AmandaNYC

I watched R + J with a very different background from most of you. I have never seen an R & J production, having never had the desire to see it. I am a very Balanchine/NYCB person, who wants to see all dancing when I go to the ballet. That said, I was going to check out this R + J b/c 1) I volunteer and am so automatically there 1-2 times a week anyway 2) curiosity 3) see the performances of dancers I have watched for years. I was originally dreading it, until the casting came out (Hyltin) and I watched the video on the tragiclovenyc site. My reaction to that video was not a fluke... I loved Hyltin and R. Fairchild utterly last night. They were completely committed to these parts and heart-breaking in them. They exuded passion and anguish. Those were the types of performances I had always hoped to see in the parts, but was not sure I'd see at NYCB. Other fellow volunteers were as moved as I, so for those of you hestitating about going, go for the chance to have my reaction rather than the ones others have unfortunately have had. It's worth it. These are not performances you get to see everyday. I certainly felt there were problems with the production, but their performances, to me, outweigh all that. I don't have anything to compare any of it to, so I'm just going on gut reaction. And, my gut reaction was that I was watching two people feel the deepest passion and anguish, not two dancers acting passion and anguish. Fairchild was a revelation. I was not used to see that kind of performance from a male at NYCB (with the exception of, perhaps, Hubbe). He'd put an arm around her, with his palm full extended and the feeling down to the fingertips was palpable (I had noticed that in the video, too). And, Hyltin, as I had expected, abandoned herself to the role. I am seeing them again next week, and happy to do so. As for the rest of the production, as I said, it didn't bother as much as it might have had I not been captivated by Hyltin and R. Fairchild, but there were things I liked and didn't like. Soto, of course, had the noble bearing down. And, he did become momentarily scary during the slap scene. Kistler is not the radiant Darci I have always loved, but I thought she did a commendable job with what she had... until the "death", when I was really moved. Her reaction seemed so real to me. THat mix of denial-- this can't be happening - with anguish and despair. De Luz was ideal for Tybalt among the men I have read are cast. He is a little older and more experienced with full lengths, and I think it showed. I was not watching De Luz but Tybalt. Ulbricht, was to an extent, still Ulbricht, but it worked because his character fits his personality, at least as far as I remember from reading the play. J. Stafford, as Paris, I thought the weakest of them all. There was no presence at all. It's a tiny part, but the others so stepped up the plate, that I was hoping he would to. But, he's very academic in his approach to roles, so I didn't think it was great casting in the first place. Choreography-wise, as I have said, I have no comparisons. I just know what seemed off. What seemed off to me were the jets vs. sharks scenes. And, yes I say that because even most of the darker and darker haired girls were Montagues. Yes, there were two blondes thrown in, but it did give me pause to see most of the fairer dancers as Capulets and most of the darker as Montagues. But, that wasn't my real problem. It looks like (not sure it truly was) too much of the corps 'acting' was left to improv, and they didn't know what to do. The first encounter, in the very beginning looked downright amateurish when watching all the different women and men of both groups go at each other. Chaotic in not a good way. The scene where the deaths happen was a bit better, but, again, I was distracted by the 'acting' of the corps. I know they have not been schooled in this and rarely are called on to do it. I don't fault them. I just wish those scenes were less distracting. I am happy with the cuts Martins made because there was already too much non-dancing performing in this production for my tastes, since I have already admitted to little patience there. I don't know how other productions deal with the main Capulet dance theme, but the choreography given to that theme could not possibly match the Prokofiev score. But, maybe there could have been a closer match between the imposing, ominous sound with the courtly dance. Or, maybe the disconnect was supposed to be there-- whereby they're dancing without knowledge of what's about to happen but the music hints at it. I don't know if others have read the music like that, but that main music has always seemed like that to me. I am, alas, not seeing any other casts except Peck/Suozzi because of other commitments. But, maybe it's better for me to have Hyltin/Fairchild lingering in my head. -amanda

Part of me has been dreading this R&J and part of me has been all excited about it. After watching the Hyltin and Fairhchild ep on the site, I have to say I am leaning a LOT more to the latter side. I still have no doubt Hyltin will be great, but I was clueless about R. Fairchild. But, watching them together, even in rehearsal, did give me some chills. There is something to be said about seeing young ones doing the parts. Can't wait now until next week! -amanda

Suozzi has actually been doing the role off and on for several seasons now-- he made his debut several years ago, before Boal's retirement. Does the fact that it wasn't his first time in the role affect your opinion of the performance? And, for 4th mov Sym in C-- did you mean Tyler and not Tiler? Peck has done the part before-- but you're right-- she is quite perfect in it. With some dancers, you can see how hard that role is, but Peck does not betray that (if she even finds it hard!) -amanda

It looks like Bouder is replacing Hyltin in Symphony in 3 Mov'ts. I'm guessing they're resting Hyltin since she has R&J the following week. I didn't do a side-by-side comparison either to check other changes. I just noticed this one because, well, it's Bouder.

