AmandaNYC

That schedule format usually is not posted until near the time single tickets go on sale. Though, I have found often (haven't checked this time) that if you check under group sales, there will be a week by week schedule up much earlier. -amanda

Thanks, Calliope. I look forward to reading the article tonight, should my issue arrive on time. In my letter to Ms. Miller, in addition to talking about NY as the center of dance and the need for continued critical coverage, I did bring up the issue of not always agreeing with Tobias' criticism. I stressed that as an additional reason I was so upset to lose her column. I talked about how I had learned a great deal from reading her reviews because she often saw things differently, offering me a different viewpoint, experience, and background... And, b/c she is such a strong writer, unlike those at another periodical, where the reviews are poorly written and barely critical (I cited the paper by name in the letter). -amanda

Thanks, Calliope. I look forward to reading the article tonight, should my issue arrive on time. In my letter to Ms. Miller, in addition to talking about NY as the center of dance and the need for continued critical coverage, I did bring up the issue of not always agreeing with Tobias' criticism. I stressed that as an additional reason I was so upset to lose her column. I talked about how I had learned a great deal from reading her reviews because she often saw things differently, offering me a different viewpoint, experience, and background... And, b/c she is such a strong writer, unlike those at another periodical, where the reviews are poorly written and barely critical (I cited the paper by name in the letter). -amanda

Melissa Walter, Elena Stein (nee Diner), Lauren Toole, Megan Pepin, and Ryan Kelly all left before the Spring Season began. -amanda

Ok. one more update for now... Also gone: Robert Lyon, Jeroen Hofmans, and Stuart Capps (!) -amanda

Slaughter on Tenth Avenue is on the schedule. And one of the nights it's scheduled is the New Combinations Evening-- which also features Serenade and the premiere of the new ballet... -amanda

As with Dale, a piece I had recently been saying they should do has reappeared... Piano Pieces. It hasn't been done, I believe since the Robbins Festival. Counting ballets, it looks like there's slightly more Martins than Robbins! And, as far as next season's roster goes... It looks the the female apprentices from this year got their contracts (Bergstrom, Fairchild, Fadeley, Knapp, and LeCrone, Lowery-- not sure if the latter had already been on the roster). And, Jessy Hendrickson and Chrissy Schultz have left (this in addition to Meunier, Ritter, and K. Tracey). That's what I have noticed so far. -amanda

Well, I'd even debate Borree's ability to do the steps of Square Dance... The first two times I saw her do the ballet, she didn't make it through some of the turning sequences. After that, I sat out the ballet... Anyway, after re-reading the pieces, all I can think is that it's a shame his tone has to be so extreme. I agree with many things he says, but am totally turned off b/c of his way of presenting his ideas. I agree with KayDenmark-- it would be harder for some to dismiss his piece if his ideas were presented in a more reasonable manner. But, in all, I still think this piece is no where near the travesty (sp?) that the Homans NY Times piece was. I wrote my one and only letter to editors after reading that piece. And, I agree with Leigh about Martins' treatment of the older dancers and the benefits of keeping them around. It is the use of less adequate dancers in major roles that is keeping some younger dancers from their places in the spotlight.... -amanda

Well, I'd even debate Borree's ability to do the steps of Square Dance... The first two times I saw her do the ballet, she didn't make it through some of the turning sequences. After that, I sat out the ballet... Anyway, after re-reading the pieces, all I can think is that it's a shame his tone has to be so extreme. I agree with many things he says, but am totally turned off b/c of his way of presenting his ideas. I agree with KayDenmark-- it would be harder for some to dismiss his piece if his ideas were presented in a more reasonable manner. But, in all, I still think this piece is no where near the travesty (sp?) that the Homans NY Times piece was. I wrote my one and only letter to editors after reading that piece. And, I agree with Leigh about Martins' treatment of the older dancers and the benefits of keeping them around. It is the use of less adequate dancers in major roles that is keeping some younger dancers from their places in the spotlight.... -amanda

