meunier fan

Well, one lives in hope. Perhaps they might be enthused .... The cheering audiences after the major ballet portion (in Paris at least) - itself a fine 17 minute (as opposed to the 13 minute on Broadway) abstract work - would hopefully suggest that they might be intrigued by Bayadere - were it to be the Nureyev (Paris) or Makarova (NYC / London, etc.) production. I vividly remember after the last time I saw AiP at the Chatalet (at the last matinee - where the audience seemed not to want to let the Company go) one (obviously Parisian) woman turned to her husband and - in French - said 'This is a reason to love New York'. NYCB here they come .... I can well imagine that she and hers might well be at the three week NYCB season next summer at the same address. (I know I will be .... but that has, true, little to do with AiP. I would have been there anyway. Still, AiP didn't hurt.)

To rock the boat a bit ... Suzanne Farrell??? Doubt she would be interested ... but it would be fascinating sparring with the brilliant organisation across the plaza ... I would throw in Martine van Hamel ... but isn't she Canadian born? ... and I suppose the association with McKenzie would be a tad too close but she was always an oh, so wonderfully gutsy artiste ... and had to always fight her side with Lucia Chase. On the North American side ... maybe someone could approach Tamara Rojo (born in Montreal)... She can give as good as she gets ... Karen Kain is a genuis ... but surely she will stay - as ever - loyal to the Canadian cause that made her ... and quite right too ... Is Lynn Seymour still mentis compos? .... She ran the National Ballet of Greece .... and just look at the state of that nation now ... There are oh, so, SO many talented women ... But no ... best to stick with the ever changing shoals of the BA Collective methinks

I agree that the AiP book is oft irregular and sometimes awkward (at least it was in Paris where the production was half an hour longer and where I don't myself remember any pointed 'gay jokes' at Henri's expense). Moreover I too felt that von Essen and Paice were the stand outs in terms of fully fronted vocal artists within the pieces dramatic throughline. What I do think is the prime positive benefit emanating from this production is that it brings ballet back as a potent form of focus on Broadway; i.e., as a prime motivational alone. The fact that such (in AiP's regard) is now such a noted commercial force is more than encouraging I think for both NYCB and ABT. May AiP bring new audiences into both the Koch and Met portals and - crucially - help to build a slice of interest that will prevail for some time in terms of the art form much as shows such as Chorus Line did in the past. I myself wonder - if the commercial potency should prove similarly ripe from both a US/national and international basis in AiP's regard - if ultimately a film under AiP's banner will be (re-)made in favour of Wheeldon's particular take. That would surely benefit from bringing in screenwriters to embellish and assist Lucas' theatrical hand under Wheeldon's filmic charge. Would such an entity thrive? Would it bring new audiences into the doors of mainstream ballet outlets? It might just be an exception that proves the rule much as the theatrical entity appears to have done. Time will - as always - tell. Surely fingers can be but crossed.

An interview with L. Cope (AiP/RB) and R. Fairchild (AiP/NYCB) about surviving Broadway's awards season and other matters: http://www.theaterma...aris_73128.html "Leanne: I think it's very important for all dancers to take acting lessons, actually. The miming can just look like steps. Unless it comes from a real place of understanding what you're trying to say, and it's not just "put your arm out here," it's saying something. I think it would help all dancers."

She has, ... ...

Sure the monarchs would appreciate that somehow ...

A short but telling video vignette on the AiP artists/design:

Some moving pictures of R. Fairchild and L. Cope receiving their cartoon-like portraits prior to seeing them grace the walls at Sardi's. http://www.broadwayworld.com/article/Photo-Coverage-AN-AMERICAN-IN-PARIS-Tony-Nominated-Leads-Get-Sardis-Caricatures-20150529

I will second MadameP. I saw Novikova dance Giselle with her husband (Sarafanov) with the Mikhailovsky in London a few years ago. She was simply breathtaking ... and beautiful to boot

It appears that AiP is now a bona fide Broadway smash from a fiscal perspective. Apparently it is the only one of the four key musicals nominated for the 2015 Best Musical Tony Award to have proven so at this juncture. "Advance sales for “An American in Paris” have climbed past $10 million, theater sources say. That’s nearly double what the advance was seven weeks ago, when the show began previews at the Palace Theatre." "http://nypost.com/20...-tony-nominees/

.... and Leanne Cope has won the Dorothy Loudon Award for Excellence (under the 71st Annual Theater World Awards banner).

