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About Michael

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  1. They certainly caught Darci Kistler at a very sweet moment with the kids ! Also at the end, you saw just what makes Suzy Pilarre great at staging Balanchine - everything she's done at workshops always has the feel of the ballet, the spirit, the way of moving for that work - so you watch her coaching the young woman for the rondo in Western Symphony and the note she gives, is that when she goes up in big leg swings, to go up with her entire body, to lift through chest and shoulders and arms and not just in the leg . . . it's simple and perfect and just right. But dancers don't always get thi
  2. Hooray for Skyla Schreter, late of SAB (and maybe late of Boston Ballet II?), landing here in the Corps. Very musical young woman. Very shrewd hire once again by SFB. How they cherry pick the world's various companies.
  3. By leaving, Hilaire and Legris position themselves well to return to the top job at POB should Millepied for whatever reason leave. It's a good strategic move for them either way. It's good politics.
  4. If there's really a difference in how they dance, it's probably more a question of both company class and of how things are rehearsed and coached for the stage than of where dancers trained as students. School accents disappear pretty fast in company style.
  5. Well it's Balanchine isn't it, not Martins. And if I remember right Baryshnikov came back and coached those 2004 performances quietly in rehearsal, or at least paid a visit.
  6. Michael

    Veronika Part

    You should know all the same Bart, in reading Wolcot, that he's a huge personal fan of hers - he and his wife Laura Jacobs are a virtual cheering section at her performances. I may be wrong about this, and if so, I apologize in advance - but a few years back wasn't Jacobs calling for her to dance Kitri in Don Q, and then reviewing the performance or writing about it in Dance or Pointe magazine as the greatest Kitri ever? and actually, she was a pretty damn good Kitri contrary to all a priori limitations. But certainly not the greatest ever. But pleasant in the role; and for all the tall s
  7. I wonder if there's even a ballet master now at NYCB who knows it well enough to teach it? They may have it on video of course, because they have a lot of video. From what you are saying, I'd love to see it revived - maybe for an SAB workshop because a tribute to Williams would be particularly apt in that context. And I didn't mean to imply it had to be cast short - that was just an outgrowth of my reading that the Ballabile from Napoli was part of the scenario - and in my mind seeing that as middle sized women, a preconception that has nothing at all to do with the ballet as Williams con
  8. Do you think the company could or should, or ever will, revive "Bournonville Divertissements"? Never saw it but I'd love to see what it looks like and I think the idea of what some of the current dancers could make of it very interesting. Or maybe an SAB workshop? Not the taller principals, or necessarily even the principals. In principle it seems to me there should be sparkling roles, something to show off a glittering technique (supposing that it's based on things like the Ballabile from Act III of Napoli). And there are so many women in the company these days who have a Danish physiqu
  9. A nice point Jenny made in her New York reading, at Barnes and Noble, involved Peter Boal. It was about how her first kiss was with Peter on stage in her debut in the balcony scene of Romeo and Juliet (in Sean Lavery's version). That it was her first starring role (or one of them) and that in rehearsal Peter never kissed her, always "respected her modesty" or her "innocence" or something like that, is what I remember her saying (it's in the book anyway). So he'd just do a little air kiss while they were learning the parts. And that later on their first night was thus her first real kiss.
  10. The portrait is to Sara, as one of Alex Katz's seagulls is to a real bird, is as his profile of Mt. Desert Island is to Acadia.
  11. That was a key thing about Carley - she would go all quiet when she loved something, there would be a moment of silence when the curtain dropped - and then a solemn appreciation. Temperamentally she was not about criticizing things or dancers; when she didn't like something, she'd articlate, sure, but I never felt she liked to, she'd rather forget it, that wasn't what interested her. It was the opposite - she was truly happy, deeply happy when a show was great. La Danse. It's a very rare quality, to have a heart like a tuning fork that resonates truly at the highest pitch when something tru
  12. You couldn't ask for a better friend. Very kind, loving, tactful, intuitive, a feminine touch and lovely to be around at a show. She'd just get what you got, even with disparate people and be so moved when something was beautiful that it helped you understand the beauty. Always in harmony. My plan on her passing is to see the shows doubly well - I know she would have loved them. That's what I thought last night. She's got to see them through our eyes and feel them in our hearts now.
  13. Adams was phenomenal in that role - Kathleen I could not agree more. I left the show just blown away by her. It really had to be seen. Extraordinary lines that the lighting picked up, and a movement quality that Scarlett really displayed, as well as a classical structure, in the limbs and feet like Maria Kochetkova only on a bigger woman. Do - or will - the powers-that-be at NYCB have any idea what to do with her? That's another topic I guess. But before last week they had used her very little. One lead in a pas de deux in one cast of the Wheeldon "Soiree de Ballet" with Zach Catazz
  14. Elle est très très belle
  15. She could certainly gain some attack in her chainés and other similar elements. Get off center a little more comfortably. Though Nutcracker pas isn't somewhere you'd necessarily see that.
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