I agree about the lack of coaching-- although, I too, didn't see the originals. Raw talent can only get you so far. There are few, like Whelan, who can work to develop themselves beyond the early roles types in which they are pigeon-holed. ... unless they have some guidance. The roles themselves can only do so much *teaching*. Seeing Janie Taylor in Who Cares? was a revelation for me, as I finally saw her enjoy herself and do more than rush through the steps. Doing more Balanchine ballets will only get her so far, if she isn't coached. As someone who has been watching the company for 10+ years-- a corps generation's worth-- I am amazed at how LITTLE development I have seen in most dancers, other than in their technique. When I have seen changes, it seems more like they have gone from girls to women. That makes a difference, but not enough. But, I take great exception to Gottlieb's comments about Ringer (oh, and sneds, she was in the same cohort as Meunier and Stiefel, the 1989 SAB year, although she was injured workshop time). I was at those same Who Cares? performances, and, as I have noted elsewhere, her perfs were among the highlights of the year for me. It's times like these that remind me that you can agree with a person on a whole lot, but you don't always *see* the same performance. I think when Ringer first returned to the company, as I think Leigh wrote or just said to me, RInger was in danger of being to cutesy, relying to much on her smile and sweetness. But, in the last year, I haven't seen that. I do worry about the development of the newer girls. Korbes, as he wrote, is a real find, and she should have been cast as Titania this year, as she had last year. Bouder was not used so much this year. As amazing as I know she'll be in Tarantella, I worry that, Firebird aside, she'll be pigeon-holed in the jumping roles. Somogyi, thankfully, has not been, though it's about time she did T&V and Square Dance. I can say a lot more, but it won't go anywhere. The thing i wonder about... is there anything any of us can do about it? Doesn't even seem like being on the Board makes a difference. Dropping ticket sales can be blamed on the economy. Critics can be dismissed as being stuck in the past or hell bent on hating Martins. Their audience research doesn't focus on such things. So, what about us? Are we *doomed* to accepting things as they are. Savoring the great performances when they come and watching great potential often squandered? -amanda

I agree about the lack of coaching-- although, I too, didn't see the originals. Raw talent can only get you so far. There are few, like Whelan, who can work to develop themselves beyond the early roles types in which they are pigeon-holed. ... unless they have some guidance. The roles themselves can only do so much *teaching*. Seeing Janie Taylor in Who Cares? was a revelation for me, as I finally saw her enjoy herself and do more than rush through the steps. Doing more Balanchine ballets will only get her so far, if she isn't coached. As someone who has been watching the company for 10+ years-- a corps generation's worth-- I am amazed at how LITTLE development I have seen in most dancers, other than in their technique. When I have seen changes, it seems more like they have gone from girls to women. That makes a difference, but not enough. But, I take great exception to Gottlieb's comments about Ringer (oh, and sneds, she was in the same cohort as Meunier and Stiefel, the 1989 SAB year, although she was injured workshop time). I was at those same Who Cares? performances, and, as I have noted elsewhere, her perfs were among the highlights of the year for me. It's times like these that remind me that you can agree with a person on a whole lot, but you don't always *see* the same performance. I think when Ringer first returned to the company, as I think Leigh wrote or just said to me, RInger was in danger of being to cutesy, relying to much on her smile and sweetness. But, in the last year, I haven't seen that. I do worry about the development of the newer girls. Korbes, as he wrote, is a real find, and she should have been cast as Titania this year, as she had last year. Bouder was not used so much this year. As amazing as I know she'll be in Tarantella, I worry that, Firebird aside, she'll be pigeon-holed in the jumping roles. Somogyi, thankfully, has not been, though it's about time she did T&V and Square Dance. I can say a lot more, but it won't go anywhere. The thing i wonder about... is there anything any of us can do about it? Doesn't even seem like being on the Board makes a difference. Dropping ticket sales can be blamed on the economy. Critics can be dismissed as being stuck in the past or hell bent on hating Martins. Their audience research doesn't focus on such things. So, what about us? Are we *doomed* to accepting things as they are. Savoring the great performances when they come and watching great potential often squandered? -amanda

What about Robbins' Piano Pieces? I don't think they have done it since the festival in '90. I have heard good things about it. I also loved Gershwin Concerto when Ringer did it. Albeit, they really need to update the costumes. Early '80s costumes=bad. Re: Jewels. I look forward to the day I get to see Bouder in Rubies... (and in Stars & Stripes, again) -amanda

You get to see just how talented these dancers are as they are used differently in many DP ballets. Also, an opportunity to see some dancers in a new light... or just under the spotlight. I enjoyed Circle of Fifths b/c I was fascinated by the dancers and what they could do. -amanda

I know they can't cast everyone who has ever done a role, but I do find it interesting that Korbes is not dancing Titania this year after such gorgeous performances last year. Also, neither Bouder nor Walker are doing Butterfly. If I do recall correctly, though, Korbes went in when Kistler did not end up doing all her Titania perfs.... -amanda

