Rachel Howard
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Posts posted by Rachel Howard
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I thought it interesting that Nicholas Fox Weber described Jowitt as "a dance critic at the Village Voice." Surely an understatement!
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After having a friend scour the fall FSG catalog I spoke to Sarah Almond in the editorial department today. She reports that the Croce book has been delayed to October *2005*. So we'll be waiting a while yet.
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Nice sleuthing, Ari! Thanks for sharing your findings.
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Did you get it by speaking to someone at the company? I'm unable to find mention of the forthcoming book on the FSG website. Thanks.
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Thanks for the news, Ari! Could you tell me the source for your information? Thanks again.
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I once, in a horrific state of failed inspiration, tried to claim a performance "ranked at the apex of ballet-going experiences." Fortunately I was saved by a judicious (and tactful!) editor.
I think "sublime" is always hyperbolic. And to refer to a choreographer as a "master" or that choreographer's work as a "treasure" is not very descriptive.
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Working spontaneously and from memory here, as I'm not able at the moment to dig up my programs:
I thought this season wasn't as strong as last's, though several dancers provided plenty of highlights.
I'll start with the absolute low--program five. I dreaded this slate from the day it was announced: Peter Martins' Waltz Project, Tomasson's Nana's Lied, and Val Caniparoli's Connotations. Three mediocre ballets, any of which could have filled out another program, none of which were strong enough to carry an evening. Connotations especially has not aged well.
But brighter spots, in no particular order:
Helgi Tomasson's lovely pas d'occasion, Concerto Grosso, for a group of corps men. Simple and elegant, and Garrett Anderson so fluid. And the new soloist, Pascal Molat, unveiled in this piece at the opening gala. A true MVP in his first year with the company. Warm and subtle as Man in Brown in Dances at a Gathering, riotously funny as Sancho Panza in Don Q.
Julie Diana in Diamonds. She came into her own in that role.
Clara Blanco dancing Christensen at the opening gala and as a soloist in Paquita--such softness in the shoulders and freedom in the upper body.
The final program, three world premieres, was not a low, but I also felt it wasn't the Mt. Everest high most of the reviews proclaimed it to be. I didn't find Ratmansky's Carnaval at all funny. Who couldn't take the incredible Muriel Maffre and have her do a haggard Dying Swan? Haven't the Trocks been doing that thing for decades? Welch's tutu noodled on and on. I like Julia Adam a lot and was pleased to see her make a comeback with Imaginal Disc. The women looked Oscar-night glamorous and yet so angelic in those white dresses, and I'm happy to see Leslie Young get a big role. But I thought the piece lacked development, especially at the end when Martin lifted Young, wings spread--very lovely--but then the ballet went on, and the close simply repeated the image.
This is off the top of my head, and just for starters. I'd especially like to hear thoughts on Don Q. and its place in SFB's rep--I believe they're touring it this year. I was bowled over by Feijoo/Boada, as were most people, but lukewarm at best on the production--but I won't go into that now.
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Feel I should add--"shocking" sounds a bit stronger than I attended. "Surprising" is more like it. And certainly I sympathize with the sad necessity of cutting arts budgets at this time.
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Deleting this one as well for the same reason.
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Sorry guys, I'm deleting this posting after realizing I had inaccurately referred to the non-renewal of contracts as "firings." Apologies all around.
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Alexandra, when you speak of Delia and her "droll wit," it reminds me we had a wonderful principal at SFB who retired last season after having her first child--Julia Adam, now choreographing. Probably nothing like Delia, but such a comedian! SFB really could have used her in "Elite Syncopations." There is no woman in the company right now to match her sense of humor.
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Alexandra, your description of Feijoo and Maffre's interpretations are spot-on. I see a case to be made for each of them.
As for "Elite," I think the music makes it, so pleasant and nicely performed by the orchestra and perfectly miked. An acquaintance of mine complained about the costumes--she said she couldn't focus on the choreography. But the choreography itself isn't anything to write home about--it really doesn't show any special insight into ragtime as a musical form.
Where is Paul Parish when you need him? He's been watching this company for so long and writes about it so vibrantly--you hear that, Paul?
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I went back to see second casts in "Dances at a Gathering" and "Elite Syncopations." Agreed with LMC Tech that Maffre isn't chatty enough as Green. But the big revelation to me was Pascal Molat, a French soloist in his first year with the company. He made an impeccable Brown Man. I knew he had technical polish to spare after seeing him in the gala, but his easy dramatic capabilities came as a pleasant shock. He just seemed to be enjoying himself and enjoying dancing with the other performers, just as Robbins would have wanted. And the moment when he touched the ground--he let it resonate, but didn't get melodramatic about it. He's incredible. I'd be surprised if he didn't get promoted to principal quickly.
Also, after seeing Tan give a dull performance as the bowler-hatted girl in "Elite Syncopations," I want to give Julie Diana her due. She's tiny and utterly non-intimidating, but she worked that role as hard as she could. She deserves respect for vamping it to her max.
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Interesting that on the new PBS documentary "Born to Be Wild: The Leading Men of ABT" (airing first week of Feb.), Mark Morris says "My take on classical ballet is that it's a fabulous *Latin* for being able to dance anything . . ." And of course he and other modern-crossover choreographers are creating the bulk of ABT's new rep.