At 0844 am in NYC (1344 GMT) Leanne Cope, currently on leave from the Royal Ballet, received her inaugural Antoinette Perry (Tony) Award Nomination in the category of Best Actress in a Broadway Musical for her performance in Christopher Wheeldon's production of AN AMERICAN IN PARIS. Robert Fairchild, NYCB principal, got his nomination but seconds before in the category for Best Actor for a Musical for his performance in An American in Paris. Christopher Wheeldon received a nomination for Best Choreographer for An American in Paris at 0847 and for Best Director of a Musical at 0849. Bob Crowley has received two Tony Award AiP nominations for both costumes and scenic design. He also received a nomination for both The Audience and Skylight. Most crucially An American in Paris is nominated in the category of Best Musical. There are other AiP nominees. With a total of 12 An American in Paris is tied with the Musical 'Fun Home' for the most 2015 Tony Award nominations over ALL categories. Here is the list in full of ALL 2015 Tony Award nominees from the Daily Telegraph: http://www.telegraph...-full-live.html

I love the fact that you can buy a number/selection of screenings at a reduced price or you can buy all sixteen for 220 Euros (or 13.17 Euros a shot). That would be £9.96 or $15 USA. I wish they would do this in the UK where they do not even have a fixed price for the noted arts screenings between different cinema chains ... and prices can even alter between the same chain's cinemas in different parts of the country. QUESTION: Are the relays from France screened in the USA and Canada? Some years ago there were at my local in the UK but sadly these were discontinued as I don't think they got very large audiences. Occasionally you can see them at the French Institute in London - but that is only ever a very select few - and inevitably all operatic items.

Bob Crowley most certainly I should think ... in the Tony count. Would be grand if Fairchild got a nod as well too. Heaven knows he works for it.

I'm sorry you didn't like it, Canbelto (especially when this was a special treat after having got a job). I know how frustrating such things can be. I can only say that there were no - well, certainly no direct 'gay' jokes - thrown in Henri's direction when I saw the production in Paris. These must have been added for Broadway. I understand there have been some key changes (well, at least according to the WQXR segment). I hope the balance hasn't been unduly altered. It was such a triumph in Paris ... and the music - while not at the hands of a symphony orchestra certainly - was I felt respected. I know the Musical Director and musicians in Paris were local so they would be different to those in the Broadway pit. I wondered, Canbelto: How did the audience respond around you?

What about Thomas Forster? .... Surely he could make a fine fist of an Albrecht; one which would honour Osipova's efforts. Oh, and isn't Osipova enough of a name/draw herself for the performance????? ... especially in that role????? If they needed to - if they REALLY MUST - bring someone from outside then perhaps McKenzie could give a break to the young Italian dancer who has twice stepped in to partner Osipova at La Scala, Claudio Coviello. Why not turn some tables. I saw him dance with Rojo in DQ too and felt he had potential. What about pairing Osipova with someone from NYCB ... ???? .... (Well, they brought Veyette in for T&V didn't they? I realise that IS Balanchine and all ... but still ....) In the day, I would have given anything to see Boal dance Albrecht .... and I personally think Tyler Angle might well be very special in that assignment ... plus I have a feeling he would respond well to Osipova. Just a hunch ... Or what about De Luz???? There's a bevy experience in those feet

Great that she can still attend the first night of her husband's previews in AN AMERICAN IN PARIS ...

Indeed - plus she probably wanted to understandably spend time with her family and VERY NEW husband (also with the RB) since she will be away for quite a time thereafter. I didn't mean any slight against the lovely Ms. Cope - not at all. I just wanted to pay my respectful admiration to the glorious Mr. Fairchild.

From Paris to Broadway .... a touching promo ... https://www.youtube.com/watch?v=K7ivYBbq58I#t=53

One should be so lucky .... You get to see a lot of him in the show ... and I think he has been most generous with his NYCB castings in the Winter season thus far (Leanne Cope did not return to the RB fold AT ALL) - at least while obviously being - or at least starting to be back in AiP rehearsals. One thing I can promise you - having seen the show a few times in Paris - you won't be disappointed.

