sz

l loved both of them, Gillian M. and David H. -- both gave such sensitive, emotional (for each other) performances. And all that outstanding dancing. Gillian surpassed herself in Black Swan including a series of hops on pointe backwards in arabesque that normally females do on flat foot after a very tiring section of choreography (and the entire night). It's a tough trick to execute without looking heavy or tired, and I've not seen it done that well in years. Just when you think you've seen most of Gillian's fabulous tricks!! She has endless energy and strength it seems... but is also becoming a gorgeous White Swan minus just a couple of tomboy moments a good coach ought to quickly catch and fix. Gillian only needs the tiniest bit of polish at this point... She's really amazing with her style of feminine powers. Yes, very engaged. Ditto Hallberg! He will get stronger in time for the Black Swan section..no doubt... it got a bit weak in technical fireworks required for the man's role....but Hallberg is clearly untouchable with his stunningly beautiful lines and graceful, accessable elegance, a soulful faun of manliness. Very special. And you totally believe his acting, from beginning to the bows....My, oh my, what a sensual and poetic, and divinely handsome prince he is. Wow! So yes, indeed, an incredibly exciting and moving night..., and the orchestra sounded its best too, so far this week. An overall great performance. Oh, and Jared Matthews in the pas de trois of Act 1 -- he danced so fully and brightly, youthfully without being cute, and with so much energy - especially loved his clean jumps and his speedy turns at the end of that pas -- so many I lost count with one preparation. Another very handsome and talented, tallish male dancer at ABT. Can't wait to see more from Jared in further solo/principal parts. He's got what it takes, sexy too.

But that's Macaulay's background.... He does mention other dancers in the more recent past too.... Is that so awful? Perhaps he is in the early stages of trying-to-impress-NYC-readers-mode (and his bosses, editors) with his past knowledge(?) while at the same time absorbing the present state of the NYC ballet world... Please, no more Rockwell *ballet* reviews.... yawn. Macaulay, however pointed at times, is a big improvement. He certainly has brought about much "debating" on this website(!).... and I can just imagine all the backstage talk... and that's important for the future of ballet, I think.

First, just because Macaulay has a strong and different opinion from yours doesn't make him jaded. There's a very good reason he's been brought here to write for the NYTimes.... I thought Macaulay's review today was bull's-eye on target about Monday night's performance. Irina started out with a fresh, breathtaking huge stag leap onto the stage as White Swan followed by a couple of stunningly lyrical arabesques that suspended the audience's belief she was Irina and a beautiful, fantasy woman-swan instead. That lasted about 5 minutes... Then it was back to Irina being Irina, pretty much manufactured (well programed) in her execution. She took few risks Monday night but she is strong and commanded the stage, dancing well, her way. As far as costumes go..... come on.... what purpose do those ugly Star-Wars headpieces serve? The ones the female peasants in Act 1 wear. And the dresses on all the females in Act 1, including the pas de trois are much too long. Can't see enough of the dancing action. Meanwhile the male peasants wore tight shorts....Ugh. The illusion worked for you, that's fine. It didn't for me, though I enjoyed Sarah and Yuriko in the pas de trois, but I wouldn't again put them together with Radetsy. Sarah belongs with a shorter cast, hello Herman!..... Yuriko is an amazing (big, strong, and light) jumper, and she is quite a bit taller than Sarah. Looked odd to see those two ladies as opposites.... like putting a small swan right next to a big swan in the white section. Yuriko danced exceptionally well making her difficult (man-ish) solo look completely effortless. Sarah was so lovely, so feminine with her gorgeously warm, upper body and very secure turning variation. I plan to see Hallberg and Murphy tonight in the leads. Both are still maturing as dancers/actors, and I always look forward to seeing their progress with each season.

I haven't had much experience reading Wolcott...but yikes... talk about a nasty gusher! On the otherhand, I have so far found Macaulay to be most honestly eager to learn about the present NYC ballet world. Yes, he knows the 70's better. Most frequent NYCB and ABT fans remember those years most strongly too.... I don't think there's a problem with that and with Macaulay informing his readers about his personal experiences with the ballet world back then as compared to now. Yes, Macaulay's a bit flowery, a bit gushy, but he's also personally committed to giving the ballet world *his* best views at this time. I think, three or four years from now, if we're still fortunate to be reading Macauley in the Times, that we'll be reading far different reviews -- after he's had some time to digest all that is today's generation of ballet and ballet goers. I don't agree with every statement Macaulay makes, but he does seem to deeply care not just about the performances he's currently attending, but about ballet in general and its future.

