meunier fan

A fine review for AiP in The Spectator by Ismene Brown ... http://www.spectator.co.uk/arts/dance/9404332/an-american-in-paris-a-zingy-new-wheeldon-dance-musical-that-you-wont-want-to-miss/

'Sister Megan' .... for a moment I thought she might have turned nun. Bless you, Abatt. You made me laugh ... (well, the capitals did). Happy New Year.

I think this may play to everyone's advantage. Obviously, (R.) Fairchild will go back into the stunning NYCB nest following 4th January ... and then can even dance still with NYCB until AiP goes into previews in mid-March. (He doesn't need to worry. He has his accommodation and daily class ALL SET.) IF THE SHOW IS COMMERCIALLY SUCCESSFUL (and here's hoping it will live beyond the Tony's ... and I sincerely think it will) then I'm sure he could happily split his professional duties! ... He could do, say, four performances a week on Broadway (say, two on Wednesday and two on Saturday) and still dance a full schedule as a NYCB prinicpal ... and have a day off on the Monday. (Just think of the advances for their dancewear line!!) In this way he'd hark back, say, to another Robert ... Helpmann that is .... who famously did Shakespeare's Hamlet and the lead in his own ballet of the same name on the same day. The commute between Times Square and State (sorry, Koch) Theater is much less than that, say, between Stratford Upon Avon and the ROH. (One wouldn't want to depend on those trains AT ALL!! NO WAY!!!!) Wouldn't it be great if another NYCB or ABT principal could share the load .... Does Tyler Angle or Marcelo Gomes sing??? (We know already they are astute actors and excellent dancers.) In London Steven McRae (assuming he too can sing) might fit the bill .... certainly he taps ... [that staircase might yet have a third star upon it] .... plus he's a new father so I'm sure the extra dosh would come in handy. Still think Joseph Walsh from SFB would be prime ... but it would be vastly more difficult for him to balance such with his day job .... much as it will for Ms. Cope IN NYC. She's in a bit of Cinderella dilemma I fear. (How does the song put it: 'Nice Work if you can Get It') ... And how ... And then some ... Wonder if you'll ever see BOTH Fairchild and his extraordinarily talented wife in AiP together? (How's her French accent? ... He proposed to her in Paris I understand.) Who knows .... Fairchild might one day become the love interest in LITTLE DANCER ... then both could slip between the two Broadway shows and NYCB. Susan Stroman and Chris Wheeldon could update their respective productons by slipping new ballets in for them ... Heaven ... Well, the world is certainly their oyster ... or so it seems. Deservedly SO in my book That may be a bit of a fantasy, of course ... but not entirely beyond the realms of [a-fairly-demented-it-is-true] reason methinks.

I certainly am glad I'm getting to see Kim in DC because he is apparently not coming to BAM. I wish someone would explain that to me. On the one hand, Gergiev complains the Mariinsky has no new stars. On the other hand, he refuses to let a dancer who could be a star be seen in NY. Filin actively promoted Smirnova to make her a star. Gergiev (or Fateyev) doesn't only seem unwilling to do that, they seem to be actively hiding this guy (I believe Kim is the only dancer going only to DC). He is scheduled to appear in the Russian Icons Gala in London on 8th March 2015 ... alongside other notables ... as he did in 2014. Might it be he may not have been available for those specific dates at BAM? Re; 8th March The programme accompanied by the orchestra of the English National Ballet will be performed by Sarah Lamb, Steven McRae, Vadim Muntagirov, Marianela Nuñez, Natalia Osipova, Thiago Soares, Edward Watson (Royal Ballet), Semyon Chudin, Dmitry Gudanov, Artem Ovcharenko, Olga Smirnova, Anna Tikhomirova (Bolshoi Ballet), Kim Kimin, Xander Parish, Kristina Shapran, Alina Somova (Mariinsky Theatre), Alina Cojocaru, Tamara Rojo (English National Ballet), Mathieu Ganio, Dorothée Gilbert (Ballet de l’Opéra de Paris), Iana Salenko, Marian Walter (Berlin Staatsballett), Chase Finlay, Lauren Lovette (New York City Ballet), Kenneth Greve, Daria Makhateli (Finnish National Ballet), Bernice Coppieters (Ballets de Monte Carlo), Daria Klimentova, Giuseppe Picone and Igor Zelensky.