My sister participated in Barnard College's dance program around '88-'92. So, I actually saw the ballet when it was first performed. It was, not surprisingly, much better (IMHO) than anything else I saw. I remember it also because I had just started to attend NYCB performances and was excited to see Lavery participating in the program. -amanda

Just hopping in now. I am done with going to City Center unless I want to spluge on front Mezz. For ABT last Fall, I had seats in the balcony (is that what is behind the mezz?) in the center section and they were truly PARTIAL view seats. I could barely see half the stage. The people in front of us were not even that tall. And the people next to me had problems, and they were not short like I. While I didn't purchase the most expensive seats, I still paid good money, and had an awful time. It was the most miserable experience I ever had at a performance. Even worse than having wrapper crinkling, coughing, talking audience members nearby. I realize the theater is old, and they would have to raise a ton of money to renovate a balacony. But, I had no idea when I purchased my seats that I would have half the stage obscured. My one reprieve was running into someone I knew who was leaving before the final ballet. She gave me her first row mezz seats. WHAT a difference! The Met seems like a great house for watching dance when compared to City Center. -amanda

Where exactly is this information posted? NYCB.org only has the first week of the season listed. Nothing yet for R&J. It's posted on this board, under NYCB just like this thread. Moderator's note to insert link Here: http://ballettalk.invisionzone.com/index.p...topic=24630&hl=

Well, it does seem to look that way now that casting has been posted for the first week. There are NYCB dancers doing the lead-- Hyltin is the first Juliet. The others are Peck, Morgan (looks like she's a full member now) and Pereira (apprentice). So, at least some of our discussions are moot, since all these dancers have had experience dancing on the NYCB stage, albeit some more than others. Maybe non-apprentice SAB students will be in the second week... I, for one, am excited that Hyltin is the original Juliet. She would have been my first choice had I been doing the casting! -amanda

I don't know if I can take the stress of waiting till next season to find out if Ashley will be OK, so please, if anyone finds official news regarding her situation, post it on this thread! That was my thought when I just read about the substitution. So, I second that request! -amanda

The soloists last night were Lowery, A. Stafford, Mearns, Krohn and Reichlen (in that order)-- i have never seen so many tall girls do solos in this work! On an odd note, of the 8 corps listed, only 2 of those listed actually danced (and one of those was an apprentice I dont' know yet, so it could have been only 1). I have never seen the program be so off in listing the corps, especially for a first performance for a ballet. -amanda

I'm having trouble trusting Claudia La Rocco's reviews ever since she pretty much dismissed Stars & Stripes as a ballet a few weeks ago. -amanda

The scheduling is definitely uneven-- she dances almost every night for two weeks, then nothing this week (from what i can tell), and then just 2 Firebirds next week.

It was 2000 SAB workshop night, indeed. Veyette and Bouder and Ulbricht all danced these roles at the workshop. It really shows how well the teachers choose the roles, considering the talent and abilities of the dancers. Even if they don't even quite live up to it then. Back in 2000, I thought Veyette did a fine job with the steps, but was too serious -- just blank, really-- as far as getting the humor. Last night, he has having a great time-- it's good to know he can smile! As much as I adore Bouder and Ulbricht in those roles, Veyette was the revelation to me, because he has come so far That men's regiment still gets me every time. I get tears (And, it's not from patrioticism). It's just Balanchine genius at work. -amanda

We just got Bouder back from a season of injury, and we're barely getting her! I'm not liking this! -amanda

Sylve is scheduled to dance Piano Concerto No. 2 for the 3rd rep week-- casting is now up for that week. -amanda

sz, T. Angle has actually danced quite a bit of principal roles in the last year or two, many more than Scheller. He has become a sort of go-to partner (both Angle men seem to be spectacular partners). -amanda

Everyone has their opinions-- as we well learn on this board. My experience of Hyltin's debut was more in line with Kourlas's experience than other BTers. Besides the difficulty with that notorious turning sequence with which most have troubles, I didn't really notice what the others noted. Some of that may just be that everyone looks at different things during a performance. My eyes are usually drawn just to the ballerina and her upper body, so blips in partnering go less noticed. I enjoyed Hyltin, as I expected. For such a tiny dancer (though she has the proportions of a tall girl), she covered a LOT of space during her final solo. I think she still has room to grow in the romantic pas de deux department, but then she hasn't had that many roles like that yet. I am not generally a Reichlen fan (I like small girls), but I do quite enjoy her Dewdrop. There's nothing quite like seeing Reichlen and those legs as she does the diagonal sequence moving downstage right. She really flies. When I saw her do it last year (her debut maybe), the audience applauded, which I had never seen. I agree that Scheller seemed miscast in Marzipan. All small girls are not meant for that part. She was too harsh and not delicate in that part. It requires a certain amount of delicacy in bearing. I understand all the comments about Bouder's Dewdrop. I have only seen her Sugarplum this season, and she did what I now call "a Bouder". No, she didn't fall. That's a Bouder debut. She pushed boundaries. In the part where she is pulled across in arabesque-- the trick part-- she turned it into a penchee (sp?). I know she likes seeing what she can do. And she's experimenting. But, that was so unneccesary. There's a beauty in seeing NO movement except the being pulled along. That the ballerina can be so still despite being 'pulled'. With her approach, she was being pulled and she was dipping herself at the same time. To me, she missed the point of that part of the pas de deux. I love watching her most of the time, but her Dewdrops do worry me too--Not remaining musical is a no-no to me, and she sometimes pushes it too much. Sometimes she turns movements into poses and sometimes she doesn't. It's those latter performances that I love.

