AmandaNYC

According to the casting sheet at the theater, Taylor will not be debuting in Carousel on Sunday, but, instead, Ansanelli will perform the part. Also, Millepied seems to be out. Askegard is performing T. pas de deux on Sat. and Woetzel will be doing Carousel on Sunday. -amanda

Two performances attended... Friday evening of Reliquary, The Cage, Valse-Fantaisie, and Brahms-S Quartet. The Cage. I seem never to tire of seeing Wendy and Jock do this ballet. She so IS the novice in this ballet. So transformed. I was sitting with several people who are not fans of the ballet. In talking to them and trying to explain my love for it, I said that it was so ugly it was beautiful. Not sure that really articulates it. But, the movement makes me really think I am watching some unattractive novice creature. Rebecca Krohn did an admirable job in her role debut. She certainly has the long legs for it. I did miss the sharpness or power in it that tells you this one IS the Queen, and you better not forget it! Valse Fantaisie. As mentioned in a thread for an earlier week, I have come to love Abi Stafford in Square Dance. She has really begun to come into her own in that type of ballet. She has grown comfortable on stage and shows she enjoys herself as she invites you to see what Balanchine devised. She does those jazzy, more cutesy steps with more conviction now. But, I don't think she's quite there with a more showy ballet like VF. Here, not only do you have to be a technical powerhouse, but you have to match that technique in your presentation. She's getting there, but I am not yet electrified by her in the part. Millepied also didn't quite electrify me. He was more restrained than I would have like to have seen him. Brahms. Not surprisingly (for me), I can watch Somogyi all day in the first movement. ... although I look forward to her doing the 2nd mov't this week (whereas a few years ago, I wouldn't have thought she was ready for a part that required such relating to a partner). Dana Hanson debuted in the secondary role. She always has beautiful form, but she was off in several areas of it and just simply lacked the power that this ballerina must command. With that big booming music, most girls would have trouble matching it, but she didn't seem to be conscious of it-- not very musical about it. Neal was as he usually is, a beautiful dancer who, alas, does little for me. I hate to say it, but I didn't feel the impending doom and feeling that I used to with Ringer in 2nd mov't. She doesn't have the abandon she used to in this part. I used to cry when watching her do this part she moved me so. She had the beautiful back bends, but it didn't convey any larger feeling to me. Now, I thought how I'd like to see her in the 3rd mov't. Taylor and Boal were very good in 3rd. mov't. I like getting to see Taylor do more Balanchine. I don't quite see her suited for this part yet, but I found it interested to watch her nonetheless. Kowroski and Askegard had their fun with the 4th mov't. She had, for me, the right combo of sexiness, tension, flirtation, and power. I would like to see a little more passion, but I'm not complaining too much. Sunday: Who Cares?. Years ago I wasn't sure that Taylor would ever be the type of dancer I would love. I still don't get emotional about her dancing, which I want to if she's dancing the Man I Love, but I do see dance in a new way when she does it. She has her own unique way of moving and offers me a different perspective. It's not the one I prefer for the girl in pink role. I missed her doing the burgandy girl role. I loved her in that last year. She could play with the music and the movement, but she gets to be light. I do also have to admit that Taylor's wrists seemed to flop a bit too much for my tastes. What I found lacking in both Taylor and Abi Stafford's pas de deux with Askegard was a regard for their partner, when they were not directly looking at him. Sure, they acknowledged his existence then and smiled and such. But, when he was not in view, I didn't feel like they were conscious of his presence. In the Man I Love, I always feel like the girl never, for one second, is not sensing the man. Somogyi, on the other hand, has made the girl in blue her own. As I mentioned earlier, I did not used to think her suited for the role... for the same reasons I think Taylor and Stafford not ready. But, now Somogyi is both techniquely wow-ing us, but, truly in a dance for two. I just love her more and more in this. She was a real ballerina in this. And in... Davidsbundertanze. I am begnning to believe there is little Somogyi can't do (ok, I was not a fan of her doing La Source-- she's not that kind of personality dancer). She just has such a unique combo of strength and vulnerability that works so well across her roles. At one point, my all-time 3 favorite dancers shared the stage (bouder was the only one missing): Kistler, Ringer, and Somogyi walk out hand in hand to join the men. As the ladies separated, and so I had to choose one on whom to focus or try to get them all in a less focused view, I found myself continually returning to Somogyi. Years ago I would not have predicted that! That's not to say I wasn't taken with the other dancers. Maybe this was just a Somogyi day for me. Which is good, b/c I was recently commenting to Dale that I felt like I hadn't seen Somogyi much this season. Glass Pieces. Can I please be allowed to watch the first part of the 3rd mov't with the men over and over and over again? That part just feeds me at my core. This crop of boys is particularly graceful but yet strong and *manly* at the same time. Once the girls came on, I felt things got a little sloppy. But, it could be that the non-uniform costuming takes away from that. And, as always, I still have yet to watch fully the pas de deux, as I get hooked on the girls in the shadow. It gets addictive. -amanda p.s. thanks to those who wished me well (on another thread) on my new job. Having a job might actually give me the discipline to write more, not less often!