I feel the love - Do you? Or is that merely waves of hate! ..... Both extremities, of course.

You will have a great time in London, Kaysta. It is a magical place ... and simply visiting the Royal Opera House is an emotional experience. I do so envy you seeing London for the first time. I was too young - being an infant - at the time I did to really appreciate the experience. You were most wise to wait A Happy New Year indeed!!

You may be interested in reading this AiP review from the very fine British web magazine, DanceTabs. I felt the reviewer, Jann Parry, was somewhat churlish in some of the comments rendered but was delighted that Robert Fairchild was recognised as a 'triple-threat'. That he most DEFINITELY is ... and provides a wonderful set of eyes and ears - and most especially feet - through which to view Wheeldon's production. I was privileged to have seen two performances ... and look forward to seeing another on 3rd January when I am back in Paris for work. (I have to also say that - contrary to Parry's commentary - at both of the performances I attended the audience members who surrounded me were almost exclusively French - and I would suspect Parisian. Certainly one almost exclusively heard French being spoken. Perhaps this was because my seats were in less expensive sections than those I'm sure Parry was comforted in via the theatre's Press Officer.) For the record there is an NPR item here which reflects the reality of the huge success that this production has been greeted with in Paris. I, myself, have a suspicion - and it's just a suspicion mind - that it may well achieve a similar fate on the Great White Way .... no matter what the British critic may feel.

It came, I believe, once to us all. Happy New Year

Let's pray they release Ballet 422 in Europe

A boffo review for AN AMERICAN IN PARIS in Le Figaro can be found here, and an interesting (albeit brief) interview with Christopher Wheeldon here in the same. (Both are in French.)

Who wants to bet that it won't be Rodkin for Ivan in the New Year ....

Let's pray something like this doesn't hit those ABT and NYCB dancers who are principals http://www.thestar.com/entertainment/stage/2014/12/15/national_ballets_guillaume_ct_sidelined_by_knee_injury.html# Most sad .... And most telling as I believe that Cote has had an ABT presence in the not too distant past ...

I so love reading your reviews. Bless all for them. It allows me to live vicariously ... well, afar ... given that I now reside in London after having lived for 17.5 years in NYC. NYCB is, I fear, -- or are perhaps proud to proclaim -- the only thing I REALLY miss about NYC. What fills me with horror, however, is the prices and the fact that the fourth ring standing room seems only to be so rarely sold ... and indeed the fact that the fourth ring itself is sometimes not opened. In the 80's and 90's I used to practically live on the grey concrete expanse of the Fourth Ring Standing area. (And, yes, I did usually get a seat in the last row ... sometimes centre .... my favourite seat in the house.) It was there that Balanchine (and Robbins) taught me to 'see the music; hear the dance'. I cannot conceive of a life without it now ... and the fact that these prices and limited access may be stripping that opportunity from so many other deserving NY's is - to my mind and HEART - criminal. Enough said. Onwards with the continued joy that is Balanchine's Nutcracker and the replenished joy of the current throng of artistic interpreters at NYCB. Long may it and you thrive