Meant to say, Macaulay's concentration of experience with NYCB was in the 70's.

>...and I do think much of it is people waiting breathlessly for Miss Kirkland and her husband to fall on their faces. You couldn't be more wrong.

That good-looking, tallish, young man looks like Matthew Dowsett (on the far right of the picture). And, yes, he is very handsome....

Diamonds seemed the least rehearsed part of Jewels last night, full of messes and choreography not executed. Ms. LeCrone was the 4th demi who was all over the place having no idea what she was doing most of the time, off the music, and not at all together with the others. Demis Beskow next to Muller (2 of the 4) could not have been more opposite in their opening section with the corps. One was 10-cup-java extreme punchy, with no elegance, the other looked as if she needed a long nap, too exhausted to even smile or put some perk/joy into the steps. I was embarassed for the company to have shown such a poorly put together Diamonds - probably the worst I've seen in all my years. Maria couldn't even finish Diamonds on pointe... falling off her lines to flat foot more than once esp at the ending -- not part of the choreography. Her head kept falling backwards too, too often, leaving many of her movements projected to the ceiling....not the choreography either..... Neal saved Maria from falling over many times, but his turns, though nicely done, were taken right out of the female lead's Dewdrop. Somebody tell Neal he is the romantic *male* lead in Diamonds.... And speaking of a 10-cups-of-coffee, weird, performance.... Hanna made his solo entrance (running onto the stage) in Emeralds as if he had just walked out of Starbucks.... but then when it came time for him to execute his steps, the energy and technique faded and were too small/weak. As a partner however, Hanna was excellent....and I wish he was being cast (more appropriately, temper-wise, height-wise) with Mearns next week... Bouder will be far better suited for Rubies which I thought went very well last night led by Megan Fairchild. Actually, Fairchild totally surprised me with some of her best, most sassy, fun, bright and excellent dancing to date. Fabulous debut!!! The Rubies corps was also the best all night. DeLuz was not much of a partner for Fairchild, leaving her to do so much of it herself, but DeLuz, in time, I trust will become better controlled, and will gain a better understanding of this male part --- It's not about hardselling and hamming it up to the audience. The male role is all testosterone, flashy technique, with some sex'd up flirting *to his partner* not the audience. I'd like to see Suozzi in this part someday soon.... Suozzi was very good in Emeralds' trois, but a bit too flashy and wild for Faure.... Suozzi is much more Stravinsky edged.

6/9/07 Saturday afternoon, I only watched Hallberg's violin solo then the Bluebird pas with Hee Seo and Radetsky. Hallberg is a Prince if there ever was one with the most beautiful male dancing I've seen in awhile from a tall guy. Handsome, elegant, romantic and moving beyond words with a solid, poetic technique. Wanted to love Hee Seo as Florine.... her big extensions were very striking but she performed more as a future Lilac Fairy type. Her jumps were weak but her presence was mature and womanly pretty. Radetsky, as Bluebird, had many amazing jumps in his solos but he seemed overall forced and without joy in the creation of his role. Maria Riccetto has never much appealed to me though she has lovely lines. As Lilac Fairy, Riccetto just doesn't have the acting or the womanly presence to carry such a role. I almost left the theater Saturday night, when I found out Diana Vishneva cancelled, but I was happy I stayed -- to love again Gelsey's performance in Carabosse. She's always so fascinating and so committed to whatever role she takes on. Just brilliant and interesting to watch Gelsey's great artistry... I hope nothing too serious happened to her.... Gelsey seemed fine through the entire first half...though I was terribly worried every time one of those firecrackers with smoke exploded around her entrances/exits. Those effects seemed unnecessarily dangerous for any dancer to be near... And then another surprise to find Sarah Lane as the evening's Florine which was back to her radiant, lovely, gorgeously technical self. And yes, agreeing with drb, Sarah was very much looking ready for "Aurora"....