One has far fewer (if any) tattoos however

I believe that is Matthew Ball. He recently has been a stunning Lensky in Oneign with the RB. I can see why you might be confused. Here is a link to him talking about Lensky. http://www.roh.org.uk/news/watch-matthew-ball-and-vadim-muntagirov-on-dancing-the-role-of-lensky

Is it just me or is anyone else having difficulty in actually hearing (and therefore deciphering) what Aschengreen is actually saying on the video clip embedded in item no. 25? I hear the noise but not specifically enough to render much of the sense. The audience seems mightily amused which is grand. That only made my frustration more acute. Perhaps I am alone in this. The video clips within the segment are lovely and much appreciated.

Word has it that she is back for Oneign. Fingers crossed. Wonder though if she'll dance the Acosta DQ again?.... She might well feel it and her are jinxed. Quite frankly I wouldn't blame her. It's far from my favourite version of this particular war-horse and I have come to .... how do you politely say ... 'dislike intensely .... the oh, so watered down orchestration. It's a great shame they are not doing Month in the Country in Chicago and Washington. She was - in the end - truly superb in the Ashton. It was a performance filled with extraordinary detail.

I was in Paris for work during the past week and was privileged to see the final two showings of Christopher Wheeldon’s re-envisioning of AN AMERICAN IN PARIS at the Chatelet. This was a substantially different show from the one I saw/reviewed last year (i.e., but a month ago). How so you will ask? I will do my best to answer. The production’s (i) opening – whilst maintaining the core content and stunning visuals by Bob Crowley [which continue to dazzle throughout] – has been rightfully tightened as has the thrilling narrative build (ii) to the conclusion of the first act. Both remain in and of themselves unconventional but each now is rendered with potency afresh. The latter now possesses the assurance; the startling climatic build it so richly deserves. The most substantial (and wise) alteration is the (iii) overall trimming of the musical’s book by Craig Lucas. This proves prudent in the extreme giving a rightful focus to both (a) Gershwin’s life enriching music and (b) Wheeldon’s entirely enhancing choreography. The characters themselves now evolve through the soul of their heavenly refrains and the (iv) spoken/sung sextets, quartets and trios are now witnessed as elegant acts of supporting glory in dynamic relief. The letter writing sequence shared amongst four of the key protagonists is now a work of art unto itself itself and very much honours ‘The Man I Love’ which it movingly introduces. (v) The orchestrations as wrought by the inspired team of Rob Fisher and Christopher Austin are now a virtual masterclass in the inspiration possible via musical application. They don’t merely engage; they enlarge, augment and heighten. They glisten like the moving bonnet of a 'chavy' Cadillac classic. Here now the Gershwins’ music itself becomes a vital and complex character. It runs; it talks; it prances vibrantly. In a similar light each of (vi) Wheeldon’s three emotive pas de deux for Lise and Jerry are now thrillingly balanced/augmented by the text’s new found economy. Each duo dance clearly builds through its own narrative potency. It’s as if each has been threaded with the refined agility of an ‘Ashtonian pink’ and Fairchild’s second solo variation is worthy of that individual masterpiece which Balanchine latterly bestowed upon the male principal in SQUARE DANCE. So too has the (vii) theatrically coruscating seventeen minute ballet lying near the end of the second act – a ravishing circus of core choreographic enrichment - been adorned; augmented and polished in its streamlined stealth. That particular work now MORE than fully deserves (a) not only its own right of place but (b) the celebratory proclamations denoted in the Production’s text such as are staged immediately afterwards. Indeed at the two performances I attended this past weekend (3rd/4th January 2015) I saw many in each of the Chatalet’s capacity audiences continuing to applaud alongside the show’s ‘canned adoration’ having already proffered a sustained salvo in recognition of the pulsating joy that is the real thing. I predict that this work – Wheeldon’s dazzlingly dramatic treatise on the heroism necessary to sustain any artistic tryst through time - will not ONLY be balletically preserved in revivals of this particular book musical (and you just know they will come) but upheld/celebrated in the reps of such major historic ensembles as NYCB and POB; both rightly renown for their unique and continuing balletic origination. May this be for Britain’s