, poorly acted by lots of fat people. [ March 04, 2002, 04:27 AM: Message edited by: hal ]

You should set the ranges so they don't overlap. For example instead of: 1-10, 10-25. 25-50, 50-100, 100+ you should use for example: 1-9, 10-24, 25-49, 50-99, 100+ Also, I am assuming that by "ballet" you mean dance in general and to include modern dance performances as well (i.e. Paul Taylor, et.al.)

I usually avoided it. I can remember some of the costumes in my mind but none of the dancing or music. As I recall the only saving grace for it was when Farrell danced it. Of course just seeing her walk across a stage would be electrifying. The most interesting point of the ballet was the metaphore it had for their relationship.

Ballet Tech (Elliot Feld) uses pointe sparingly but he certainly does use it in some of his works. Many of his ballets have no pointe work at all. The thing that boggles my mind is to see dancers jumping on pointe. It just looks painful Every time I see it I cringe. [ March 02, 2002, 06:27 PM: Message edited by: hal ]

I think this topic is meaningless in general. Each ballet company has a different style, different size, different needs, different audiences and these all can change over time. All of the above will determine who dances what when. By the way I believe that NYCB is smaller than it had been in the past as well as larger. As I recall in the 70's and early 80's there were about 105 dancers in the company. Sometime in the late 80's early 90's when the company was in some financial difficulty it shrunk to about 85 dancers. It is now at 93 (20 principles, 16 soloists and 57 corps) based on Thursday program listing. So it is smaller than the 70's but bigger than the 80's. The only time NYCB dances the same program continuasly is for the Nutcracker (6+ weeks) and sometimes the last week of the spring season where they will do some major full length ballet such as Sleeping Beauty. I believe the company considers the Nutcracker a vacation for them as they alternate roles like crazy and most don't dance that often. The rest of the time they usually have a different program every night with any one ballet usually scheduled 3-6 times over a one or two week period. They usually, but not always have more than one set of principles. Often one set of principles will do all of the performances for a new work. Also, NYCB tries to incorporate new works each season, so that requires time to work with the choreographer aa well as to rehearse the older repetoir. This has to put a strain on everyone. How they pull it off regularly year after year at such a high level amazes me. The occasional sloppy corps lines are a small price to pay. The POB on the other hand, I think tends to do the same ballet or two for weeks at a time. These different types of scheduling will create different problems as will myriad other factors. Smaller companies will tend to use the same principles in any one role for years on end. So I think this topic (what was the topic again? ) needs to be about one company at a time. You really can't generalize. [ February 25, 2002: Message edited by: hal ]

On Thursday night NYCB did Swan Lake, Episodes and Prodigal Son. A program I was not thrilled to have on our subscription, except for Episodes. The major redeaming feature of Swan Lake for me was that Maria Kowrowski danced Odette. I thought she was fantastic, very daring. Holding onto air at times. Unbelievable balance and extensions. My wife and some folks seating near us felt she was too cold in the part. I felt that she was just so exciting to watch and I am not a big time lover of emotional performances or ballets for that matter anyway. Did anyone else catch the performance, if so what did you think? Episodes was very well danced IMVHO. I thought Kathleen Tracey seemed much stronger than I recall seeing her. Does anyone think that not having her sister around to be compared to has helped bring her out more? It seemed that way, but this was only one performance. Her dancing with Neal was outstanding. Alexopoulos was very precise dancing with Fayette. Somogyi and Evans were a wonderful partnering, they should dance together more often. Kowroski and Askegard were also dancing well, what legs on that beauty - they go on forever and then some. I hadn't seen Episodes in many years and it was a real treat. The music is just amazing as is the choreography to it. It very much elicits the music without being slavish to it. The Webern music takes a bit to get used to but after the first few seconds to get used to it after listening to Tschaikovsky, it become quite magical. I really love his black and white ballets. The are the essence of ballet to me. If I want to see acting I'll go to the movies or theater. Prodigal son was prodigal son. Woetzel was his usual wonderful self as was Helene Alexopoulos. Another ballet I could miss although the dancing was superb. My favorite in the Siren role was Karen Von Aroldingen. I think she brought out much more sex and danger than anyone else that I have seen. Darcy also could vamp it up pretty well. I think Helene is more nuanced and not as playful in the role.