Wasn't sure if this was the correct place to post it (since it's for contemporary dance), but for everyone who has seen a NYC dance performance this year: Time Out NY Dance Audience Award From the page: "Stand up and applaud your favorite contemporary dance performance and/or work by nominating it for Time Out New York's first-ever Dance Audience Award, to be presented at the 2003 Bessie Awards. Consideration is open to all contemporary dance performances by independent artists in New York City during the 2002 season (July 2002 through June 2003).* "From now until June 30, 2003, you will be able to nominate your favorite performances and/or works. The 20 performances and/or works to receive the most nominations will then be presented for you, the audience, to vote on. The performance and/or work that gets the most votes will receive Time Out New York's first-ever Dance Audience Award. The recipient will receive a $1,000 check and $2,500 worth of advertising in Time Out New York. "To nominate your favorite performance and/or work, fill out the information below and click submit. The final nominees will be announced on July 1, 2003 at www.timeoutny.com. After that date, you can vote for which nominee you think should receive the first-ever Time Out New York Dance Audience Award. Don't worry, we'll send you an e-mail to remind you when the final round of the voting process begins." So, make sure your opinion is heard. I know there are plenty of us with opinions! -amanda

Looks like Weese is still out next week, as Somogyi is debuting in the 2nd mov't of B-S Q (yay. if i can't see her in 1st mov't, i'm happy to have her in a key swooning part!), where Weese had originally been scheduled to debut. Changed dates below: WEDNESDAY EVENING, JUNE 18 AT 8:00PM Brahms-Schoenberg Quartet: van KIPNIS, NEAL, TBA, *SOMOGYI, FAYETTE, *ANSANELLI, BOAL, WHELAN, WOETZEL Intermission Thou Swell: KISTLER, RINGER, *TAYLOR, KOWROSKI, SOTO, FAYETTE, MARTINS, ASKEGARD Intermission West Side Story Suite: MILLEPIED, SOTO, WOETZEL, McBREARTY, RINGER, EDGE ..... SATURDAY, JUNE 21 AT 8:00PM Brahms-Schoenberg Quartet: van KIPNIS, NEAL, TBA, SOMOGYI, FAYETTE, ANSANELLI, BOAL, WHELAN, WOETZEL Intermission Reliquary: TAYLOR, ANSANELLI, MARCOVICI, ORZA Pause Tschaikovsky Pas de Deux: SOMOGYI, MILLEPIED Intermission Thou Swell: KISTLER, RINGER, TAYLOR, KOWROSKI, SOTO, FAYETTE, MARTINS, ASKEGARD

