bobbi

Ari, thanks so much for your report about Sofiane Sylve. Although she had been getting new roles in New York, they were not the "glamour" roles (i.e., T&V, Bizet, Stars & Stripes, M/M, Agon, etc.); to me, she was under-utilized this past season. I am so very glad to hear that she had success in Cortege. From the first time I saw her as Sugar Plum, she has never disappointed me in any role she's taken on. Please, please report on Thursday, July 15th's Emeralds, where not only Sofiane will be featured but Ashley B. will be making a debut: definitely a surfeit of riches!!

I agree with Joan's article. Perhaps why I have become so bowled over by Ashley Bouder and Sofiane Sylve recently is that these two relative newcomers to NYCB can actually dance Balanchine roles without my having a "white-knuckle" experience while they are dancing. (Of course, I count in Wendy too.) And Joan is right on as far as the men go; her point about the Scotch Symphony was so very true. Only Damian has kept the flag flying high; he will be sorely missed when he retires. One thing I remember when Peter first took over the company was his casting for Baiser de la Fee. He cast Heather Watts and corps boy David Moore in Helgi's and Patty's role. The disparity in the level of artistry and technical expertise of these casts just floored me, and unfortunately, we have had so much of this sort of "downward" and miscasting in so many of the classic Balanchine ballets over these past twenty years. One point where I would amend Joan's article is that I thought the Ballos this season were everything they should be: extremely well coached and well cast. I went out of my way to see all three of them. Unfortunately, the lead ballerina was not an NYCB dancer, but perhaps that bolsters Joan's point: there is no dancer capable of doing justice to a Merrill role today (except now Ashley B. and Sofiane).

Did anyone else get an Audience Feedback survey by email regarding the Friday, June 18's, program (which was of course Suite 3 and the new Eifman)? I don't ever remember a question about a specific program before. The last question was, "Would you recommend this program to a friend?" Take a guess what I put. . .

Although Wendy's performance as a cat is a tour de force, I picked the "Trash" option. The psycho-babble about Balanchine's angst -- a man who described himself as a craftsman -- should not be allowed to go on at the State Theater. It's insulting to his memory as well as being just plain silly.

It was another All-Balanchine Sunday afternoon: Allegro Brillante, Scherazo a la Russe, Duo Concertant and Tschaikovsky Suite 3. Let's hope that all the would-be ballerinas as NYCB were watching in the wings while Madame Nichols was dancing Allegro Brillante. Yes, of course, she's lost technique these last few years, but not her musicality and innate sense of phrasing. I am sure Mr. Balanchine smiled from above and said, yes, that's how this ballet should be danced. Her partner was Jared Angle, who was making his debut. He was an excellent and attentive partner, had good stage presence himself, and was technically secure. In the NYCB lotto for male promotions, let's hope he makes the cut. The male corps -- Arch Higgins, Edwaard Liang, Seth Orza and Andrew Veyette -- are also good candidates for climbing the latter. The Scherzo a la Russe featured the first appearance of two SAB 2004 Workshop "Wienees" (i.e., recipients of the Mae L. Wien Award): The 15-year-old Tiler Peck and 17-year-old Kaitlyn Gilliland. Both will be a joy to watch in the coming years. The only hold-back for Kaitlyn will be finding a partner tall enough for her. Both of them have spectacular extensions and stage presence already. The Duo Concertant is the role in which I most enjoy watching Yvonne Borree. She seems to relax in this role, is in command and has a good sense of drama. Her partner was the inestimable Peter Boal (and who I hope all the would-be cavaliers are watching from the wings). Terrific performance. A good portion of the Sunday matinee audience was apparently new to the ballet, as they kept wanting to clap before the ending, which actually marred the drama a bit. The closing was another good performance of Suite 3. I must add that I really prefer the way NYCB does T&V rather than ABT. Not just the additions Balanchine made to the adagio, but the way the demi-solists (here, Dena Abergel, Pauline Golbin, Dana Hanson and Abi Stafford) dance seems to me at principal level. Special mention today to the expansive dancing of Dana Hanson and the joyous Dena Abergel. In addition to the repeat of outstanding performances by Carla Korbes and Stephen Hanna in the Elergie and Ashley B. and De Luz in the Scherzo, I especially liked Rachel Rutherford and James Fayette in the Valse section.