Christopher Wheeldon what ‘Fancy Free’ was for his key mentor, Jerome Robbins; What ‘Slaughter on Tenth Avenue’ became out of On Your Toes for the mastermind that is George Balanchine. Such privilege is MORE than merited for the Wheeldon. It might well be strong enough to bring ballet back as dedicated focus in the musical theatre niche. Who knows? If so may it be as potently promiscuous as the ‘jukebox musical’ seems to have proven. (vi) The performers have now entirely cohered throughout into a truly ‘boffo ensemble’. Whilst - amongst the noted principals - Max von Essen and the admired veteran Vivienne Cox had already established the full range of their character’s impactful story lines from the very get-go they have now been joined in their fullness by Britain's ever fervent Jill Paice – bravely giving tasteful vent to the unfeigned isolation that wealth itself seems to demand - and the oh, so talented young American performer, Brandon Uranowitz, who now thoroughly injects heartfelt urgency into the tremulous humanity which lies behind/lives beneath the chipped – albeit brilliant – shoulder of his/our composer. You can hear riveting single song samples from both in a radio studio recording by scrolling down here. All is not quite … but ALMOST perfect. A few midges persist. (i) The three lines of dialogue which immediately follow Uranowitz’s opening one line shot are entirely overwhelmed by the music. This needs to corrected. That brief dialogue between Fairchild and Cope is vital to the audience’s overall comprehension. You can hear the static from their body mics being walloped up but it is not enough. If I didn’t know what they were saying I would have missed it entirely. As it is it sounds like a mistake. Perhaps a musical crescendo might be reached and then the three lines themselves – no more than two seconds in stage time - might be backed by a deserved silence as embedded in a brief suspension. (ii) The dialogue in the very opening of the second act – during the soiree held in honour of the Ballet Chatalet by Lise’s guardians – needs to be smoothed out. While it makes sense it remains too incommodious to purpose. (iii) Personally I think the ‘Stairway to Heaven’ dream sequence is a tad far-fetched but it is so delightfully delivered by the Company - and the scenic effects so dazzling in their Art Deco charm – it would be churlish to alter/amend/dismiss it in any way. So let that one pass. Last but certainly not least amongst the bounty are the leads themselves. (vii) Leanne Cope has entirely blossomed. Her singing now thrives comfortably on an altogether different plane. Before I thought her crooning ‘pleasantly brave’. Now I found myself not thinking about such trivialities at all. Indeed I was too busy being thoroughly invested in her lyrics; engrossed in the refinement of her artistic invention. In all Cope consistently glistens via those ever sensitive beacons that are her eyes. They both pinhole and perforate. They sing too. Everything about Cope’s stunning gift has been extended in its carefully wrought mould. She lives in response. Cope makes passivity active. Therein her magic thrives. She positively purrs with transcendent idealism. Certainly I suspect she has never been better partnered. Cope has said that she prized the fact that she got to dance with a principal from New York City Ballet at her last audition. That – in itself - was a great achievement she relates in a magazine interview. ‘No way. Get out of here’, Robbie Fairchild blurts. (‘I don’t do many pas de deux at the Royal Ballet’ she demurs.) The very ‘buttery-ness’ of Ms. Cope’s take on Lise’s balletic technique (as Ashton might well have intoned it) brings the unique perfume of her relationship with Robbie Fairchild’s unequivocally demonstrative ardour as Jerry into vivid focus. Their fish dives enfold with ease. Both enact the drama of their second act separation scene tellingly. It is thrilling. Its dramatic impact is visceral. While never overwrought it is - at one and the same time - courageous. It sears. The over brimming abundance of all four eyes in that instance has it. Their unscripted dialogue cries out in repressed pain as Jerry bellows into the wings at Lise’s frustrated departure. As towards (viii) Mr. Fairchild: Well, …. what can one say? He remains ever more triumphant if such a thing were humanly possible … and it is. IT IS. Stars are born we’re told, not made. May the Palace opening of AN AMERICAN IN PARIS be Fairchild’s native theatrical canonisation. Since his SAB graduation appearance one has been privileged to instinctively know that Fairchild was a balletic world talent. One sensed much the same with the teenage Woetzel. In his four AMERICAN IN PARIS dance solos Robbie Fairchild brings the ravishing legato