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I've just received a new collection by Ann Daly titled "Critical Gestures: Writings on Dance and Culture," published by Wesleyan. She's on faculty at the University of Texas at Austin, but I've never read her before. It sounds from some of her writings as if she was once active in the New York dance scene. I'd be interested to learn more about her.
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Not to veer away from the Homans issues at hand, but I've just received a new book that shows the tradition of critics bashing fellow critics is alive and well. Wesleyan University Press has just released a collected writings by Ann Daly titled "Critical Gestures." Perhaps I should be embarrassed to admit I hadn't heard of Ms. Daly before, but I'm finding the first section of this book fantastic "catch up" reading on the history of NY dance criticism in the last half decade. I don't agree with Daly on a lot of things, but she states her positions so clearly that it's fun to argue back.
Anyway, the choice moments of "critic bashing":
She loves trouncing Arlene Croce's "infamous temper tantrum about Bill T. Jones" etc. "'Discussing the Undiscussable' was Croce's way of taking her marbles and going home, because artists had dared to move from the 1950s to the 1990s without requesting her permission." She also says, "the bad news is, [dance critics] will also be known as the folks who gave the world 'victim art'." I say it's not such a bad thing to be known for, but then I'm something of a Croce worshipper.
And Daly notes that Jill Johnston, then institutionalized, once shot back at Clive Barnes, writing: "I also stake out a claim to be an artist, a writer, if that's what I'm doing when I go to the typewriter and decide that I liked something well enough to say what I think it's all about."
Hmmm . . . Siegel, Johnston, Homans--I'd say Barnes is well-practiced at jostling with other critics and embraces it as an occupational duty. I have yet to read the column, and so can't toss in my two cents.
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Not to veer away from the Homans issues at hand, but I've just received a new book that shows the tradition of critics bashing fellow critics is alive and well. Wesleyan University Press has just released a collected writings by Ann Daly titled "Critical Gestures." Perhaps I should be embarrassed to admit I hadn't heard of Ms. Daly before, but I'm finding the first section of this book fantastic "catch up" reading on the history of NY dance criticism in the last half decade. I don't agree with Daly on a lot of things, but she states her positions so clearly that it's fun to argue back.
Anyway, the choice moments of "critic bashing":
She loves trouncing Arlene Croce's "infamous temper tantrum about Bill T. Jones" etc. "'Discussing the Undiscussable' was Croce's way of taking her marbles and going home, because artists had dared to move from the 1950s to the 1990s without requesting her permission." She also says, "the bad news is, [dance critics] will also be known as the folks who gave the world 'victim art'." I say it's not such a bad thing to be known for, but then I'm something of a Croce worshipper.
And Daly notes that Jill Johnston, then institutionalized, once shot back at Clive Barnes, writing: "I also stake out a claim to be an artist, a writer, if that's what I'm doing when I go to the typewriter and decide that I liked something well enough to say what I think it's all about."
Hmmm . . . Siegel, Johnston, Homans--I'd say Barnes is well-practiced at jostling with other critics and embraces it as an occupational duty. I have yet to read the column, and so can't toss in my two cents.
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Speaking of Barne's history and "critics bashing critics," "The Vanishing Point," a collection of Marcia B. Siegel's reviews from the late 70s/early 80s launches a voracious attack upon him. I bought a copy second hand and, since I wasn't writing in those boomtime years, am just beginning to unravel what the heck it was all about. Suffice to say, the message that Barnes had an incredible amount of power as the chief NY Times critic has come across loud and clear.
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Speaking of Barne's history and "critics bashing critics," "The Vanishing Point," a collection of Marcia B. Siegel's reviews from the late 70s/early 80s launches a voracious attack upon him. I bought a copy second hand and, since I wasn't writing in those boomtime years, am just beginning to unravel what the heck it was all about. Suffice to say, the message that Barnes had an incredible amount of power as the chief NY Times critic has come across loud and clear.
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I forgot to add that here in San Francisco, several critics have been blacklisted from a certain dance company's comps sheet. It doesn't just happen in Canada!
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Actually there is one San Francisco Bay Area dance critic who does not receive comps: Anita Amirrezvani at the San Jose Mercury News. It is the newspaper's ethical policy to purchase all review tickets. An expensive but laudable high road.
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Here's an alternative URL I've found for the Gottlieb piece, which seems to work albeit slowly:
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Here's an alternative URL I've found for the Gottlieb piece, which seems to work albeit slowly:
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I sent this last week:
Dear Ms. Miller,
I am mystified by New York Magazine's decision to cut dance criticism. Tobi Tobias' fine reviews draw new readers from coast to coast, many of whom would remain unaware of the magazine otherwise. I have been one of those many silent, uncounted readers, who look forward to accessing Tobias' latest review from your website. Since editorial decisions today are so driven by the bottom line, I'm prepared to vote with my dollar. Keep your dance coverage and count me among your new subscribers.
Respectfully,
Rachel Howard
Dance Critic
The San Francisco Examiner
The Leaves are Fading --
in Ballets and Choreographers
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That section of the ballet can also be seen on the ABT Now video--I think that's what the video is called--danced by Amanda McKerrow and John Gardner.
I like it too, Bart.