This Saturday afternoon's matinee - Allegro Brillante, Mozartiana and Tschaikovsky Suite 3 -- has got to rank as one of the very best of the season. The Allegro Brillante cast was Jeny Ringer and Marcovici. Although there were a few places where the partnering was a little nerve-wracking, they both were enjoyable. The Mozartiana cast was Wendy and Hubbe, who both gave absolutely top-notch performances. (Why did I get the feeling that Wendy was glad to be back dancing in a real ballet after last night's new offering?) Hubbe has done yeoman service this season, and has looked superb throughout, including this afternoon. Both were both bravura and playful. The Suite 3 was excellent. Again, Korbes and Hanna made a little short story out of the first movement; the loud applause after this section showed that the audience was involved in the drama. James Fayette and Rachel Rutherford were also excellent in the Waltz. Ashley B. and Le Luz very debutantes in the Scherzo. Wow!!! (Already-- with only a few more performances to go and the long six-month dry spell -- I am having Ashley B. withdrawal symptoms.) Again, the audience "got" how special their performance was and roared its approval. And then it was on to T&V. Well, I am happy to report that Miranda and Angel "got their act together" (after Friday's lackluster showing). Although not well-matched size-wise, they were both gave T&V its due, showing excellent technique and elegant phrasing. The adagio was one of those "to die for" renditions. I was surprised by Angel's sort of thumping landings, but otherwise he was a very attentive partner. Terrific afternoon!!

The highlight of the Suite 3 for me was Korbes and Hanna; they brought back the drama. Korbes has an innate sense of rubato which a dancer needs in spades for that movement. Over the years I must have seen hundreds of T&V's, so I'll just say that last night's was not one for the ages. I was expecting the worst from the new Eifman because of "advanced billing" by many balletomanes who have seen his work. I guess it could have been worse. I don't think that the non-regular ballet audience (i.e., people who go to the ballet four times a year if that much) will spot what's wrong with the new work: absolutely no relationship between the choreography and the music; the supposed "angst" of Balanchine (dead wrong from everything I've ever read about Balanchine but superbly done by Tewsley); and the offensive portrayal of LeClerq (and please, I don't mean to say it's Alexandra "fault"). Wendy makes a terrific cat, but why does that portrayal have to have erotic overtones?? Actually what I didn't mind as much as the rest was the ending, only because Eifman literally copied Diamonds & T&V choreography to give us a faux Balanchine ending, which was a relief from the heavy-duty characterizations that preceded it. The good news: no one got dragged along the floor (except of course for Alexandra being dragged off on a piece of costuming and which was in very bad taste). For the records, there were lots of people who really enjoyed it.

I was at Part's Swan on Tuesday and thoroughly enjoyed it. She along with Marcelo Gomes as Siegfried gave a riveting performance. What especially impressed me about Part was her incredibly clear mime and her emotional involvement in the role; she make you believe in the story. She has an exquisite line, and had all the signature bent leg arabesques that are the hallmark of Odette. I had anticiapted that Odille would be more difficult for her than Odette, dance-wise, but she seemed even more in command in Act III than in Act II. Special mention to Herman Cornejo and Craig Salstein in this version of the Neapolitan; both turned an elegant as well as bravura display. Full-lake Swan Lakes are not on my must-see list any more (as I prefer Balanchine's one-act version), but I will definitely go to another Part/Gomes one. l It was that good.