I definitely keep the tv on as background company (not simply noise! i could put on the radio for that!). But, I also do LOVE tv. It's my passion along with ballet. I know some of you may gasp at that. I am a product of the tv generation, afterall. But, I don't watch reality tv or most comedies for that matter. I LOVE scripted dramas of the serial kind with character development (i.e., not the L&O franchise). For the last few years, I have found many of these shows much more satisfying as the movies I have seen. My faves of the last few years (which have all, for the most part, varied in quality during that time): Buffy the Vampire Slayer, the West Wing, Gilmore Girls, Six Feet Under, Angel, Alias. Past favorites (of the last decade plus) included My So-Called life, China Beach, Homefront, Life Goes On. TV is not for everyone. But, it does bother me when people dismiss the medium as a whole. I HATE certain aspects of it (this reality show phenomenon), but there really is some fantastic stuff on, with smart dialague, solid acting, etc. Many of the strongest writers in Hollywood move to tv in the '90s, as the writer is king (exc. where reality shows area concerned) in TV, whereas the director is in movies. SO, the writer gets to see his or her work more accurately realized in tv. Plus, he or she gets to develop characters over weeks, months, and years. BUt, going back to the original question. B/c I don't categorically hate tv, it is often my companion, when I need noise and visuals in my apt. I'll usually leave on HGTV, Fine Living, or Style so I can see the houses and interiors! I go to sleep with the tv on (on sleep mode). We'll see if I'd be willing to change that were I to have someone sharing my bedroom... -amanda who starts a NEW job doing TV research on Monday (after 3.5 months unemployment)

I actually very much enjoyed Rutherford's performance, as I think I talked about in my post about last week's performances. She isn't a big, projection dancer. But, from the first ring, she pulled me in, and I was taken with how beautifully she moves her upper body, swooning. I could see her tentativeness with her partner at times, relief when he appears at last at that one point, joy in sweeping around the stage. Not sure if those who were less happy with her performance were higher up than I. I definitely think there are some dancers who are not "3rd or 4th ring dancers". That's why I still think the ballet masters should watch from up there (if they don't ever now) on occasion, to see what a large portion of the audience sees. -amanda

Not much to add that others have not already said. Chopiniana-- The practice clothes make you realize how forgiving the full tulle skirts can be. With so many poses and dancing in unison for the corps, nothing was left hidden. That said, it was refreshing to see the students try the more Romantic style. Lokelani Brown captivated me most here. More so than in her Swan Lake, where the drama was lacking. It's a hard role for anyone to do at the student level. I haven't even seen the role done well that many times at the ballerina level! (well= to my tastes!). The highlight was Flower Festival, for me, as well. Barette Vance and Arron Scott's technique was matched by their verve. Scott not only showed confidence and happiness, but wit as well. I appreciated that. The last time I recall see that at SAB were Bouder in Stars & Stripes and Ramasar in Fanfare as a percussion. At a time when the students must be so overwhelmed and nervous, it's impressive to see such a glimpse of the dancer's personality shine through. Napoli was a joy to watch as the students obviously enjoyed themselves. THe Bournonville seemed more natural on them than the Fokine (not a surprising thing). To see Martin's entire Wedding act performed by students was thrilling (it also made me want to see it over at the state theater again-- i do admit it.. . I like the Martins SB). Paradiso's Bluebird was, of course, a highlight. I hope with time he does not come across as if is trying to impress so much, though. Maya Collins as Diamond moved in a big, lush way. Not my personal taste, but she intrigued me with her way of dancing nonetheless. Having heard all about Ana Sophia Scheller, I was still impressed with the confidence she exuded. It seemed a fully realized performance. I also missed seeing Suki Schorer come out for her bow. :-( -amanda