Back to the performance of 6/5/07- G. Murphy was definitely solid with her extremely strong, excellent technique, but as an Aurora she doesn't fit the role for me. She's handsome, a big, bold girl, instead of being very pretty and very feminine, but Murphy danced/acted the Aurora part far better than I was expecting. Must admit, I kept drifting off into visions of Murphy instead as Lilac Fairy.... in a P. Martins' or The Royal's production. E. Steifel, yes, danced very comfortably in his role, with all the elegance of a prince charming with fine, clean technique. I'm ready to see him take more risks now..... push some of his safe boundaries.... But, definitely, it was terrific to see him back dancing well. And whoever set the wedding penchee kiss for these two, thank you! It was much improved with Aurora embracing her prince's face with her hand and a gentle kiss. Back to taking risks.... I won't go into it too much.... but it was not S. Lane's best Florine -- nowhere near as wonderful as the one she danced last Saturday (6/2 mat). Lane was lovely, pretty, but she didn't go that extra mile she's capable of with her best jumps, best turns and stunningly long, yet musical balances that were so impressive over the weekend. One of the great lessons for any young dancer is learning consistency.... esp if they want to be a soloist, or principal. No two performances will ever be the same, but each one should be exciting and thrilling... the dancer's best, or nearly their very best. S. Lane took a safer approach last night and turned on her prettiness/acting almost excessively instead of delivering her full potential technically. Thought her partner, C. Lopez, was dull, but he's a very good partner.... sigh. Herman still has much work to do in that department and the ADs probably felt safer pairing Herman with the more experienced (and consistent) Reyes, though that pairing is not too attractive. I do hope to catch Hee Seo's Florine this weekend.... > brings me to expressions of dancers. Anything overdone, is going to look odd and distracting. Dancers are taught, coached, on everything, including their faces.... how they must be as humanly natural as possible (changing expression to fit the moment) while also being inhumanly technical and a fantasy of beauty. No small task....

>There seems to be some underlying pressure to make ballet "modern" or something new and >worth seeing. But this ignores the fact that we love to go see our favorite paintings again >and again and expect them to be exactly as they were when we last saw them. Repeated >viewings allows us to see more and more nuance... and this is what the ADs are missing when >the disregard classically faithful productions... that the audience will see something new each >time they see something old. It is the AD's job to update, to an extent, with great taste....., keeping the old favorites alive. Ballet is not at all like looking at paintings. Ballet is a living Art and deserves a new dress, hairdo, etc., or new choreography now and then. The dancers change with every generation and so does the art form. Even the old classics need *some* updating from time to time. The problems begin when there isn't a **good** AD to do the necessary work, a person who has the great taste and the imagination to do it well. We've been so spoiled by the genius and fine taste of Balanchine....

hi sz, i'm not disagreeing with you or anyone as i haven't seen this. but for the two points above raised, if you mean the violin solo from nycb's nutcracker, is that not the solo from sleeping beauty inserted by balanchine? also the kirov's beauty, at least, does have a pas de deux for cinderella and prince fortune. perhaps someone else can give more background? Mme. Hermine, Leigh, Was just talking with a friend who also confirmed that the Cinderella avec Prince pas and the violin solo (most of us think of as Nutcracker's) were from an older version of the Kirov's Sleeping Beauty. Before my time (40's-50's?)!!..... But thanks for the info.... Always interesting to learn these historical facts.

I was there too and in complete agreement with your comments re Sarah Lane. Sarah glows with lyrical beauty, a radiant upper body, as well as fabulous balances, huge stag leaps, effortless turns, a sparkling technique. You can see Gelsey's touch on Sarah, big time, in this awful production..... And speaking of this production......... Just off the top of my head..... I had been biting my tongue until now..... This SB is one of the most God-awful things that has been seen on any stage in our lifetime! It is an appalling mish-mash of the worst costumes (day-glo colors with glitter, glitter, glitter; garland dance costumes in a dreary mustard color that scream, "Sponsored by Grey Poupon!"), staging (Carabosse's aliens "coccoon" the prince and stick him in a silver spider web which he has to hold up by himself as part of his costume! More people fly through the air on wires since Cathy Rigby did Peter Pan), sets (more cheese than Zabar's, Fairway and Whole Foods combined; smoke-effects that are so extreme it stinks up the entire Met house and is incredibly loud to boot), choreography -- and I use the term loosely (dumbing down too many of the traditional technically difficult steps; the lips-to-lips kiss-penchee in the wedding pas has been tweaked sideways to a weird, cheek-to-ear, air-kiss: it looks like they now both suffer from severe halitosis and can't bare the smell of each other's breath -- unbelievable!), jaw-dropping musical cut-and-pastes (the violin solo from Nutcracker inserted in the dream scene! No Puss and Boots, no Red Riding Hood variations -- they just sit around watching -- with Cinderella and Her Prince, no less. Cinderella?? What is this? Disney Princess Smack-down Wrestling? As the text-messaging kids write today: WT_???) and a whole host of severely overbaked acting performances.... I was ready to shoot the canary fairy.... overdone to death throughout the production, instead of remaining a charming solo.... I won't even attempt to list everything else that's wrong because the list would take days to compile. But I will be back to see Sarah and/or Herman in Bluebird again..... or Part as Lilac Fairy (wishing....).... Part was beautiful, did an ok job, but she is just not well cast as an Aurora......