Terrific All-Balanchine evening last night, Tuesday, June 8: Mozartiana, Firebird and Symphony in Three Movements. The leads in Mozartiana were Kyra Nichols and Nikolaj Hubbe (who was subbing for Damian). Kyra must have the smoothest bourrees of any female dancer past or present. The lady just floats across the stage in one smooth continual movement. Needless to say, I bring this up because she gave one of her most wonderful performances ever last night. Although Hubbe has never been an especially bravura dancer, he has always been one of the most musical of dancers; last night was no exception. He and Kyra work exceedingly well together. Daniel Ulbricht danced the Gigue, and did very well. The Menuet (the "waiting for the jello to set" section) was beautifully done by Dena Abergel, Ellen Bar, Dana Hanson and Rebecca Krohn. The music in this section is so appealing to me, and I always think it (as well as the dancing) is not as appreciated as much as it should be. The applause when the four ladies exit the stage is sadly usually perfunctory. The Firebird cast was James Fayette as the Prince and Rachel Rutherford as the Princess. Both acted very convincingly. Rachel has the look of a princess and conveyed the message that she was the leader of the maidens. Her line was lovely to look at in the satin costume. Alexandra Ansanella was a fabulous Firebird: very birdlike with the "rubbery" arms and bent wrists. But what was especially outstanding was her facial expressions, especially the use of her eyes. And the makeup!! Wow!!! She was totally mesmerizing. I wish she had taken a solo bow at the end in front of the curtain. You just felt the audience wanted to show how much they enjoyed her performance. (I'm looking forward to seeing Ashley B. as the Firebird tonight, as I had missed her debut.) The leads in Symphony in Three Movements were Sylve and Angle, Tinsley and Gold and Whelan and Soto. Jennifer Tinsly and Tom Gold had the requisite huge jumps that this ballet calls for. Despite a little spill, Jennifer did very well. The heart of the ballet, of course, is the duet with Wendy and Jock. I think these two now "own" this section, with every little nuance in place. My only quibble was that the black leotard dancers didn't seem to be as well rehearsed as the rest. The end of this ballet has one of those "After Images" that Arlene Croce has written about. It's a picture that just stays in your mind. Apropros of nothing -- and I know I'm comparing apples and oranges -- I was at Monday evening's fabulous "over the top", "it doesn't get any better than this" ABT performance of Don Q. with Nina, Marcelo and Manuel. As happy as I left after that performance, I felt that I had really "been to the ballet" after last night at NYCB. Go figure. . .

I'm with Farrell Fan on this issue. I went to three of the Balanchine Tribute evenings and -- despite quibbles -- it was such a pleasure for a whole week to see just Balanchine ballets (which was what I had expected NYCB to be doing this year). ABT gave full measure to the ballets, showing that they were solidly coached and cast in deluxe style. I don't think Mozartiana will ever be an ABT favorite; it's too subtle and doesn't make the post-Misha audience happy (which mostly loves great leaps and multiple turns). In the Gigue section of Mozartiana, however, ABT returned to casting elegant dancers (as opposed demi-character ones that we have been seeing at NYCB in recent years). Good for ABT!! Also, I agree with Farrell Fan that Sonambula would be a perfect fit for ABT -- both for the audience and the dancers.

I was there on Saturday evening. After having been disappointed by a certain four-legged thoroughbred, the two-legged ones did not disappoint. It seems to me that the 2004 class is on a very, very high level. It was a beautiful, all-Balanchine (yippee!!) evening. Kudos to all the teachers!! Since it was ensemble programing (Serenade, Tombeau de Couperin and Union Jack), I had not been expecting to see any one individual standout. But, look out folks, the names of Kaitlyn Gililand, Isobel Vondermuhll, William Lin-Yee and Lateef Williams will be coming up often. I first spotted Kaitlyn during Suki Schorer's master class at the Symphony Space Wall-to-Wall event. She's one of those tall ones that your eye just gravitates to because of her solid technique, high extensions and stage presence. She did Suzanne's role in the Wren section and had it down pat!! William Lin-Yee did Peter's role in the Royal Navy section and brought back the fun -- and he's tall! Lateef Williams -- who was also at the Wall-to-Wall event -- has one of the most elegant upper body placements I've seen in a long time. His carriage reminds me of Bronzino's Portrait of a Young Man (one of my most favorite paintings). Isobel in Serenade showed a solid sense of phrasing. By the way, the kids in Harlequinade were their usual charming self. Good class!!

Yes, of course, I voted for Balanchine as the greatest, and I would expand the time frame to greatest of any century!!

The Ivesiana at the Sunday matinee was definitely the highlight for me. The two middle sections -- with Janie Taylor and then the duo of Albert Evans and Sofiane Sylve -- were just mesmerizing. The audience had a fit of the coughs throughout the first section, but gave their quiet and full attention to these two sections. I too enjoyed De Luz's Tarantella and would describe Amy Aldridge's performance as "careful." The highlight of yesterday's Stars & Stripes was -- of all things -- the Thunder & Gladiator section, in which the NYCB male corps has really caught up to the demands of the choreography. However, as good as Tom Gold is as the leader, I still miss Deni Lemont's charm as the leader of this section. And the Interplay was most notable for featuring the lovely Carla Korbes with Steve Hanna in the adagio. More Carla please!!!