Just came back from my first Nutcracker (I'm going to wait to review until I have seen some more), so got to see the most up-to-date roster. Tiler Peck is the 06-07 Janice Levin Dancer. Congrats to her! I was, however, expecting her to be the honoree next year and to see Scheller as the honoree this year. After reading some of the Nut reviews, I'm guessing other BTers will be sad for her, too. I noticed that Dana Hanson has left the company. She was the most senior corps member-- she joined the company right after I first started attending ('90), so it feels like an end of an era. I'm glad Abergel and Walker are still there. They're now the most senior ones. -amanda

I'm going to second what carbro said... and hide behind that. But... The main thing I really love about NYCB doing SB and SL (and Nutcracker, too) is that these ballets provide many soloist roles, giving the dancers more opportunities and giving us more opportunities to see different dancers shine. I don't particularly like narrative ballets, which is why I go to NYCB regularly and go to ABT rarely (city center seating doesn't help change the latter). So, I hope when and if NYCB decides to undertake a new full-length ballet, it has opportunities for many dancers in the company. On the positive side, Martins' more streamlined full-length ballets are what get me to watch a full-length ballet I would not normally be willing to sit through... not that it's a reason to undertake R&J or another full-length ballet. -amanda

Before week 2 begins... did anyone go see any performances from the short Week 1? I know Midsummer is fun to watch outdoors-- how is Swan Lake? -amanda

Kathryn Morgan, who just became an apprentice? Wow. -amanda

Gilliland was hired. She has been listed in the playbill as a corps member for the last few weeks (I don't know when exactly I noticed it). Robert Fairchild has also been listed. -amanda

I agree that the site should have been initially designed to be more usable-- i do research for a web design firm, so i know this first-hand. But, we need to keep in mind that NYCB is still a NFP with budget limitations. I'm guessing it took all this time to get the money allocated for the website. Those allocating the budget should have recognized sooner that a website is a great marketing tool and tool for encouraging loyalty, and so should have funds allocated towards it. But, alas, that's not the way things often go. -amanda

What struck me about the Elo was that I stopped, quite quickly, getting disturbed by the modern arm movements. When it started out, I was like "Oh, great, another person making a piece 'modern' by doing contrived arm movements." But, quite soon i was just drawn in by the energy and movement. I wanted to see how the bodies would move next. It almost became addictive to watch. You kept wanting to see more and more of what would come next-- what these dancers could do so beautifully and amazingly. One great thing about the Diamond Project across ALL the years has been that, regardless of whether we liked the ballet or not, the dancers always got to strut their stuff-- showing what they could do and keeping us amazed at their abilities. The Elo ballet was that and so much more. It helped that he chose to use my four favorite men. On an indicental notes, the rep notes must have featured the original casting, pre-injuries and changes, as Bouder and Reichlen were listed, but not Scheller and Hubbe was listed, but, I think, not Hall. -amanda

Thanks! I picked out the Barocco music for my wedding, before i ever met my fiance! It ended up being the first ballet i took him, too. On the perfect ballet note... the ballets that came to mind as contenders when I read this thread were all the more abstract, non-story and less emotional ballets. I'm wondering if, at least for me, the introduction of too much emotional aspects to a ballet... make it less perfect... maybe b/c sometimes you "feel it" when watching the ballet and sometimes you don't-- which makes the ballet subject too much to the eye of the beholder... For me, all the contenders for "perfect" ballet were pure dance pieces. As I mentioned earlier, Serenade is my all-time favorite, but sometimes the last movement is a little much for me. Not too much in that I don't enjoy it... but somehow I am not as lost in the dance... even if the mov't still matches the passion in the score. Do i just equate the 'perfect' ballets with a certain purity? but, then again, i think apollo nearly perfect. and there a guiding story and character and emotions... This is a bit of a stream-of-conscious post as I am not sure how to organize my thoughts about why I (and others) chose certain ballets as "perfect"... -amanda