Bouder in Rubies would be wonderful fun!!! And it has nothing to do with her height........ It's all about her personal style..... which would take far too long to go into here.....

Cheesy was the word I thought of while leaving the theater!! But I thought the set was appropriately, fairy-tale beautiful as the prince awakens Aurora in her bed..... Not much else was.... with the exception of a couple of very fine performers....

It was so wonderful to see Tess Reichlen, still growing, finding her own way in Union Jack. Tess looked better than ever in R.C.A.F. but I found myself watching the very Marilyn Monroe-ish Sophie Flack in the Wrens. Such a surprise and fun!! Wendy Whelan never danced better as well in MacDonald of Sleat. Thought Bugaku's cast was the weakest of the night though I loved the music. Flexibility is not the point of Bugaku.... There was so little "sex" and understanding of this ballet being shown with this new lead cast.... though again, I was thrilled to see an exception with one male, Vincent Paradiso (in the small corps). He was so "hot" in the way Bugaku needs a hot male.... sensual, manly, strikingly beautiful with lots of testosterone, as well as the reserve (on the verge of bursting) needed to make this court come alive on different levels.... Paradiso not only looked the Bugaku male part, so handsomely, but he danced it with all the style suggested in the music. The fantasy costumes and set looked as beautiful as ever. Bugaku..... Now there's a fine part for Sara Mearns who was exceptionally beautiful, feminine and danced with such abandon and lushness in Serenade last night as the Dark Angel. Maria K. has a stunning body, but her "projection" is too cold for this piece. In the meantime, I'm still keeping my fingers crossed that we'll see Janie Taylor in Bugaku one day soon...

> What he can't see is the dancer who can make you sigh, or who can dance a sigh.... Pretty much true, most of the time, I'd agree. But he does get it right once in a great while, eg, Janie Taylor, and although not first or second or third choice, etc., etc., as Juliet, Erica Pereira.... >I hope Tess is re-inspired by her casting as Suzanne WREN in all those upcoming Union Jacks! Funny, I was going to bring that up earlier.... but decided it was going too far into another direction.... As flattering as it must be to fill a big Suzanne role, I think Tess could not be more naturally wrong for Wrens..... and at times Tess looks very uncomfortable in it....rather than bathing in its fun. Now here's a role that would work so well on Ringer or Mearns. Both would devour it... as both these dancers always are so comfortable with being sexy and vampy on stage... For me, Tess is the lovely, gentle, coltish female, with tons of solidly strong technique, and tall, long-limbed lines -- a natural Lilac Fairy, among other parts. Well, enough of the wishing game..... But above all, I have always wished that Suzanne would have been the AD of NYCB and Peter would have been in charge of fund raising, working with the male dancers, and training them to be better partners... Sigh.