Marcelo Gomes is a dancer who almost always turns in an excellent performance, and he didn't disappoint in last night's first T&V of the season. Paloma Herrera is a dancer who often delights (and many in the audience enjoy) posing rather than going for the flowing line of a ballet. For me, T&V is just not her ballet. She had trouble with the opening allegro work, and her adagio was marred by posing. Perhaps because it's such a staple of ABT's rep, the corps looked a tad under-rehearsed. I'm sure tonight, they'll be just fine. The Tchai. PdeD was everything it should be in the hands (feet?) of Irina Dvorovenko and Maxim Beloserkovsky: both bravura and elegant at the same time. Despite a slight bobble at the beginning of her first variation, Irina danced precisely and exactly. Whoever coached her did a top-notch job because all the little nuances that can make this pas so special were there last night: the right tilt of the head, the looks to and at her partner, the precision of her dancing. And Maxim was also a delight. ABT's first performance of Mozartianna was well and lovingly staged by former NYCB principal Maria Calegari (who also danced the lead herself). Herman Cornejo danced the role orignated by Victor Castelli. Cornejo did manage to bring back some of the elegance that was originally in this role. Very nice. Nina Ananiashvili danced in the grand ballerina tradition. Did she dance with the abandon that Suzanne had? Would, or could, Nina ever dance like that? No. But I found Nina's interpretation very satisfying. It was a star turn by a great ballerina. Unfortunately, Angel Corella was very much less than satisfying in his debut. He is a great favorite of mine so I was very disappointed. He consistently went for the arrival in every musical phrase rather than the journey. Mozartiana is all about the journey. He danced for bravua effect rather than for the elegance that is inherent in this ballet. He was pushing, almost coarse, here. However, I must report that the audience was very happy with his performance. The Ballet Imperial was well rehearsed. The main couple was Gillian Murphy and Carlos Molina, with Michele Wiles in the second ballerina role. Gillian handled the killer cadenza quite well. That opening variation for the lead ballerina is the equivalent of an opera diva coming on stage and singing a demanding aria with no preparation at all. It sets the tone for the rest of the ballet: If the ballerina can handle the cadenza well, you can sit back and relax because you know she can manage the rest. Gillian did indeed do justice to this role. She was definitely in command. In the first section she had to wait for what seemed like an especially long time for the pianist to start the solo, yet Gillian didn't let the momentary lapse between the pit and the stage phase her. Carlos Molina was everything the cavalier should be. The second ballerina role is one of my favorites, so I'm very particular about it. There is one part where she rocks on her pointes, and you should really feel that she is "playing the piano with her feet." I didn't get that last night. But, putting that aside, it was a good performance. (I am anticipating that Monique will give this role all its due on Thursday night.)

I too enjoyed Saturday matinee performance. ABT went all out with the costumes. The tutus are of the long and stiff variety favored by ABT. The scenery puzzled me though, as the second act staircase and lighting fixtures looked more 19th century than 15th century. Although her talents were underutilized, Monique was terrific and commanding in the mime role of the Countess. One touch I liked very much was that many of the nobles -- who were not credited in the program -- were from a older generation and I assumed had some connection to ABT. I would like to have known who they were; only Kirk Peterson was given mention. As far as the choreography goes, I'm not a good one to comment on it as I am such a lover of Balanchine ballets. (You know, the "after they've seen Parree" syndrome.) Suffice it to say, there were several times during Saturday afternoon when the dancing didn't "answer" the music for me; indeed, at one point I was looking for those pretty girls in pink tutus doing their fouttee competition. And I really missed Raymonda's famous (infamous?) clap in the grand pas. I would see this production again though if the casting were on the A level. However, I'm really looking forward to seeing Raymond Variations and Cortege across the Plaza. . . .

