cobweb

Denys Nedak has now filled the TBA spot to dance with Herrera on March 6.

Really -- is there no one at ABT who can do the job? I know I'm preaching to the choir in this forum, but artistic staff really needs to take a close look at what's going on if they can't use their very own dancers.

I was as at Saturday night's performance of Concerto Barocco and Goldberg Variations. This was the first time I've seen Goldberg Variations. I have some reservations about it, but my experience overall Saturday evening was exhilarating. This has happened to me before -- I attend several performances in the opening weeks of the season, finding it mostly very enjoyable, and then suddenly something even deeper hits me -- a performance where the depth and greatness of the company hits me. That was the case Saturday evening. Reichlen and an explosive Mearns, backed up by eight outstanding corps women, left me wondering --wow, where do they find so many strong and interesting dancers? Then Goldberg Variations, with a huge ensemble cast that looked fresh, excited, and well rehearsed. So many dancers delivered memorable performances that one hardly knows where to start or how to list them all. Tiler Peck was just astonishing. Taylor Stanley, Anthony Huxley, Daniel Applebaum, and Joseph Gordon were an outstanding foursome. Joseph Gordon has a wonderful springy quality, going up and down like his legs are rubber bands. He dances large, with amplitude and a generous air that reads all the way to the balconies. He has something else -- charisma. I don't know how to define it, or what goes into making someone charismatic, but it's one of those things that you know when you see. Sometimes you wish talented corps members would be promoted, and it's great when they are, but it's also wonderful to look at the corps de ballet and see interesting dancers, whether accomplished, authoritative veterans such as Faye Arthurs, Gwyneth Muller, and Alina Dronova; exciting newcomers like Ashley Hod and Unity Phelan, plus many others, like Emilie Gerrity and Claire von Enck, to name two of my current favorites. And that's only the women! I'd also add, since I've seen several performances I haven't commented on, that I saw two performances of Agon and especially enjoyed the Devin Alberda-Daniel Applebaum-Megan LeCrone trio. I loved LeCrone's angularity. Thanks to all!

I too loved Maria Kowroski and Tyler Angle in Chaconne last week. When it was over, I said to my partner, "thank god for Maria Kowroski."

Cobweb, Ashly Issacs is this year's Janice Levin Award winner. The announcement was printed on the NYCB Guild luncheon invitation.

Thanks for the info, mira! She absolutely deserves it. I hope she's back in action soon -- her Sugarplum debut was cancelled, and I don't see her on the schedule at all for the current season.

I was at last night's performance -- Symphonic Dances, The Cage, Andantino, and Cortege Hongrois. I've never seen Symphonic Dances before, and I have to agree with Amour about the merits, or lack thereof, of this ballet. However, Andrew Veyette showed why he's a principal dancer -- dancing with tremendous authority, assurance, and commitment.

I was surprised by how much I enjoyed Lauren Lovette in The Cage. Seems so much against type for her, but she showed a real affinity for drama, narrative, and character. You could see the transformation happening in her very fluid body. It was a tremendous performance. Savannah Lowery also excellent.

Andantino... enjoyable and fluffy.

I had not seen Cortege Hongrois before. Interesting. To be studied further. Georgina Pazcoguin was wonderful leading the folk dance section. This doesn't surprise me, as she always holds the stage with her intensity. I would love to see more -- lots more! -- of her. I thought Sara Mearns was wonderful, nuanced, and impassioned.

On another note, isn't it around this time that they announce the Levin award? Does anyone know if it has to be a first-year corps member, or can it be from the past coupe of years? Any speculations for who this year?

Amour, Emilie Gerrity stood out to me in Donizetti Variations. She has a quality of glamour and authority.

Casting up for week 3. Savannah Lowery in Concerto Barocco?! I liked her in Serenade last season, but I find this hard to envision.

The casting changes seem to indicate the following dancers are out -- injured presumably, or possibly (Tiler Peck) occupied with other projects: Peck, Abi Stafford, Savannah Lowery (who debuted as the Russian Girl in Serenade within the past year) and Ashly Isaacs (does the Third Movement of Symphony in C; also she was replaced at the end of the Nutcracker season). Not to mention Ana Sophia Scheller who has been out for like 1.5 years now. (And Jennie Somogyi -- gone for awhile now, presumably injured?) Wow. A daunting way to start the season, and what a risky career. Enjoy your favorite dancers while you can!

If anyone saw the all-debut cast of December 28, or any of the debutants in subsequent performances, I'd love to hear about it -- Emilie Gerrity as Sugarplum, Ashley Hod as Dewdrop, Claire Von Enck leading Marzipan, and any others!

Wow -- I see Emilie Gerrity is now debuting in Nutcracker on Dec 28, replacing Ashly Isaacs. Fervently hoping Isaacs is well! I wish they didn't bunch all the debuts (and generally, junior dancers) into the final two weeks of the season, when I am usually away from NYC. I would love to see Isaacs (as originally scheduled), Gerrity, Adams, Ball, Stanley, Ashley Laracey again, etc.