line of a Dowell or Legris to play in equal measure with the stupefying buoyancy of a Woetzel, Villella or a Barishnikov firing through space. But now Fairchild joins a different realm. His work with NYCB can never – EVER - be the same. He will ‘do Romeo’ he says – that Romeo created FOR him – between now and his Broadway investiture – ‘if the dates work out’. Only NOW he will – as he MUST - bestow upon it the theatrical vigour that has made him that rarity – (something I myself thought lost to time) – a Jack Buchanan; an Astaire for his OWN age; one uniquely devouring space through hearts – be it in dance, acting or voice [and, yes, there was a reason why Astaire was Gershwin’s favourite interpreter]. Fairchild – like Astaire before him – now more than honours the music of his literacy; multifaceted as it is. He mesmerises with a Jolson-like capacity that is uniquely his own. I can but feel that Gene Kelly (who I once had the good fortune to meet) would stand and cherish the thrilling compass of Fairchild’s courage. Its trigger electrifies, magnifies and inspirits. At both of the final Chatalet performances this weekend Fairchild pummeled his heart in recognition of the Parisian adoration. Alone he danced in step with their rhythmic applause such as greeted the conclusion of the fifth full-company curtain call. As the tears glistened in Fairchild’s eyes you knew instinctively that he had accepted his burden; its responsibility; the potential joy of our stated challenge. He did so as much for himself as for us. ‘The people who get on in this world,’ Vivie Warren proclaims to her mother in Shaw’s Mrs. Warren’s Profession, ‘are people who get up, look for the circumstances they want and if they can’t find them, make them.’ It’s abundantly clear. Fairchild knows that he can be a Garland of hope in a world where oil breaches the almighty $50 price barrier and the mighty Russian rouble may soon be hollowed; where Europe stands in deflationary toll with Japan. Time makes the man they say. Fairchild’s time is now ripe for our picking. Still it was an immigrant who had REALLY ‘made it’ and he could only have done so by feeling an immigrant’s pain. For this Brit – this Christopher Wheeldon – THIS is HIS American way. This has been Wheeldon’s self-acknowledged university and he has more than graduated with honours. I pray there may be many, many more such for him in his capacity as an overall director. Certainly the potential is there. Still there can never again be a first. May this make him enormously wealthy in ALL respects. He more than deserves it … much as The Royal Ballet MORE than deserves a new production of SWAN LAKE wrought at his now ready hands. How too I long to see Wheeldon be given an opportunity to make a film out of his re-engineered take on Minnelli's AN AMERICAN IN PARIS. I have a feeling it might - in and of its own merit - be as revelatory as Sam Mendes' AMERICAN BEAUTY was when pioneered at a similar career juncture . You’ll laugh perhaps but there was still a corner in me that gnawed. In a sense happily so. Rather than see Wheeldon spend his time in London for a mere re-production of this particular Parisian adventure (especially after Parry’s – in my estimation somewhat churlish – DanceTabs review) I dreamed for a moment that he might re-establish/re-enforce ballet as a key part of musical theatre artistry by re-tooling/re-imagining GIGI as a stage ‘dance’ musical: A ‘dancical’ if you like; one built in Wheeldon’s AMERICAN IN PARIS mode. I, myself, had seen the first Broadway attempt to take that film to the stage many, many years ago. An admirable adventure it was. One stuffed to its considerable brim with fine work from a brilliant Daniel Massey, a suave Alfred Drake, a vivid Agnes Moorehead and – from a more balletic background – the always stellar Maria Karnilova. [You can hear the latter two in the Contract Scene here.] All of these luminaries are, of course, long dead. That show was, in fact, to prove the final Broadway curtain for each.] Still it was never ever entirely successful. Last weekend I found myself wanting Wheeldon and his carefully selected team to grab hold of Cope and Fairchild and set the Colette in motion anew; to again see them toy once more in genesis together. Suddenly I could see Cope’s Gigi teaching Fairchild’s Gaston to discover emotional freedom through dance. Before it closes for renovation it would be grand to hear the Chatelet’s historic rafters shake once more from the stamping of a refreshed joy below and throughout. It too could be both a homecoming and a rightful rebirth for the Colette and a further deserved excavation for Learner and Lowe. But Broadway and AN AMERICAN IN PARIS first. Will it run? Of course it will. IT MUST. It’s already passed its Vimy Ridge.