Vivaldi, Corelli, Bellini and Gluck were very well served on Sunday matinee. The delicious program was Square Dance, La Sonnambula and Chaconne. Square Dance: I am happy to report that the fireworks are back!! Miranda Weese took over the role and gave clear definition and shape to the zillions of gargouillades that make up Square Dance. But most impressive for me was Miranda's opening adagio with the sublime Peter Boal as her partner. Miranda phrased the section gloriously; she totally mesmerized the audience. The only thing missing was the clean grand jete that Merrill always treated us to in this ballet. Question: How can a dancer who is at the peak of his career get even better? The Corelli solo and Peter Boal were made for each other. Male classical dancing at its purest. The corps also seemed energized by the new deluxe casting in the female role. La Sonnambula: The only cast change from when I saw the first one of the season was that Hubbe took over the role of the poet. Sofiane Sylve was even more compelling as the Coquette than in her debut; when she whispered in the Baron's ear, you just knew she was deliberately provoking him "to do no good." James Fayette as the Baron was even more forceful in his acting that the first one I saw. Wendy, Wendy, Wendy. Wow! One of the best interpreters I've seen in this role. Am I the only one who -- after having seen scores of La Sonnambulas through the years -- still follows the light at the end of this ballet? I fall for it every time, especially after a great performance!! Chaconne: Standouts were Megan Fairchild and Adam Hendrickson in the quirky pas de deux. Megan was able to do the bent leg turns clearly and cleanly, and Adam handled the tricky partnering assignment very well indeed. They were an audience favorite. The main couple were Darci and Nilas. Darci looked as good and was in command and in control as I've seen her in a while. Her variations were very well done indeed. (I wish I didn't know that Darci and Nilas were son and step-mother; this pairing always makes me queezy and spoiled my enjoyment of their pas.)

Art076, thanks for your report re Bouder on Wednesday. Although it may have tested the patience of Carbro, it just made me wish I'd been there! My next time seeing her is as one of the leads in Stars on Tuesday, and I'm really looking forward to it. I can't get enough of her dancing, and reading about her is the next best thing. To me, she's the best thing that's happened to NYCB in many a year.

I'll second the comments on Bouder, Korbes, Carmena, Reichlen and Scheller, and add some sleepers: Sterling Hyltin (great upper body and an easy jump with a thousand-watt smile to boot); Amar Ramasar (definitely an up and comer -- and he's tall!!); and Seth Orza and Arch Higgins (two more tall ones on the way up). And no one mentioned Janie Taylor?!?

I'm with Carbro and Dale on this guest artist issue. My first reaction had been that NYCB dancers should be doing the roles, but as I see the wonderfully talented dancers from all across our country and indeed from around the world who are dancing Balanchine roles so well, it seems to me that Balanchine's influence is very effectively and most dramatically demonstrated: and that's the point of this centennial season. Besides, it's great fun!!

Tuesday was a delightful evening of ballet. At the risk of sounding like a broken record, I'll just say last night's Ballo -- like the two others -- was top notch. Ballo is shaping up to be one of the highlights of this season. The Square Dance was given a very respectable rendition by Yvonne Borree and Marcovici, and the audience seemed pleased; however, long-time NYCB goers may have trouble blocking out other interpretations (i.e., Merrill and Bart and/or Kyra and Peter Boal). Maybe someday we'll get back the fireworks in this ballet . . . (with guess who??). The first Sonnambula of the season went very well. I'm sure all Ballet Alertnicks have favorite sections various ballets that just "speak to them." For me, one of my favorite sections in all ballet is the Pastorale in La Sonnamula. Last night, it was danced by Dronova , Mandradjieff, Carmena and Severni. For me, the entire variation is a short lesson in classical dancing at its purest. Last night, the men were especially good. I agree with Carbro that Wendy and Peter Boal were just outstanding; it just doesn't get any better. Even the places where you often hear audience titters were quiet because Wendy had us so spellbound by her other worldly performance, and of course Peter Boal could have been Lord Byron. Sofiane Sylve brought a wiff of French perfume to the role of the Coquette. Her excellent technique allowed her to hold poses longer and give us beautiful images that we haven't seen in quite a while. James Fayette too was a very good Baron; he acted as though he was to the manor born. One little quibble: I do remember Allegra carrying the "dead" poet in her arms almost from the middle of the stage. It doesn't seem to be done that way any more. If pint-size Allegra could do it, why not others? It was so dramatic that way. The tribute to Hugo Fiorato was very nice. Two huge bouquets of flowers were presented on stage -- and he was surrounded by lots of dancers. Peter Martins came out. Flowers rained down from above and were tossed from the sides of the stage apron. A well-deserved and touching tribute.