Some scattered thoughts on the two performances i attended this week: sat mat: Square Dance - Abi Stafford seemed a new person to me. She seemed so much more mature (and I don't think it's b/c she is wearing more dramatic make-up, though that probably helps a little). And, so much more relaxed and happy! So, I felt as if I were watching a true performance from her, as opposed to a straight A student executing her homework perfectly. I hope her confidence and maturity continue to grow. PC#2-- Ah, to have Weese back in top-notch shape! Her musicality and sharpness brought her role fully to life. Whereas Whelan seemed to struggle with the part two week ago, Weese seemed perfectly at home. Bouder's return was quite welcome to me, as well. Not sure she has returned to full strength yet. She seemed to display her usually confidence and abandon in some areas, but then show cautiousness (too much) in other areas. She did have trouble with some of the steps, atypically-- but, again, she's just coming back after an injury into a major part. Her glow was there. It was clear she was happy to be up there. For others who were there, I have a question-- toward the end of the third mov't when Bouder was with the corps doing all the FAST intricate footwork (I shall not even attempt to name the steps), I was rapt by her at first. She seemed so sharp and musical-- that embodiment of the music. Then when my focus expanded to include everyone else, she seemed to be going faster than everyone else. I wondered then if maybe she had been going too fast, though it had seemed fine to me. Bobbi commented to me that she also thought Bouder was the one who was in time with the music, able to keep up with the tempo. Other thoughts? Barocco- Honestly, as much as I love Whelan in some roles, this costume... accentuates what I don't love about her body, and so I watched everyone else. van Kipnis displayed a softness I had not expected (I tend to see her as more tough and solid, though not sure why), showing what seemed the right combination of grace and jazziness for the role. Vienna Waltzes- Vienna Woods-- This role seems tailor made for Rutherford. She is yet another *upper body dancer* in a lower body dancing company (to paraphrase Leigh's comments about Somogyi in Swan Lake). SO, in a dance where the legs are covered by a floor-length skirt, it is the upper body that must seduce the audience. And, she captivated me. I think she's one of those dancers, who, even after she has retired, would still bow with great grace (as Schorer does at SAB workshops, and Cynthia Gregory did this year at the workshop)! Weese- again- welcome back. So refreshing to have that musicality and drama combined. I think she is one who has grown to use her upper body more (ever since doing her first Swan Lake?) than she did in her early days. As Ringer seemed not quite right for the Coquette in La Somnambula, I think she is not quite right (right now) for her Merry Widow role. She does not convey an air of mystery that helps you understand why the men on stage, esp. one, are so taken with her. She seems too approachable, not distant and disinterested enough-- at least that's the way I imagine the part should be done! I never saw the piece before 1990! Der Rosenkavalier-- I understand the rationale for putting Nichols and Kistler in this role. They are the senior ballerinas, and it's a special part. But, that doesn't seem enough of a reason to me. Neither seems suited for it. I want to see someone who seems to bear pain of loneliness and breaks my heart with the arching of her back. I know there are many that swoon at Nichols in this part. She just has never had that upper body softness to which I am drawn and which I feel this part needs. If only Somogyi were a bit taller and a bit older right NOW. (there really are things I don't like Somogyi in. really. honest. just a few.) what does it mean that I am an upper body admirer at a company that concentrates on the lower body? What about the men, you ask? Exc. for Sq. Dance, most of what I saw and experience was truly all about the women. I have commented on Marcovici in SD before. Nothing new to say. -amanda