What a fabulous program! Divertimento No. 15 Agon Who Cares? I saw the first piece from the 2nd row of the orchestra. That was a new viewpoint of this piece for me. Somogyi and Rutherford were as gorgeous as usual. Even from the 2nd row, A. Stafford still does not quite have the presence to match her impressive technique. I do hope that changes. The revelation for me on this program was Janie Taylor. Maybe what I have been missing is not seeing her in Balanchine. That is, great Balanchine roles (as opposed to 3rd mov't Suite No. 3, for example). I think she still rushes too much for a ballerina in Div No. 15, but she really did pull me in and show me the choreography anew. She has a unique way of moving-- not as soft and luxurious as a Somogyi, but I still learned something about the dance watching her. And, boy, I loved her as the girl in burgandy in Who Cares? As in her PBS Jeu de Cartes performance, she's loosened up (lost the fear?) quite a bit, and seems to have more fun losing herself in her roles. She had charm and independence (which that role demands). With both parts on Saturday, Taylor seemed to relax and enjoy the dance, which, in turn, allowed me to enjoy her dancing a great deal more. back to Divertimento No. 15-- Ansanelli was new this week to the central ballerina role. The usually quick tempo of the solo seemed even more so this time-- unless it was just that I saw the ballerina having to work hard from close-up. Much of her solo seemed about Ansanelli trying to get through it. Hope it was just the tempo for that particular perf. If not, hope she is able to handle it better as she gains more experience in it. Fowler and Hanna were the two supporting men (Neal the main one). Both have really lovely classical form. Hanna was the MVP for the day, dancing leads in Div., Agon, and demi in Who Cares? Agon was great as usual. Don't really have anything to say about it. Who Cares? Wow, have i missed this ballet. Wow, did the dancers and audience both seem glad to have the ballet back. And, wow, did the dancers dance the hell out of the ballet. I had forgotten how the ballet takes place against a backdrop of NYC. Not sure if that had anything to do with the reception. It did affect my perspective a little. The solo girls were all solid (Natanya, Golbin, Hanson, Edge, McBrearty). Of special note was Edge, who I think was new her part-- glad to see them giving her the part, though she is significantly smaller than the others. She just has such passion and *umph* when she dances. Just right for this part. The men were fantastic-- most were from that great class of '95 (both Fromans, Capps, Seth, and Hanna). Wonderful form, timing, and energy. The best for last... ahhh... I had been waiting sooo long to see Ringer and Hubbe in the Man I Love-- a fave pas de deux of mine. Ringer was made for this role-- she was sexy, she was poignant, she was in love, she was stunning. And Hubbe responded in kind. I could have watched this performance over and over again. The ballet continued on a high level. Taylor came next in her solo. Then came Somogyi in blue with Hubbe. Although I have always adored Somogyi, I did not think her ready for this role when she first did it (when she was in the corps?). She had the technique and solos down. But, there was no chemistry with her partner. No relating. She has matured greatly in this respect. (Or else, Hubbe just brings out the best in his partners, when he's having an *on* day-- maybe both). Somogyi made a good case for herself as a good match for the man. And, so did Taylor. In WC?, it was definitely a case of the whole being greater than the sum of two people. Hubbe with each of his women held us rapt. The audience did barely utter a peep... until the end when they erupted in cheers (as they had for Symphony in C in the first or 2nd week of the season). Nothing like great performances in great Balanchine to send an audience home happy. I am still on high. -amanda p.s. how glad am i that I am seeing 4 performances of WC? this season???

I finally saw the ballet yesterday. I think I echo others' (here and elsewhere) when I say that there were some great elements there. Barak does know how to use the dancers well, fill that huge stage, and utilize the classical ballet vocabulary. It was in the attempts at the dramatic that I was less than impressed. Right now, and for a first attempt at the more dramatic, I think Barak tried too hard. Subtlety, for me, is better. And, also, if there is going to be some drama, then I think it needs to flow and keep up with the *story*. One movement ends with van Kipnis and Millipied seemingly rebelling against the wishes of their respective groups and running off together. The two groups (the women in white and men in black) had seemed ominous. Then, after the leads run-off, a joyous dance of sorts begins. Eventually, the leads join back in. This segment did show off the dancers quite nicely, but I found it jarring after the previous dramatic segment. I realize that the music does this same switch. But, still. There was dramatic set-up, but then it seems she let it go and just did a dance. There were some really interesting combinations to the choreography-- the elements were there. Didn't quite up to as coherent a whole as the Telemann piece. I thought all the dancers did a fabulous job. It was nice to van Kipnis in role like this. I loved Barak's choice for corps dancers (Bouder, Edge, Keenan, Riggins + Carmena, Hendrickson, Ramasar, Veyette). In all, it was interesting to see a young choreographer's early attempt at a more dramatic piece, but I hope Barak's next piece returns to the coherence of her Telemann piece. -amanda