You said it, abatt! It seems like they always put the interesting debuts in that week after Christmas... when I'm usually gone. :-(((

I wish I could see that performance! Ashly Isaacs, Taylor Stanley, Ashley Hod... All three are very exciting debuts by very exciting dancers. There are a slew of other debuts in that performance as well. I would love to see Claire von Enck leading Marzipan.

Razor, the partial-view seats are about $38, depending on the balcony level, I think. You definitely miss part of the stage (if you want to see the Christmas tree grow, sit on the right side of the house), and some of the seats are awful, especially if you're short, but I've found it workable.

Saw a highly enjoyable performance of Nutcracker yesterday (the 5pm show, with Reichlen, LaCour, and Hyltin as Dewdrop). Since I first saw Nutcracker, just a few short years ago, I've seen it I don't know how many times, and I still enjoy it so much. Thanks to the dancers and the musicians for keeping it fresh and magical for the audience! Teresa Reichlen was exquisite, the epitome of graciousness, while Ask LaCour was a fine partner (if a little less solid in his solo work). I enjoyed all the solos and divertissements. Austin Laurent was an especially "wooden" (ie effective) Soldier. Zachary Catazaro made Hot Chocolate pretty exciting with some high leaps. I know Robert Fairchild has many more challenging roles than Candy Canes, but I missed the huge leaps and principal-like charisma he brings to the role... whereas Troy Schumacher seemed to be struggling to keep up with the music. Sterling Hyltin is easily up to Dewdrop, but I wish she projected a little bit more. All in all, a very enjoyable show, and thanks to the box office for those relatively inexpensive partial-view seats!

Thanks to all for your help! I will try waiting in line to get day seats. Will report back on Don Q if I manage to get in.

I will be in London over Christmas and New Year's and was hoping to see the Royal Ballet… but I see that the performances of Don Quixote are sold out (and the opera I would be interested in, as well). Can anyone give me information on last-minute tickets? The website mentions that "day tickets" are released at 10am on the day of the performance. Is there typically a line for this? Does the Royal Opera House do standing room? Any suggestions from Londoners with experience at the Royal Opera House (ballet or opera, really) would be greatly appreciated!

Kaysta, thanks for your impressions of your first Nutcracker! I couldn't agree with you more about the Waltz of the Snowflakes. I've seen it many times now, but it never fails to move me. I absolutely love it.

Ivanov -- so who did Sugar Plum last night?

Does anyone have experience with standing room during Nutcracker? How often does it happen that they sell out and open standing room? I'm trying to find a way to go that's easy on the budget.

Sterling Hyltin as the T&V female lead, on the other hand, was disappointing. The role is clearly beyond her technical ability -- nycb audiences have been spoiled with how effortless Ashley Bouder, Tiler Peck, and Megan Fairchild make it look.

Having Tiler Peck and Megan Fairchild out at the same time is bound to lead to new casting for virtuoso roles (since Ashley Bouder can't do all of them herself!). I too saw the Hyltin-Veyette Theme & Variations on Sunday and thought Hyltin looked uncomfortable. Having seen her many times in many roles, my feeling is that she does have the technical capability, but maybe was suffering from a lack of rehearsal and preparation time (I believe this is the performance that either Peck or Bouder was originally scheduled to do, but Hyltin was put in when Tiler pulled out of the last few days of the season, presumably because of conflict with her other project). Hyltin didn't own the role, didn't inhabit it as if it were her own skin, the way Bouder, Peck, and Fairchild all do. But maybe she could, if she did it more often.

Well deserved for Russell Janzen. I was surprised, however, by no promotion (yet?) for Ashly Isaacs. It is hard to imagine any member of the corps de ballet looking more impressive, in several major debuts, then she has over the past year.

Thanks for your comments, vipa. I'm so with you on too much Steadfast Tin Soldier, and unfortunately, I'm starting to feel that way about The Concert, too.

And as for Abi Stafford, she is not one of the more celebrated principals, but I find her so charming and musical -- I really enjoy her.

Carla Korbes -- wow, what a great idea!! If only!

I attended Friday night's performance (Square Dance, Steadfast Tin Soldier, Tombeau de Couperin, The Concert) and Saturday matinee (Chaconne, Interplay, After the Rain pdd, Everywhere We Go).