Best New Ballet: How new is new? If past year then both Organon and Polyphonia were Jan 2001, so I might go for Halleluja Junction. Best Ballerina (or female lead) Maria Kowroski. She stands alone. Best supporting Ballerina (the soloist or corps): tough one, lots of very good choices. I might go for Janie Taylor, she's been looking very good lately. Best Male Danseur: Damien Woetzel Best supporting Danseur: another tough one, Benjamin Millipied Best Choreographer: Elliot Feld, not only for what he has done for NYCB but also for his own company Ballet Tech. Best Director (of a company): Peter Martins. All complaints aside he has maintained NYCB as the best there is, has kept the reprtory mostly intact and has allowed many new young choreographers to work with the company. How can you top that. Best Special Effects: Felix by Feld (Ballet Tech) Best Scenery/Lighting for a piece Ecstatic Orange Best score: Agon or the Cage Lifetime Achievement assuming still has to be alive: then Peter Martins. [ February 22, 2002: Message edited by: hal ]

I don't consider liking any of them as guilty pleasures, I love them all and don't think I have to appologize for that. When I was a child a cousin of mine would play Slaughter on the piano and I fell in love with the music. I recall the opening night of the ballet which was at a gala. I couldn't afford the $200 for good tickets so we bought fourth ring tickets for next to nothing (all we could ge by the time we bough them). I wanted to put on my tux but my wife said I would look stupid in the 4th ring in a tux. When we got to the theater we saw some guy trying to buy tickets and when he was able to get better seats he sold his crummy seats. We followed suit trading up as we went along. We eventually ended up in the $100 orchestra seats but only paid the $5.95 base ticket price for them. Someone even offered us tickets to the dinner/dance after but we didn't go as we weren't properly dressed. Then I felt stupid sitting in the orchestra not wearing a tux. I remember we bought one of the tickets from an elderly gentleman who said his wife was ill. He was all dressed up and was wearing diamond studs that each must have been 2 or 3 carats. Amazing that I can recall this 1/3 of a century later. Loved the ballet then, love it still but nobody has come closs to Farrell/Mitchel in it. The closest I recall was Kozlov with LoFosse. I would love to see Maria Kowroski in it. It is perfect for her. [ February 14, 2002: Message edited by: hal ]

Interesting question Leigh. How about Rubies, The Man I loved, and Copelia for Patrecia McBride. The siren in prodigal and the second lead in Rubies for Karen von Aroldingen. Similar to Darcy for Farrell - anything she ever danced. How about Bagaku and Calcum Light Night for Heather Watts. Its getting late.....

Actually the girl who changed her name to Linda Merrill was just a bit ahead of Merrill Ashley, the real Linda Merrill and I believe did it out of some sort of spite. Merrill Ashley was very upset about it according to her book, which I can't find at the moment. I belive her name was something like Linda Rosenberg or Linda Rosenthal and was only one or two years ahead of Merrill Ashley at SAB and knew her and knew she would end up in the company as well.

Well the above cleared up some things for me. I had never heard of "pat mcbride" and on Thursday I saw her listed as being in the original Firebird. We figured it couldnt have been Patricia Mcbride as she would have been a very young girl in 1949. We actually thought it must have been a male dancer from that era since neither my wife or I had heard of her. Also, we were not as close to the stage as we normally are for the May tribute to Tanny, and we thought Patricia Mcbride looked very old up there. I guess it was for a good reason..... it wasn't her!

I clearly remember NOT seeing PAMTGG and was quite annoyed that I missed it. I can't recall why I didn't see it (not on our subscription possibly) but I remember that even after the bad reviews I thought it would have been interesting and was disapointed in that it was so quicky killed. I also don't believe it was anywhere nearly as bad as most people think, just that it was a very very rare mediocre Balanchine, which is probably on a par with possibly above average work by any other choreographer! I also recall seeing photos of it with a group of stewerdesses...ooopppss.... flight attendents on a wide staircase with very short skirts and pilot like hats. I wonder if the costumes and sceneray still exist somewhere?

I don't think Peters was particularly attractive, and it did her well in the role of the wife in the Concert. No one has come close to her in that role, she was just wonderful in it opposite Bart Cook. She also was one of the main stays of the corps. Over the years there have been many dancers who have lasted for years (decades?) in the corps and were its backbone. I can think of many including some who were eventually promoted to soloist. Such dancers as Florence Fitgerald, Teresa Reyes, Susan Pilar, Renee Estopinal, etc. spent many years in the corps, as well Susan Hendl, Christine Redpath who are Asst Ballet Masers now.