Sunday matinee brought another spectacular Ballo with guests Lorna Feijoo and Gonzalo Garcia with the same cast of demis as on Wednesday. The demis (Bouder, Edge, Hankes and Korbes) were terrific. (Maybe we can have Ashley B. in the lead some day.) The guests were even better than on Wednesday. The only thing Lorna missed was the grand jete with the backbend -- a Merrill special -- which I don't think we will see the likes of again. But Lorna had everything else!! Garcia was more relaxed and turned in quite a bravua and even lyrical reading of the role. The Four Temperments saw the debut in Sanguinic of Sofiane Sylve. This was a very promising debut; there was a little bobble at the start of her variation (which I don't think 90% of the audience realized) but the rest was danced with her usual clarity. She will get sharper in this role as she gets more comfortable in it. Tewsely was her partner; he too was very good. Special mention goes to Teresa Reichlen in Choleric and, of course, Albert Evans in Phlegmatic was the audience favorite. Spotted at intermission on the prom: Manuel Carreno holding court with family, friends and well wishers.

Can I amend an opinion I made in a post? Last night I went for a second helping of Shambards. And this time I very much enjoyed the Miranda and Jock duet -- with the exception of course of the last fling of Miranda on the floor. I don't know whether it was a question of perspective -- literally. On premiere night I was in the orchestra but last night -- from the Second Ring -- the duet did not look as violent as on opening night. (Could it have been toned down, or have I become inured to this sort of thing?) In any event, there was some stunningly original partnering with several Ashton-esque moments, which I did not pick up on when I first saw it. There was still the end of the duet when Miranda is tossed on the floor, which I still don't like, but even that seemed not to last as long as I thought it did. Maybe I'm over the shock; however, the dragging of Miranda by one arm at the end of the ballet remains offensive to me, but from the Second Ring it doesn't look as painful to her. Go figure. The program ended with Union Jack. Great fun. Boy, does ballet stand the test of time: both ballet newbies and ballet lovers can enjoy this ballet. By the way, this time the donkey didn't stick around to misbehave: he dropped the two kids off and quickly skedaldled off stage, tearing a bit of the scenery in the process. Maybe doing two performances in one day wasn't in his contract!!

I've never seen his work, so I'll give it a try. It should be an interesting event. I was not expecting much from the Stroman Double Feature and that turned out to be quite fun. So I will keep my expectation level low (very low) and hope for the best (but sincerely hope no one gets dragged along the floor).

Wednesday night was Ballo della Regina, Episodes and Union Jack. Ballo had guests Lorna Feijoo from Boston and Gonzalo Garcia from San Francisco. And they were just terrific. I think it was one of the best Ballos since Merrill. Lorna had all the technical capability necessary and turned in an excellent performance as did Garcia. It's so nice for us New Yorkers to see that Balanchine is being so well served around the country. The demis were Ashley Bouder, Amanda Edge, Amanda Hankes and Carla Korbes. Ashley did the old Debbie Austin role proud: great giant long-held leaps just the way Debbie used to do them. Carla had all the requisite glamor and phrasing necessary for the role initially done by Stephanie Saland. And it was so very nice to see Carla do a solo role with such confidence. (More please!!). I would have reversed the casting of the two Amandas. Hankes would have been more suited to the old Sheryl Ware role which calls for razor sharp diamond pas de chats. But both turned in good dancing. Episodes was again given the deluxe treatment. Special mention to James Fayette and Tess Reichlen in the second section. As an aside, for the second time during this revival season there were no audience titters during this section. A complete change from 30 plus years of viewing ths ballet!! Union Jack is back!!! Yippee!! It was very well rehearsed and drilled. There was only one little bobble when Ansanelli and a corps girl almost had a split second collision, but otherwise it went fine. Nilas and Jeny Ringer were the outstanding costermongers; what a good actor Nilas is!! (And, no, the donkey didn't misbehave!!). Maria Korowski was a great wren. I think she's having a breakout season; she seems to be dancing the with abandon that I have always found missing from her dancing. Keep it up!! Programming note: I think that the long ballets like Union Jack and Liebesleder should be done with only one other ballet. Both are "dense" ballets requiring the audience's full attention and I think it does them a disservice to program them with two other ballets. Last night didn't get out until 10:50!!

I voted for #2. As I said in my first post about this ballet, Wheeldon has great talent for moving people around and great imagination. But my personal bugaboo remains: the parts where women are dragged on the floor is unacceptable for any length of time. It coursens what otherwise would be for me a very interesting ballet.