Speaking of hostility... it seems to get hot in here every so often... anyway... I think people are more forgiving of new ABT works, b/c the bar is set differently. Balanchine, and also Robbins, set the bar rather high. Some people will be unhappy with any NYCB work from someone not of that caliber. Many more (the less extreme ones) will still compare any new works to B & R, whether they realize it or not-- the unconscious workings of the mind when it somes to judgment are amazing (hence why I studied it in graduate school!). Judgments are inherently affected by standards of comparison. Even if we realize we are being overly critical b/c something doesn't measure up to Mr. B, we can't change how we feel. That judgment already happened. for better or for worse. But, basically, I think the standards of comparison for choreography at NYCB and at ABT are very different. To NYCB we turn for works that are intellectually and emotionally satisfying and that we can see multiple times and still see new things. With an ABT full-length, we rely on new dancers and interpretations more than the choreography inherently on its own to hold our interest and learn new things, in my view. ABT is not built around its one act repertory, even if it tries to put it front and center in the fall. The one act at ABT is not what sustains the audience there. I think the one acts at ABT are just not seen as strongly in contrast to so many great works (ABT certainly has one act gems, just not so many) as the new works at NYCB are. I think, in the past, we have often wondered what people would think of Martins works if he were the resident choreographer elsewhere. I don't want to get back into THAT discussion, but did want to remind us of that, since it's relevant here. I'd venture to guess that the some people see Wheeldon's works more in contrast to Martins' than to Balanchine's. And, so, for those that loathe Martins works, Wheeldon necessarily benefits. Do we come out of a Wheeldon piece thinking (consciously or not), "Didn't like that. It's no Balanchine work" or "So much better than that last new work by Martins" (or both, I guess!). I wonder if many do the latter more... It's hard with, so much history, to just see new ballets without much prejudice. I hope some of this made sense! -amanda

Don't forget this is a transcript, so I'm not sure they simply posted the text she read or if someone else transcribed it. Ringer's first name is spelled incorrectly, as well. -amanda

I think Ellen Bar was a Candy Cane in the Nutcracker movie, so she was there from a young age... -amanda

I love Somogyi and all, but "long-legged"? -amanda

oops. ok. I stand corrected! But, still, since only a small portion of those dancing end up at NYCB, I think we should post about SAB elsewhere. Am I being too sensitive about it? -amanda

Shouldn't the workshop comments go elsewhere, as, technically, SAB is not the official school of NYCB (right?)? I think we should keep SAB from being completely under the rubric of NYCB when we talk about the workshops... Just my opinion. -amanda

Thanks Drew, for elaborating on my sentiments, fleshing out my ideas much more! -amanda

What some people consider Somogyi's mannerisms-- I'm guessing the way she holds and uses her head (often tilting it in expression) -- is what I consider her natural expressiveness. I consider it no more a mannerism than the stiff neck to shoulder stance that too many NYCB dancers have. Esp. since Somogyi runs off stage, even after bowing, with her head that certain way, it seems her natural way of letting out her passions! I tend not to focus on little mistakes the dancers make, but look at the whole-- feet, body, arms, head, + *aura*/*presence*. For me, it's not about the execution, but the performance. Did they capture the spirit of the dance? Of course, there does need to be good technique (the *letter* of the dance, so to speak). But dance is truly an art to me. I attend so performances can evoke emotions in me. The most perfect technique will not stir the same emotions in the me that a very good execution with spectular spirit evokes. I can't tell people not to bothered by Somogyi's idiosyncracies, as taste for a dancer is just that... a matter of taste. But, her Swan Lake stirred me so much more than Whelan's and Kowroski's. As Leigh mentioned, she does use her upper body, which is in major contrast to most dancers at NYCB. And it is in the upper body where you can see real emotions displayed (as opposed to the feet), and not just in Swan Lake. She doesn't exude personality the way Ringer does, but in her use of her head and back, I felt her pain as she was betrayed and torn from her love. You don't need to look at her facial expressions to know what she is feeling. But, besides the emotions she evokes in me, many of Somogyi's performances are revelations for me. Revelations not about her, but about the ballet she's in. Barocco's 2nd ballerina part seemed such a throw-away part for a long time (in the '90s) until I saw her. Her Symphony in C pulled me in and invited me to closely see each movement. She articulated the movements in a way that I saw them as if for the first time. That's something. I could go on, but it's time to run to the SAB workshop. -amanda