Buddy, when I saw the show it opened with Brandon Uranowitz - as the composer character - hobbling on stage - from the stage right house side - speaking a few lines - briefly toying with the piano - and then saying 'And that's how it starts' ... or some such. Then you heard/saw the collision of Nazi chaos being rapidly replaced by the victorious parade of a massive Tricolore under which was discovered the ubiquitous 'American in Paris' - the miraculous Mr. Robert Fairchild. When Fairchild turned face front towards the audience the Arc de Triumph explosively rose beyond him in victory. This then went into a prolonged dance/movement sequence during which the depravity of post-war Paris was highlighted by a violent fight on a bread line. A woman is tossed to the ground at one point and Lise (the radiant Ms. Cope) dashes over to give her half of her baguette such as she takes out of her purse. She is the only character in this sequence to be dressed in any meaningful colour. She is attired in pastels if I recall.. This was, of course, all - naturally enough - being sketched by Mr. Fairchild's 'artist' character. It is thus he gets initially caught up with his subject's allure and that, of course, leads to him ultimately tearing up his train ticket which I assumed was to take him to his transport back to the States. It most certainly points both leads towards the meat of this musical's romantic tale. From that point forward Fairchild will be seen in civilian dress only. I'd say the opening was pretty snappy ... certainly engaging ... and - from a dance/movement perspective alone ... impressive. This opening was the same for both the most recent Saturday evening and Sunday matinee performances. I assume that is different from the scenario you witnessed at the first preview, Buddy. Quite understandable with Paris being the 'out of town' sojourn; one ultimately heading toward the Broadway opening at the Palace in March.

Quite right too. The guy - this danseur - is STUNNING!!!