>(Bouder) She is built very similarly to Merrill Ashley, who practically >owned TPC2 for years. A bit shorter, but their leg(s).... Merrill was definitely taller and was a very different type of dancer than Bouder. It's not just leg length that's needed for a ballerina role such as TP2..... Ballo, Stars, Tarentella, Bizet 3rd mov, all work so well on Bouder because they're all about flashy technique and high, youthful energy fitting the choreography and music.... TP2 requires something more, different.... Bouder will be very exciting in TP2, I'm sure, she has that brilliant technique, and speed, but she's not womanly physically, and she doesn't have the same carriage as Merrill Ashley did or Gillian Murphy or Sofiane Sylve with her own special glam beauty. Watching Ulbricht or DeLuz in the male lead of Chaconne as a sort of similar example.... it would be very exciting but not really the style of the piece. I think Tess Reichlen would be inspired by such a big, technical role as TP2, and she does have the technique...... It might have brought out more of her Princess Grace Kelly style, as well as technical attack which I haven't seen since her fabulous debut as Sugar Plum in Nutcracker... Or give the role to Mearns!!! Prob again for both these tall women, is that there really isn't a tall male equivalent to partner them except Chuck A. or P. Neal.... but there are plenty of shorter guys at NYCB who can partner the likes of Bouder, Fairchild.... >Wouldn't you love to see Ringer's 2nd Movement Bizet, for example? No. And who would partner her???!!!! Besides Chuck..... Nilas??!!! I love Ringer in earthy things, parts requiring wonderful acting, but she doesn't have the body for such a lyrical, sensual, extreme lines and dreamy adagio as Bizet's 2nd movement requires. >Not everyone with long legs has the musicality to do those great adagio roles well. Absolutely true. But I think it's there (just a hunch) with Tess Reichlen. Only because I saw it with much surprise in her Sugar Plum debut. Though speaking of Ringer.... there are roles I've always wished she would dance too, roles she seems perfectly suited for but hasn't been given.....Ditto Wendy Whelan..... It's been, to say the least, difficult to comprehend Peter's vision for this company.... It seems so short-sighted... (pun intended)...

>The original lead for TP2 (then called Ballet Imperial) was Marie-Jeanne wasn't it? >I don't believe she was a tall dancer... Marie Jeanne Pelus did originate the Ballet Imperial role. She was small-ish, and a bit stocky, as was nearly everyone in Balanchine's company in those days (1940's). I don't have a problem with the many shorter dancers currently at NYCB... I just feel badly for the taller women, who are very few, and who are not dancing much because they don't have tall, excellent, male partners to work with. I was at Walpurgi last night too. Mearns is a lovely, womanly, dancer. I'm very much looking forward to seeing her dance this part again with another partner.... Ask, her sub-for-Neal partner was a mess again with partnering mistakes everywhere, and I'm sorry but in a principal role, a tiny solo for the male, he must pointe his toes in grand jetes. Ask was nowhere near Mearns' level of professionalism.

Agreeing with your wonderful review! Thank you! >TP2 is ALL about la Sylve for me. I don't really want to watch anyone >else do it, now! Sofiane has technique to burn, and energy through the roof. >She energizes the whole ballet. .......I really think it's more effective with tall leads.... >Also seems like the lead ballerina in TP2 should be a more "mature", romantic type. Yes, at one time, Wendy was brilliant in TP2...Sigh. I've seen several ballerinas dance it, but Sofiane is my favorite as well, Gillian Murphy in second place at ABT. I'm sure Bouder will dance it very well, but I agree with you in that the choreography is meant for a more mature, womanly, taller dancer. Legs, legs, legs --- in this ballet.... I would have picked Tess Reichlen for the next debut in the ballerina role, seeing what she could do with those long limbs of hers and brilliant turns and jumps, as well as her fine adagio. I think Tess badly needs some inspiration.... But then again, Ask LaCour doesn't seem ready... yet....and he's the only other tall guy around for someone like Tess... besides Chuck..... Sigh...

>Symphony in C was marred in the finale, when Ask LaCour lost control of Sophiane Sylve >and her leg hit Pauline in the head. I recall seeing that mess happening at the near beginning of the 2nd mov pas de deux.....the first grand jete, upstage (thank God) into the arms of one set of demis in a bended fourth position, arms in a lowered ring. It's suppose to be the ballerina's front leg landing into that ring and to the floor.... But Ask landed Sofiane right on top of some poor dancer..... Just awful.... And so went the rest of the pas de deux. A huge mess of partnering errors and lack of confidence. Ask looked as if he had no clue as to what a partner should *be* in this grand pas. My guess is that Ask had very little rehearsal time before sub-ing for Chuck.... Nevertheless --- My hat's off to Sofiane for struggling through not knowing when the next bomb would go off. I swear I thought I saw her crying.... or definitely in tears when she wasn't trying to salvage what she could with her own magic. I doubt we'll ever see these two dancers paired together again......... esp not in Sym in C's 2nd movement.... and that would be fine by me. Sofiane did manage some beautiful dancing on her own, however flustered at times, including stunning balances before the famous, gorgeous penchee. I think if she had managed the head to the supporting leg's knee, the audience would have exploded into applause just to thank her for not giving her partner a well-deserved karate chop instead. The matinee did start off with a fine, big POW, better than ever, from Square Dance's corps along with Megan Fairchild and Andrew Veyette in the leads. I thought there was a wonderful, new chemistry and playfulness between these two leads.... They danced, played off each other, so well. Also a fine performance from Tiler Peck and Damian Woetzel in Carousel. It's hard to watch anybody but Ansanelli in this part, but Tiler did very, very well, and then bounced back to another brilliant 4th movement ballerina of Sym in C. Tiler seems to have endless fresh brightness and attack.