When I began attending NYCB a few years ago, Square Dance was the first piece I saw that really made me fall in love with Balanchine and NYCB. I was eager to see it again, and it did not disappoint. Beautiful and joyous. Ashley Bouder, needless to say, dazzled with her technique. Anthony Huxley is a different kind of dancer from Bouder, more serious and with a beautiful elegant form. I enjoy him very much. I have a feeling it hasn't helped his career that Erica Pereira stalled in her development. Size-wise, she is a good partner for him, but he's way ahead of her in sophistication and onstage presence. I would love to see the other cast of Square Dance, with Abi Stafford and Taylor Stanley. I love to see Taylor Stanley in anything, and although Stafford can't match Bouder's technique, she has a natural, unaffected and piquant charm that seems perfect for this role (and many others). But that may have to wait till winter season, as I'm on a budget and the rest of the program doesn't really draw me in. And as to who else I would love to see in Square Dance... Ashly Isaacs, with killer allegro technique and charm to burn.

Saturday afternoon -- Sara Mearns' debut in Chaconne. Wow. Somehow both intense and restrained, grand and beautifully flowing. I don't believe I've seen this ballet before and as with Square Dance, I would totally love to see it again but the budget is stretched thin and the rest of the program doesn't really appeal, so this will be on hold till winter season.

Interplay was fun. After the Rain pas de deux -- it was great to see Wendy Whelan for the last time, and it was also terrific to see Craig Hall. Why isn't this beautiful dancer used more?

Finally, Everywhere We Go -- I believe this is the second (third?) time I've seen it, and I really want to like it, but I felt exhausted by the end, what with the nonstop coming and going and the flailing about of arms and legs in movements that didn't seem to have a particular purpose beyond just flailing.

A few other notes on casting. I saw both Lauren Lovette and Gretchen Smith in their debuts as Calliope in Apollo. Lovette danced with Tiler Peck and Ashley Bouder as the three Muses, while Smith was with Maria Kowroski and Sara Mearns. I felt both were mismatched trios, and would have switched things up. Lovette looked odd next to Tiler Peck and Ashley Bouder. Lovette has so much warmth and individuality that she seemed to stand out next to them -- beautiful, but odd... while Peck and Bouder seemed too cool next to Lovette. Smith, on the other hand, faded alongside the glamour and warmth of Kowroski and Mearns. So I would have put Lovette with Kowroski and Mearns -- three beauties with warmth and individuality, while Smith would be a better fit with Peck and Bouder. IMHO.

I also saw Ashley Hod and Unity Phelan in their debut in the soloist roles of Agon. Both looked very good, I thought, with Hod really standing out. I recall seeing her in some small featured role last spring -- I forget what -- but young as she is, she catches the eye.

I was at both performances yesterday.

The matinee was a total delight.

Serenade – was beautiful. I’m surprised to find how much I like Savannah Lowery as the Russian Girl. There are other dancers I would have preferred to see getting a chance in this role, and Lowery has never been a favorite of mine, seeming heavy and with ungainly port de bras. But she’s growing on me. She brings a straightforward, energetic, and sunny approach that I enjoy despite myself. As the Dark Angel, Rebecca Krohn, brings glamour and intense but restrained drama. Finally, the pas de deux with Sterling Hyltin and Jared Angle was wonderful, especially the part where she circles the stage and he follows her, with her beginning the musical phrase, and the beat of his legs, perfectly timed, closing the phrase. He seems to have lost weight this season. Definitely one of my favorite dancers.

Mozartiana – as beautiful a performance as any I ever hope to see. The opening movement, with an ardent, intensely interior Sara Mearns backed up by four solemn and poignant young girls, was heartbreaking. (What a piece of genius by Balanchine to include young girls – the poignant effect would be completely lost if the principal were either alone, or backed up by adult women.) Anthony Huxley has perfect form. And Chase Finlay and Sara Mearns look wonderful together. They both have a soft, plush quality which is a joy to watch. She is somehow both restrained and expansive, while he combines nobility and humility. I don’t think Mozartiana is on the schedule for the rest of the 2014-2015 season – a real shame! I’m in love with this piece.

Tchaikovsky pdd – Tiler Peck and Joaquin de Luz amaze and delight with dazzling technique, stellar form, and relaxed, easy charm.

Tchai Suite #3 – The first three movements do get long. The second is my favorite – and Taylor Stanley and Ashley Laracey excellent. Taylor Stanley – as always totally dynamic and riveting, and with spectacular grand jetes.

T&V – Ashley Bouder and Gonzalo Garcia again looking wonderful. Garcia, never previously someone I sought out, is, like Savannah Lowery, growing on me. I also found myself noticing one of the demi-soloist men. I’m not completely sure who he was – after scrutinizing photos on the website, I think Peter Walker. Tall and dark, with a beautiful sissonne.

I was less enthusiastic about the evening performance – or, rather, the programming. Donizetti Variations, with sizzling performances by Tiler Peck and the ever-amazing Joaquin de Luz, was the highlight. It was wonderful to see Wendy Whelan in La Sonnambula, but beyond that this piece doesn’t have a lot of interest for me. Finally, I’m getting weary of Firebird.

The company seems to have a boundless supply of wonderful dancers. Whatever that's like for the dancers, it's great for the audience!