I had a double dose of 'American in Paris' this weekend being as I was, myself, in the City of Light. This was sandwiched between the enchanting Paris Opera Ballet School demonstrations and a performance of La Source. I am very glad that I saw it twice - as it helped to clarify my own personal take which was largely positive. The Sunday matinee was I think the better performance and I joined the largely French audience in their cheers and exultant stomping. On the Saturday evening Craig Lucas' book had somehow seemed much more lumpen than it did during the matinee but that may well have been my own exhaustion having just got off the Eurostar. The concept of a triangle of men in love with the same young French woman is certainly not the strongest nor is it the most novel. This is very much Wheeldon's show. It is almost entirely his extension to Balanchine's 'Who Cares'; here surrounded within Bob Crowley's dazzlingly spare sets/projections, that gives sail to our joy. That said - and what makes this production so thrilling and immediate - is that it is framed - almost entirely - through the eyes, ears and most especially the exhalation of the feet of one, Robbie Fairchild. Fairchild does not disappoint. Never. Not once. Not at all. This lad is a STAR - with a capital 's' and everything else you might care to toss into his mix. What self respecting woman of ANY age would not fall in love with his endearingly crooked smile and his immaculate sense of grace be it lodged in (i) his balletic jazz movement; (ii) his astute comic timing; (iii) his involving dramatic appeal - (even when the book might not be as creatively supportive as it might otherwise have been) and (iv) through the effortless ease of his welcome singing voice; a supported 'Matthew-Broderick-like' instrument which easily wafts over the French footlights. Within each aspect Fairchild caresses. He is, I think, as close as we are going to come to an Astaire facsimile in the early 21st Century. Oh, forget that: He IS Robbie Fairchild. That'll be enough in ANYBODY's book. Both Gershiwn and Porter I suspect would glow at the way he delivers each of their songs - and those resultant dances courtesy of Mr. Wheeldon - with a full and easy measure. Fairchild 'Freds' them, much as Porter himself once quipped. Leanne Cope as the girl in question was certainly demure and looks fetching in her newly culled bob which sets off her gamine headlight-like eyeballs in whichever direction she may choose to shine them. (How refreshing it is to see her in a dramatic role where she is not being murdered, raped [or at least molested as in Scarlett's Hansel and Gretel] or sold into prostitution.) Her character - an orphaned French dancer who's long made a living as a sales assistant - is largely - as it happens - defined by others as much as her time. (Wheeldon cleverly makes potent the violence of a post-war Parisan breadline - 'Brother, can you spare a Franc?' - from the very opening.) To wit: it is through others' reflections that Cope's character comes alive. Her power lies in the fact that she is largely passive; a personage more than willing to be shaped by others. [in this regard - i.e., in Lise's surround - Brandon Uranowitz has a sweet vibrato as a frustrated composer (a Gershwin-stand-in?) embittered by his own war-time travails; Max Von Essen as Henri Baurel - a husband-to-be who ultimately loses to the better man - is possessed of the evening's strongest male voice; Jill Paice is the proverbial rich bitch (a nasty American of course) with an ingratiatingly svelte line in caustic vigor and that theatrical veteran best known as Veanne Cox exalts in the most challenging dramatic assignment of the evening [that of a French matriarch- Lise's maternal saviour - with a war-time conscious]. Cox negotiates any and all mine fields left open to her with apt aplomb.) Given her employment with her native Royal Ballet, Cope as Lise Dassin is most impressive in the balletic segments [for fairly obvious reasons]; most especially in the fine final and entirely telling Wheeldon piece seemingly created for her character within the show's so-called 'Ballet Chatelet'. It is a jubilant circus of an affair during which her romantic zeal for our hero - [which is - it must be said - never really in doubt given that this IS a musical comedy] - takes more than just imagined centre stage. As Jerry Mulligan, Robbie (forgive my familiary but he just seems such a nice guy as to invite one and all to call him by his christian name) would make ANY woman look divine in ANY position. Still, in that final - and apt - Wheeldon pas - replete with its very difficult partnering - [which - much as everywhere else in Wheeldon's AN AMERICAN IN PARIS - Fairchild makes look simple} - Cope glows on behalf of us all in his caring hands. In her character's regard Fairchild practically peculates - even whilst being oh, so memorably shoved into the Seine. (Cue a second helping of that delicious grin up unto the parapets.) The tension of their romantic partnership buoys with a fixed sincerity as it should. How easily this might not have been the case in other less devotedly secure hands. Cope's singing voice it is true is not the strongest - but it is certainly amiable enough for the one and half songs she is asked to sing. Moreover, she does sincerely try to act the songs and even goes so far as to maintain her French accent in every lyric. It's only that the one full solo song assigned to her is just SO darn famous: 'The Man I Love' - (and, yes, it's hard for any NYCB lover NOT to think of Balanchine's choreography in that and - even more - in 'Embraceable You' and 'Fidgety Feet'... with, of course, Mr Fairchild - the natural successor to Robbie La Fosse in that 'every-man' role - at its pulsating heart). Ms. Cope was slightly under pitch in her solo head voice on the Saturday night but was happily back on measure - albeit with some 'snap, crackle pop' difficulty emanating from her sound equipment - for the Sunday matinee. At the curtain calls Cope curtsies with that unassuming propriety given to a Royal Ballet First Artist next to the principle of Mr. Fairchild's happy-go-lucky bow replete with its 'aw, shucks - I'm really here - and you like me' Salt-Lake-City-born-but-come-hither-nonetheless grin. The latter is as convincing as any winning lottery number. Both audiences I sat aside roared their approval. What they will do when they need to replace Fairchild - (and I suspect it will come to that in NY where NYCB should NOT be left waiting/wanting too long) - heaven only knows. [Does Tyler Angle sing? .... Perhaps he could lead the London company?] Someone needs to create a wholly original show for Fairchild's extra-ordinary talents ... and soon. 'Who Cares?' Our world will ... and rightfully so. . Bless you, Robbie; Bless you Mr. Wheeldon. You have done us - indeed ALL of us - proud.

I can't picture the context in which it would ever happen, but I would be intrigued to see what Tiler Peck might achieve in Ashton. Perhaps Sylvia or Fille Mal Gardee...certainly some of his plotless works.... Who knows ... it could well happen at Vail methinks ... at least in small chunks given that it is a hotbed of experimentation and cross-boarder dance enlargements. I have a feeling Ms. Peck would be game. Perhaps Woetzel himself checks in here ... You never know ... The power of suggestion is, of course, potent. ... Might well be worth a quick (and suggestive) email to the management ... with a link of course

You lot may laugh .... but Sky (in the UK at least) is broadcasting that same NUTCRACKER by the ubiquitous Mr. G next week with Vasiliev (V that is not I - [although I[van] danced the Nutcracker Prince with the Bolshoi last Xmas] and [the much missed] Maximova, a lady whose legs were seeming steel.).

