Marga

Considering the venue and the audience, I think this was well presented. First or all, it was lengthier than last season's glimpse of ballet, and secondly, it served to educate the public by condensing a currently popular ballet theme into a display of real ballet. I was at the dentist yesterday and the dental assistant asked about my children. When I told her about my ballet dancer daughter, she said she had never seen ballet and wanted to know what plays my daughter was in. I told her they are called ballets and stand alone. She was as puzzled by this as she was about what a ballet company was. From our erudite vantage points here on BT, we dissect every little thing about ballet and enjoy doing so. But DWTS is not Ballet Talk fodder in the same way a ballet company and its dancers are. Most people are probably like my dentist's assistant, as far as their knowledge or interest in ballet goes. Judging by the horrible comments following the various articles about last year's ballet movie, most people don't even realize there is a hierarchy of ballet companies and that ABT resides on the top level. Being a top company's soloist is a huge achievement, much as conquering Hollywood is to a young actor. (Perhaps one should attempt to show a comparison of ballet companies and dancers akin to that of football, basketball, hockey, or baseball teams and players in order for the general population to get a clue.) It gladdens me to see ballet so well treated on DWTS, despite the overhead or sideview video angles or choreographic liberties, or Carreno's costume, for that matter. I hope they will continue the trend in the future. (Monday night's Nutcracker-waltz was very cute, too. It gave the audience a little more context to what they usually hear as mall music at Christmas. Too bad it wasn't good enough to keep Sugar Ray in the running. He gave a great compliment to ballet, though, and that made me very happy!)

To each his own, of course, but Isabella is known to have one of the most beautiful bodies in ballet, from her small head to her gorgeous feet. She has a lovely countenance, strong supple back, beautifully shaped long legs, fantastic line, long hands/fingers and feet/toes, narrow hips, tiny waist, and is lithe and lean. David Hallberg has all these things, as well, but his head could be a little wider to appeal more to me. But that is something he can't change and I'm sure that many would quibble with me about my preference.

What a tragic end to a wonderful human being! I've read so much about Balanchine, and Eddie Bigelow's name comes up so often that by dint of association I've learned to 'know' him since the early days of NYCB. The first mention of the accident (April 4th) had the following comment after the brief item: "Elderly man dies in Sharon accident"

Are you sure you were watching the clip with Isabella Boylston? She is hardly dancing in a playful manner - she's far too elegant in her performance that you could call any part of it 'playful'! And what broad smiles? She wasn't smiling at all! In fact, she reminded me of Suzanne Farrell in her interpretation. You must be referring to a different videoclip! ____________________________________________________________________________________________________________________ I rewatched the clip and saw what you might interpret as smiling. Isabella dances with a slightly open mouth, teeth closed - in fact it's a way to breathe through your teeth while exerting effort - and you may have thought she was smiling when she was just showing us her usual face. There were 2 brief incidences of a real smile. The first came just before a développé à la seconde as she was opening her arms en face; the second instance was during a supported pirouette as both she and David looked at each other, and David smiled, too. I repeat my ongoing plea: why hasn't Kevin promoted her yet???!!! She's been dancing solo and principal parts for so long and is as good or better a technician and overall dancer than others who have, through the years. been made soloists far sooner in their trajectories.

From the Toronto Star (scroll to end of article): Elegant’ competition honours legendary dancer

Hope this is acceptable. The National Ballet of Canada tweeted the winners' names: To finish the tweet... (Demis Volpi) won for choreography (Yay, Joey!!!!!)

So happy to see Isabella Boylston dancing principal and soloist parts in Moscow. The others sharing the roles she dances and all the male partners are already principals and soloists. Isabella is the only corps member in those roles. It is time for her to be promoted to soloist!!! How much longer do we have to wait?!

Joey Gorak is competing this Saturday at the Erik Bruhn competition in Toronto. He was poised for stardom from the time he impressed Fernando Bujones at Orlando Ballet and became one of its youngest members.

Gomes has choreographed before, so it probably does. He choreographed Isabella Boylston and Cory Stearns's 'modern' selection (it was quite balletic) for the Erik Bruhn prize 2 years ago. I reviewed it in my blog, which I don't think I'm allowed to link to.