I'm with BW re: diplomacy. Except for the fact that, for two months each year, we need to choose which co's performance to attend, if at all, on a given night, I always wonder why there needs to be such competition. Why does one have to be better than another? It really is apples and oranges. We each have our personal tastes. I'd take a night at NYCB over ABT most any night, as I prefer the repertory, but that doesn't mean I think NYCB is better. I think Alexandra's point is interesting. For all the talk about ABT being better, why are more people not writing about performances. Of course, as has been mentioned, sitting through the same full-length at ABT three times in a row is rough. NYCB seems to generate more controversy... more passion... something I discussed with a ballet talker earlier today. As a passionate person myself, I'd think NYCB is in a healthy state with all the heated discussions it generates... people are interested, and vested. ABT doesn't seem to do that, at least among ballet talkers. I find that apparent fact infinitely more interesting than which co. is better. -amanda

Keep in mind being promoted to principal dancer is not simply about putting in the work and paying one's dues. While dancing multiple principal roles certainly suggests a dancer is being *groomed* that way, the actual promotion is more than just the sum of the parts. For many it comes when something finally comes together, a certain maturity appears, a cornerstone is turned, etc. -- some intangible quality often. At NYCB, I have seen promotions occur for dancers before I saw what the ballet masters probably saw in the dancer (for me, it occurred with Weese), while for others it occurred when, as you suggest for Taylor, it's overdue (as many of us said with Rutherford's soloist promotion). Each of us in audience sees things differently, as well, so I'd venture to guess that not everyone would agree Taylor is ready for that promotion... yet. Timing-wise, the promotions at NYCB seem to occur either in groups (as it did with the Millepied, Fayette, Marcovici, and Rutherford promotions) or when a specific dancer is taking on an important new role. As far as the latter goes, when you see casting posted, you can often suspect something might be around the corner, as I think some of us did with Ansanelli and her Coppelia (there is a certain amount of satisfaction in predicting correctly ;-) ). Anyway, just my somewhat vague thoughts on the matter that don't really address what I personally think of Taylor! -amanda

Just wanted to highlight this post, as tomorrow and Monday are SAB's workshop performances, so we should mind what Alexandra's note says.

Program and Casting Subject to Change *First time in role +Guest Artist # SAB Student JUNE 3-8, 2003 TUESDAY EVENING, JUNE 3 AT 7:30PM [Kaplow] Interplay: KÖRBES, RIGGINS, KEENAN, BOUDER, HANNA, HENDRICKSON, CARMENA, VEYETTE [Chelton] Pause Tschaikovsky Pas de Deux: WHELAN, WOETZEL Intermission Vespro: KOWROSKI, ANSANELLI, FOWLER, MARCOVICI, MILLEPIED [Moretti, Rickards, Regni] Intermission Vienna Waltzes: RUTHERFORD, FAYETTE, WEESE, BOAL, EDGE, GOLD, RINGER, ASKEGARD, KISTLER, NEAL WEDNESDAY EVENING, JUNE 4 AT 8:00PM Valse Fantaisie: ANSANELLI, MILLEPIED Pause Le Tombeau de Couperin: TBA Pause Liturgy: WHELAN, SOTO [Jacobsen] intermission In The Night: RUTHERFORD, KOWROSKI, RINGER, HIGGINS, ASKEGARD, FAYETTE [Grant] intermission Glass Pieces: TINSLEY, *RUTHERFORD, *A. STAFFORD, WHELAN, HIGGINS, *FOWLER, *HANNA, *TEWSLEY THURSDAY EVENING, JUNE 5 AT 8:00PM [Quinn] Hallelujah Junction: TAYLOR, MILLEPIED, MARCOVICI [Grant, Moredock] Pause Reliquary: TAYLOR, ANSANELLI, MARCOVICI, ORZA Intermission Vespro: KOWROSKI, ANSANELLI, FOWLER, MARCOVICI, MILLEPIED [Moretti, Rickards, Regni] intermission Circle of Fifths: WHELAN, BOAL, EVANS [ingraham] FRIDAY EVENING, JUNE 6 AT 8:00PM [Moredock] Square Dance: A. STAFFORD, MARTINS Intermission Vespro: KOWROSKI, ANSANELLI, FOWLER, MARCOVICI, MILLEPIED Intermission Glass Pieces: TINSLEY, RUTHERFORD, A. STAFFORD, WHELAN, HIGGINS, FOWLER, HANNA, TEWSLEY SATURDAY, JUNE 7 AT 2:00PM [Quinn] Symphonic Dances: TAYLOR, MARCOVICI Intermission Sonatas and Interludes: KOWROSKI, SOTO [Chelton] Pause Carousel (A Dance): ANSANELLI, WOETZEL, RUTHERFORD, van KIPNIS, HIGGINS, ORZA Intermission Brahms-Schoenberg Quartet: SOMOGYI, NEAL, *BAR, RINGER, FAYETTE, *TAYLOR, MILLEPIED, NICHOLS, WOETZEL SATURDAY, JUNE 7 AT 8:00PM Le Tombeau de Couperin: TBA Intermission The Steadfast Tin Soldier: *ANSANELLI, WOETZEL Pause Ballade: WHELAN, *HÜBBE [Chelton] Intermission Vienna Waltzes: RUTHERFORD, FAYETTE, WEESE, BOAL, ASH, HIGGINS, RINGER, ASKEGARD, KISTLER, NEAL SUNDAY, JUNE 8 AT 3:00PM Square Dance: A. STAFFORD, MARTINS Intermission Ballade: WHELAN, HÜBBE [Chelton] Pause Tarantella: FAIRCHILD, ULBRICHT [Moverman] Intermission Vienna Waltzes: RUTHERFORD, FAYETTE, WEESE, BOAL, EDGE, GOLD, RINGER, ASKEGARD, NICHOLS, NEAL