Adding to the good reviews for Wednesday (5/16/07) night's performance. I thought Ethan's dancing was as exciting, sexual, sensual, and clean as ever with those stunningly beautiful lines....if a bit too forced with his acting and projection.... But nevertheless I was very happy to see Ethan back and dancing so well. He's all male, but has the lines of a beautiful female dancer.... That's meant to be a huge compliment!!! I also was surprised to see so little (eg, nearly zero) connection between Stiefel and Vishneva in the Shades section.... In the earlier sections of the ballet, they were both so sexy and steamy..... Vishneva was outstanding, and very dramatic until Shades and then she suddenly became cold, all focused on the technique..... I loved her extreme lines and hyper-extensions and excellent technique.... I loved her dancing! But I didn't think Ethan and Diana connected well at all for Shades as one would hope for an opium dream.... The corps had a few wobbles and anticipation-type moments that were absent from Wednesday afternoon's Shades performance. I wonder whether Natasha Makarova's attendance, in the afternoon, inspired a more perfectly executed corps. I again loved Hee Seo in the pas d'action section. There's something so fresh and free about her dancing. It's all so joyously natural for her and she radiates with that joy. Ditto, being radiant, with Sarah Lane as the first solo in Shades. Sarah's upper body is so lovely, expressive, never showing any worry or strain.... even if the last triple pirouette (3 of them she chose to execute in her solo) came about to be 2 and 3/4. Sarah handles her technical decisions with such youth, charm and calmness. She reminds me a little of Alina C.... Sarah does seem a natural Aurora..... I'd cast Hee Seo and Sarah Lane as Auroras immediately.....

I was there this afternoon too. I was somewhat impressed and more so not impressed with Part today. She is gorgeous, and has a beautiful soulful expression when the choreography isn't too demanding, and beautiful lines....I was expecting this from her..... But Part just isn't strong enough.....and took the safest routes possible.... looking overwhelmed with the technical demands especially in the Shades section. Gomes is most certainly back in fine form, and brought out the best with great technique, charisma, and abandon to his principal role. As did Hee Seo in her soloist part. I thought she had *all* the "ballerina" qualities I'm looking for with any featured female dancer in Bayadere. What a lovely surprise.... Also thought the corps did an excellent performance. Will be seeing the performance tonight too.... So, there will be much to compare and contrast.

I completely agree with your comments about yesterday's matinee. I was there too with friends who had not yet seen this R&J..... Yes, that much-touted 'slap' was barely there yesterday. It needed to be altered...I'd rather it wasn't there at all, but.....Let's hope toning it down a lot came about because Peter had read all the very negative comments and realized his mistake. I'm very happy too that we saw this beautiful performance from Erica once again. She could easily be a movie or theater star if she wanted -- she's that fine an actress! I really didn't expect it from such a young dancer esp at NYCB.... What a talent!

I agree. The slap in Martins' R&J comes as such a shock because Martins really doesn't venture much at all, choreography-wise, orignality-wise, into other aspects of the story. There's nothing interesting or new, choreographically, in the way the romance, the "awe," and the sensuality of the R&J story are seen. Instead Peter's personal touches stand out alarmingly in the unexpected bits of violence. Btw, the stage slap.... The reason Jock's back is turned away from audience.... It all happens so quickly.... he doesn't actually hit Juliet's face. He passes one hand right past Juliet's face and as quickly as possible lands that hand into a clap with his other hand's palm. That's where the clap sound happens. That's a stage slap. The audience doesn't see the mechanics of it because Jock's back (with huge cape) is to the audience, and the focus is on Juliet's face whiping to the side (from the fake slap) and her body being knocked to the floor. Erica and her Romeo were even better this weekend than last, both were even more free with their acting, and both were beautifully connected in their pas de deux. She is breath-takingly perfect for this role.