I've just read through all the reviews in post no.1 - thanks golden_slave! - and am flummoxed by the British critics' reactions. Such harsh, and in some reviews, almost scathing, criticism! It's as if we don't speak the same language. Talk about being on two sides of the pond! From opposing opinions, Judith Flanders recounts Company B at length: "...ABT has been performing for a couple of years now. It suits them wonderfully well, and they triumph in it...." to "Ballet News" starting the Company B review with "And then there was Company B. Why ?" and continuing to hate the costumes, and the American influence, which supposedly doesn't work for the London audience. (At least Misty Copeland and Sascha Radetsky were rightfully lauded.) and Jenny Gilbert: ..."The other treat of Programme I was Twyla Tharp's Junk Duet, so called not only because its fun score, by Donald Knaack, is generated from discarded household goods, but because its choreography recycles offhand, slutty moves as ballet..." to downright nastiness, Clement Crisp: "David Lang’s noxious score that clanks on like a faulty radiator" and "hideous, abbreviated black costuming" (EDHAO), and, "...The dreadful clatter of saucepans hit by a child" (Junk Duet)... Considering the well-known source, I suppose these comments are banal to his readers. Just as I was wondering, 'why don't the English like us?', Jenny Gilbert's review for 'The Independent' restored my faith. She calls both "EDHAO" and "Junk Duet" a "treat" and declared "Company B" the "best". Atta girl!

I've just read through all the reviews in post no.1 - thanks golden_slave! - and am flummoxed by the British critics' reactions. Such harsh, and in some reviews, almost scathing, criticism! It's as if we don't speak the same language. Talk about being on two sides of the pond! From opposing opinions, Judith Flanders recounts Company B at length: "...ABT has been performing for a couple of years now. It suits them wonderfully well, and they triumph in it...." to "Ballet News" starting the Company B review with "And then there was Company B. Why ?" and continuing to hate the costumes, and the American influence, which supposedly doesn't work for the London audience. (At least Misty Copeland and Sascha Radetsky were rightfully lauded.) and Jenny Gilbert: ..."The other treat of Programme I was Twyla Tharp's Junk Duet, so called not only because its fun score, by Donald Knaack, is generated from discarded household goods, but because its choreography recycles offhand, slutty moves as ballet..." to downright nastiness, Clement Crisp: "David Lang’s noxious score that clanks on like a faulty radiator" and "hideous, abbreviated black costuming" (EDHAO), and, "...The dreadful clatter of saucepans hit by a child" (Junk Duet)... Considering the well-known source, I suppose these comments are banal to his readers. Just as I was wondering, 'why don't the English like us?', Jenny Gilbert's review for 'The Independent' restored my faith. She calls both "EDHAO" and "Junk Duet" a "treat" and declared "Company B" the "best". Atta girl!

Millie, if it were my daughter, I'd definitely buy a ticket in the front row. If you have eyes only for James, this is the best place, in my opinion. (Otherwise, Row K is a great central location!) I sat in my 'old' (from over 40 years ago) front row seat on Balanchine's birthday last month. Aside from being thrilled to be in the exact spot I sat in when I was young, it afforded me the opportunity to really see each dancer at the closest possible range. And at the State Koch Theatre, that isn't really that close. The orchestra pit is vast and forms a gulf between you and the stage. It really is a pit, in the true sense of the word - it's deep! (When orchestra members speak to friends before and between ballets, they crane their necks in order to do so!) Add the lip which doesn't always get danced on and you're a nice distance away! You can see feet clearly and facial expressions and everything else. Me, I wish the seats in Row A could be closer to the stage! As far as seeing the 'tableau', who needs to see that when your child is onstage!? That said, you can see the whole scene, only not as well as further back, of course. Watching and getting to know individual dancers is why I subscribed to that seat in the 1960's! In retrospect, being just behind and to the right of Robert Irving and Hugo Fiorato as they conducted the NYCB orchestra was priceless! Congratulations on James's coming to NY with RDB so you can all go see him dance! edited to amend senior moment error (thanks, Jack Reed!)

I only knew Magloire as a class accompanist at Steps who took dance classes himself every week. He was a beginning ballet student, as I understood it, and certainly looked it. I was intrigued to read of his venture into choreography and wondered how his pieces looked, seeing as they must have an interesting connection to the music they are performed to, given his background. (Steps always had several of his CD's for sale in their little shop.) I'd be interested to hear more critiques of his work, too. Not living in NY, I've never seen any performed. Here is a link to his bio. An interview follows. I learned a lot about him from reading it! Miro Magloire

I did not know Miriam, but it seems that it was her Balanchine birthday evening performance ticket that I was fortunate enough to purchase via ViolinConcerto's posts on BT. Now it feels like a privilege as well as good luck. It turned out that the front row center seat was the exact same spot (new chairs, but same position) that I sat in most weekends over 40 years ago! To hear of her dedication in her years as a NYCB volunteer as I obtained the ticket was a definite plus. It was the story of a vibrant woman who loved the NYCB ballet and the building it called home - just as I did so long ago. That she was able to devote her life to serving them was a privilege and a labour of love for her. How I wish I had met her - better, known her! I am saddened at the passing of a woman I only knew for a couple of days by her essence and through descriptions of her and her passion for the ballet. (I am quite sure tickets for the rest of her subscription this season are still available through ViolinConcerto.) Available tickets