Can we even touch upon how happen a certain casting for May 31 at 2pm makes me? _________________- MAY 27 - JUNE 1, 2003 TUESDAY EVENING, MAY 27 AT 7:30PM [Kaplow] Coppélia: ANSANELLI, MILLEPIED, HENDRICKSON Waltz: MANDRADJIEFF Dawn: A. STAFFORD Prayer: ABERGEL Spinner: RIGGINS War & Discord: BAR, ORZA WEDNESDAY EVENING, MAY 28 AT 8:00PM Square Dance: A. STAFFORD, HÜBBE Intermission Morphoses: WHELAN, ANSANELLI, *RAMASAR, SOTO [Chiu, Mills, Mandel, Eggar] Intermission Who Cares?: NEAL, WEESE, SOMOGYI, TAYLOR [McDill] THURSDAY EVENING, MAY 29 AT 8:00PM [Kaplow] Coppélia: ANSANELLI, MILLEPIED, HENDRICKSON Waltz: MANDRADJIEFF Dawn: A. STAFFORD Prayer: NATANYA Spinner: RIGGINS War & Discord: BAR, ORZA FRIDAY EVENING, MAY 30 AT 8:00PM [Quinn] Circle of Fifths: WHELAN, BOAL, EVANS Intermission Ives, Songs: KÖRBES, WHELAN, ASKEGARD, NEAL, HIGGINS [Grant, Nolen] Intermission Who Cares?: HÜBBE, WEESE, SOMOGYI, TAYLOR [McDill] SATURDAY, MAY 31 AT 2:00PM Square Dance: A. STAFFORD, MARCOVICI Intermission Circle of Fifths: WHELAN, BOAL, EVANS Intermission Tschaikovsky Piano Concerto No. 2: WEESE, NEAL, *BOUDER, TINSLEY, RUTHERFORD, *SUOZZI, *ORZA [Walters] SATURDAY, MAY 31 AT 8:00PM [Quinn] Le Tombeau de Couperin: TBA Pause Tarantella: ANSANELLI, MILLEPIED [Moverman] Pause Liturgy (New Wheeldon #2): *WHELAN, *SOTO Intermission In The Night: BORREE, KOWROSKI, RINGER, *TEWSLEY, ASKEGARD, FAYETTE [Grant] Intermission Symphonic Dances: *TAYLOR, *MARCOVICI SUNDAY, JUNE 1 AT 3:00PM [Kaplow] Concerto Barocco: WHELAN, van KIPNIS, FAYETTE Pause Sonatas and Interludes: KOWROSKI, SOTO [Chelton] Intermission In The Night: BORREE, KOWROSKI, RINGER, TEWSLEY, ASKEGARD, FAYETTE [Grant] Intermission Vienna Waltzes: RUTHERFORD, FAYETTE, WEESE, BOAL, ASH, HIGGINS, RINGER, ASKEGARD, NICHOLS, NEAL