Even if they want to distance her from NYCB, I am still hoping to see her do 2nd mov't Symphony in C... -amanda

Read the review of the new Barak ballet in the Times today. WIll be seeing it this Sunday. But, would love to hear others' comments on it. Was anyone in attendance Tuesday night? -amanda

Gina Pazcoguin didn't dance on the program I saw (Sat eve)-- what did she dance Monday night? Or is she injured? just curious... -amanda

Marcovici and Wheeldon entered at the same time (after the Balanchine Celebration in '93), and were definitely yoked-- actually doing a lot of the same things as demi-soloist. Millepied entered in '95 (having performed in SAB workshop in '94 and '95). He was part of that great group of men who came out of the school in '95 (Fromans, Fowler, Capps, Seth,....). Marcovici, Wheeldon, Millepied, as well as Somogyi, Ansanelli, Lyon, and Higgings were all promoted to soloist at the same time. Regarding the yoking... it does seem, for the most part, that certain dancers careers are yoked together... M. Tracey and Whelan joined at similar times and were promoted to soloist and principal together (as well as shared a dressing room!). There seem to be times of grouped promotions and then times of individual ones (Ringer, Somogyi, A. Stafford). Interesting how that happens. -amanda

General impression (not suprising since Les Gentilhommes was being performed): Men, men, men. They were fantastic. Lots of potential in this class of men. What struck me was that they not only pulled off some difficult men's variations in all the pieces, but they all had such passion- I don't think I can really single any one out-- though Adrian Danchig-Waring had the right gypsy energy for the Rondo of Brahms-Schoenberg! Alas, I felt, for the most part, that they were not matched in that passion by their partners. The girls showed their youth and typical nerves. That's not to say there isn't great potential there. I saw the 15 year old Ana Sophia Scheller- wow, to pull of Ballo at that age! Jessica Flynn in Woetzel's and the Andante of B-S was also a stand-out. Great potential. Would like to see her loosen her hands, facial expression and upper body more. Time and experience should help with that. A word about Woetzel's piece. Didn't find it that coherent or interesting a piece. The men looked great. BUt, as sneds had said to me before the piece-- and still holds true-- he doesn't seem, yet, to know how to choreograph well for women. I don't think he showed them off very well. -amanda

Miranda Weese is taking class and doing a few rehearsals. She told a colleague of mine that she was aiming to return in Saratoga. Jared Angle told me he is back taking class. As you might have seen on the PBS broadcase, Darius Crenshaw is back dancing. -amanda

This happened Thursday or Friday: To Principal: James Fayette Benjamin Millepied Sebastien Marcovici To Soloist: Rachel Rutherford (I can hear many of you going: "Finally!") -amanda

Yes, alas, that was Bouder. I hope she knows that Balanchine liked (as much as one can) when dancers fell since it showed they were passionately into their dancing. Having seen the program twice now (once live on Wed night sans Jeu de Cartes), it's what I feared. The first NYCB showing on PBS in three year giving those who cannot see NYCB live a not so great glimpse at the company. At least the dancing was great. As a regular NYCB goer, I did enjoy the chance to see the range of choreography from the DP in one shot. I found the televised program fascinating for the commentary in between the ballets. And, well, to have Red Angels saved on tape for posterity made it all worthwhile. Regarding individual performances-- Janie Taylor in JdC showed a joy I am not used to seeing in her. I actually really enjoyed seeing her in this part and seeing that she could have fun on stage. MVPs for the night: Jock Soto and Benjamin Millepied (Riggins also danced three times, two of which were in the corps) Watching the Kistler/Soto Them Twos pas de deux from a far away vantage point and then, last night, close up, made me wonder-- and perhaps this is should be a separate thread-- The piece, regardless of how much we like it, would seem much more appropriate in a smaller venue. I got so much more out of it on TV then I have seeing it from the rings of the NYST. That said, it seems, too often, in choreographing and casting, that the artists forget that the piece is being seens by hundreds who are not in the orchestra or 1st ring. I wonder if anyone ever checks on the ballets from the 3rd or 4th ring... for now, that's my commentary. -amanda