I emphatically agree! He was riveting. His athletic power showed itself from the get-go in the iconic leap near the beginning of the ballet (so associated with Eddie Villella, who overshadows Baryshnikov, in my opinion). Villella leap de Luz proved himself over and over, and his encounter with the Siren (the fabulous Maria Kowroski) seamlessly revealed to us his undoing, his insolence crumbling and giving way to personal devastation. Visually, de Luz is part of another great pairing. The elongated Kowroski on pointe, her headgear adding to her towering image above the Prodigal, and the final height given by the finger-spreading gesture above her lofty crown which is the Siren's repeated choreographic signature, is a perfect opposite to de Luz's shorter-statured, muscular build. They wound themselves around each other with artistry and precision. This is the first time I've seen de Luz and Kowroski in Prodigal and I, having no other performance as a basis for comparison, found them to be wonderful together. De Luz had me at that first leap. His final scene, the famous crawl to his father (Ask la Cour), was masterful.

I just arrived back on LI with the evening's performance repeating in my head. As I exited the State Koch Theater, Stars and Stripes was running a loop through my mind. Entering the subway, I heard it being played, very skillfully, on the platform, this time emanating from the busker's flute. What a clever fellow! Usually I'm snapped back to the real world as I descend to the trains, but today the illusion continued, thanks to a subway player who does his research and knows how to play Sousa. Of course, I slipped some money into his bag before I got on my train.

Thanks, VC. I've got Saturday night's.

Macaulay wrote that he is I was going through old NYT unread Arts' sections yesterday for the recycling box. Stopping to read the article about Darci's Kistler's retirement, I was fascinated by a couple of anecdotes. One of them: When Balanchine saw the newly-hired Kistler watching Suzanne Farrell from the wings, he turned her away from the stage and walked her backstage, telling her not to watch Farrell. He didn't want his dancers influenced by one another and, in this case, at least, actively tried to stem a new'un's desire to pick up any of Farrell's ways because he wanted her to develop her own. I think Balanchine wouldn't take kindly to the suggestion that Mearns, for example, should be an influence to other NYCB dancers. Edited to insert following quote (and to show how I liberally interpret what I read!): Kistler: Full article here: Last Dance

I also will not be seeing this movie, but for reasons other than those described, although they would all be reasons enough for me, too. I made up my mind a year ago that I would not support it with my presence in the audience or interest. If you can remember what the gossip columns were writing about starting at Christmastime last year and really exploding in January, then that is the reason I am boycotting the movie. This film epitomizes betrayal both in thematic content and in real life.

Thank you, sidwich, for the scholarly explanation. I don't know how to judge ballroom dancing as I was a ballet dancer as is my daughter, so I look at ballroom with a ballet eye. My acquaintance with ballroom is purely experiential, as I grew up dancing the waltz, polka, tango, rumba and fox trot, being of a culture that dances. We didn't call it 'ballroom'; it was simply dancing. I'd love a list of things to look for before next season's DWTS. It would make the viewing experience more enjoyable, as having knowledge of a subject always does.

My faith in America is restored!

I am completely floored that Brandy was sent home and that Bristol is STILL in the competition. Actually, this is not a dancing competition at all, is it? If Audrina, who dances beautifully, can be sent home so early just because she lacks a wide fan base and Ms. Palin has been voted in week after week because of the clout she seems to carry, it is clear it's not about the dancing. Every time I see Bristol Palin dance, I cringe through most of her movements. She doesn't realize that movement must extend through the feet and hands, much less that her upper body should be supple and pliant. She knows nothing about articulation of body parts. Her head sits on her shoulders with no extension of neck at all. There is no high-held body carriage, no relaxed, stretched arching. When her arms are raised above her head, her shoulders go with them. Her upper body-torso-legs is one solid unbending piece. The way she hooked her foot around Mark's leg in the tango, all turned in and with no finesse, just a chop of a movement, was the ugliest foot movement I've ever seen on DWTS. Can you tell I'm not a fan?

Thank you for the post. I had a picture of Lone Isaksen on my wall when I was a ballet student. She was a beautiful dancer, as one can see from the NYT photo. So sad that she died so young, just before her 69th birthday. May she rest in peace.

Jennifer Grey has problems with her neck. This quote from Wikipedia explains what happened to her prior to DWTS. Also, she's 50, so stamina is becoming a problem. Naturally, this frustrates her since she is in it to win it. It's easy to become emotional when your body is betraying you.

I was phoned last week by an official ticket seller who tried hard to sell me one. I can't afford to go, but the woman on the phone was pleasantly pushing the performance despite my resistance due to empty pockets. Maybe closer to the date... She couldn't tell me anything about casting. _______________________________________________________________________ I just noticed I've responded to a post from May - 5 months ago!