My take on last night is slightly different, with surprises for me. I enjoyed Borree in Donizetti last night! This is a great part for her. She and Hubbe, as well as the senior corps members, looked like they were having a grand ole time. Yes, Borree does not have the softness in her upper body that I crave in a dancer, but this is the best I have seen her dance. She had a passion for the part that showed in her attack. Except for the pirouette part at the end of the 2nd solo with which she had trouble, she seemed to fly through the rest with no problems. Between her performances in the pas de quatre in Swan Lake and this, it seems Borree has a renewed energy this season. It was also nice to see Hubbe in full form. His flash of a smile excited me. I think the difference in this piece was that this was a true PERFORMANCE, not just dancers executing steps. I had, surprisingly, never seen Kowroski in the Agon pas de deux. She and Soto had the palpable tension needed for the piece. I was not as thrilled as the rest of the audience (I have, afterall, seen Kowroski use that body beautiful many times already!). As always, Boal was on a different plane. Just simply beautiful-- every little movement was a piece of art. McBrearty and Hanson were a little too... clinical? for me. They executed the steps perfectly but something was missing. I surprised myself by missing K. Tracey in the part (I told you this was an evening of surprises for me!). Hanna and Fowler were well-matched. I find myself unable to take my eyes off Hanna, who is a passionate and graceful (but still manly!) dancer. Somogyi was her usual great self. I fear she suffers in comparison, body-wise, to Kowroski in this piece-- it does take some visual adjustment going back between the two. I am still always amazed at how Somogyi can combine such attack and strength with such grace. A difficult combo to maintain. But, that's who she is. As usual, her runs on and off stage were part of the performance for me! Piano Concerto No. 2 disappointed me. Whelan did not seem as sharp and strong in it as I have seen her in the past. Nothing went wrong, that I could tell, but that extra something was missing. Tewsley did not make a strong impression on me this time around, but I was distracted by watching the corps (most of whom were new to the piece, right?). I can't say Reichlen disappointed me, as I did not expect this role to suit her at this time in her career. Last night, she appeared to be a girl in class executing steps. She certainly executed them well. But there was no broad sweep in the movements. No passion. I am still confused by the casting here, as I think there are so many others more suitable for the part (and i know we express surprise often, but this one surprises me even more so). I'd prefer to pass Reichlen's girlish performance off to just that-- she's young. But, I have seen several other young girls in the corps dance with great gusto and passion already. I fear, as usual, I have articulated many feelings, but not really substantiated them with descriptions from the dance. But, well, that's what I know. Off to see Wheeldon's new piece, along with Barocco, etc. -amanda

Note: Reichlen will be debuting in Piano Concerto No. 2 tonight, as well as performing in it tomorrow night. Jonathan Stafford and Amar Ramasar will be doing the demi boys parts. The cast listing at the theater has been changed to reflect this update, but not the website. -amanda

Just bumping this up. The Walk is this weekend. There's still time to walk, bid, donate or all three! The Kistler autographed toe shoes and poster have been relisted at a lower price. Thanks to all who have already donated! -amanda

Playbill Online is offering a discount on gala tix: $50 tickets in the Third Ring (normally $75) and $25 tickets in the Fourth Ring (normally $30) for the Spring Gala performance on May 14th. You need to register as a Playbill Online member to get the code. This is, of course, also assuming that those tix are not already sold out. -amanda