Thanks to all for your update on the Mikhailovsky Koch capacity. Much appreciated

I attended the performances the first week and it appeared the fourth tier was completely closed off, except for a few people sitting in the front row or two. Everything else seemed to be nearly sold out - very few empty seats. Thanks so for this. I'm just curious .... did they sell standing room? NYCB used to sell standing room even if the Fourth Ring was far from full. I hope that they still carry on that practice ... for the benefit of the (relatively) impoverished ... a group which seems to be an ever growing many. Much thanks as ever for your kind advice.

I just wondered how full the Koch houses - including for the 'Class Concert' triple bill - were during this very recent Mikhailovsky run? I thought I read on this board there had been considerable discounting. The Mikhailovsky have come to London at the Coliseum a number of times - on a fairly frequent basis - both before and after the Osiliev effect blossomed. Sadly many of their performances did not sell .... or certainly 'sell out'. The last time they were here for a two week Coliseum season the Osiliev DQ's sold out as did their one Giselle but other performances - including an enchanting look at Laurencia with Osiliev (which had been shared with London once before O/V) was sadly depleted in terms of audience numbers. (London has a very conservative dance audience - especially away from the ROH it must be said - and prices I fear have been high in a period of a troubled European fiscal outlook.) Of course, the Koch run had certain advantages given that: (i) the Company was new to the goodly number of New York balletomanes; (ii) had the Osiliev effect in a greater number of performances; (iii) had the added advantage of the renewed awareness of such dancers as Sarafanov, Borchenko, Perrin and Lebedev and (iv) had the advantage of, say, a production of Flames of Paris. (London has not yet seen the Messerer hit - only the fine Ratmansky take by the Bolshoi - albeit it with Osiliev guesting in the roles they had originated in that production at the London opening of its three sold out performances at the ROH). The last time the Mikhailovsky were here it seemed they couldn't give tickets to the Duato triple bill away - (with certain justification I felt) - in spite of the presence of Sarafanov and Polina Semionova (who is seen much less in London than in NYC/Germany). The balcony had to be closed for certain Laurencia and triple bill performances in their last visit to the Coliseum and the audience sitting there moved to other parts of the house. Of course, since Osipova is now a principal with the Royal Ballet I do think she alone could potentially sell performances to a wider UK audience in any future Mikhailovsky London sojourn ... although, let's be honest, the houses were far from full for the recent Osiliev Solo for Two ... much as they had been for 'Kings of Dance' with Sarafanov, Gomes, Bolle, Mativanko and Vasiliev included. (Have the performances of KIngs of Dance at City Center been full in the Big Apple? .... I can't conceive that Solo for Two will sell out ... especially when the praised Ratmansky Nutcracker for ABT is not selling at BAM for its last Brooklyn Xmas ... but perhaps I am wrong.)

Just seeing these pictures make me envy you lucky NYers this Giselle with two of the finest dancers available in the world of classical ballet today. Sarafanov's entrechats six are the only ones I know that can come close to replicating my memory of Bujones'. Of course, I mustn't grumble. We just had the joy - and boy did it build to a heady climb after three performances - of Osipova's Natalia Petrovna in Ashton's Month in the Country. (How I would love to see her dance THAT with Sarafanov.) By her final performance last week every aspect not only of her vivid etching of that part but that too of all others involved was blissfully elevated. Osipova's final few moments are seared in my memory even now .... and I'm certain they shall be for some time to come.

Here are some lovely rehearsal pics .... http://www.vanityfair.com/online/daily/2014/11/an-american-in-paris-rehearsal-video?mbid=social_retweet Sure there will be much to follow.

Yummy

Not particularly helpful for sales I should think. Oh, perhaps now I will buy that box in the corner ....