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AmandaNYC

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Everything posted by AmandaNYC

  1. I haven't seen this posted elsewhere, but I justed noticed this on the Repertory and Dancers section of the NYCB site: Dancer on Dancer Pauline Golbin is doing a series of pieces (with interviews) on NYCB dancers. Her first piece is on Dena Abergel. It's a great and interesting piece (you'll learn new things!). -amanda
  2. Very carefully. While it's not being worn. Using sharpies (i.e., permanent markers). In many colors. While trying to hold the to-be-signed areas flat. -amanda
  3. The NYCB bathrobe signed by members of the company and an autographed headshot book are both up for auction now. The autographed bathrobe is a one-of-a-kind item! Good luck to any who bid on these items! -amanda
  4. When did Reichlen do Who Cares, as I seem to have forgotten (unless it's a mistake on the casting sheet)? I see that her name does not have an asterisk next to it. -amanda
  5. For anyone looking to buy more shoes, the NYCB AIDS Walk team is selling some for fundraising. See the thread here: http://ballettalk.invisionzone.com/index.php?showtopic=19279 As for myself, I have only ever purchased on pair of shoes-- Ashley Bouder's. I bought hers during her first or second season in the corps. They are stored away. I never bought anything like that before. I felt compelled to buy them since I knew she was "going places". hey, and now they're worth 5X as much! :-) -amanda
  6. It's that time again! The NYCB AIDS Walk Team will be walking on May 15, 2005 in the NYC Walk. As part of the fundraising effort, we are again auctioning off some great NYCB-related items. The auctions are being staggered. The first three sets of items are up on eBay as of this morning. To see the auction items or find out how to donate please go to: NYCB AIDS Walk team page. The current items up for auction 1) Prima Package -- Autographed Pointe Shoes: Darci Kistler, Kyra Nichols, Jenifer Ringer, Miranda Weese, Maria Kowroski 2) Autographed 11 x14 framed color photo of Jock Soto and Heather Watts in "Ecstatic Orange" 3) Lunch With the Dancers (Edwaard Liang and Amanda Edge) at Rosa Mexicano at Lincoln Center Still to come: Autographed NYCB company logo bathrobe (signed by the company) Peter Boal Autographed Sweatshirt Autographed Head Shot Book (signed by the company) Autographed Rubies poster with autographed Maria Kowroski pointe shoes Autographed Agon poster with autographed Wendy Whelan pointe shoes Good luck and thank you to all those who bid on items! -amanda
  7. Looks like they recently updated the site, as well. That's too bad. We have so little Soto left already. -amanda
  8. The Spring Gala program, as listed on the NYCB website, has been updated to include Liang's ballet from the Peter Boal & Co. at the Joyce: Program: Tālā Gaisma (New Martins, World Premiere) New Evans Ballet (World Premiere) Double Aria (New Millepied, NYCB Premiere) Distant Cries (New Liang, NYCB Premiere) An American in Paris (New Wheeldon, World Premiere) -amanda
  9. Nyala, I'm not sure they could have sold enough of the house to justify adding another performance-- it's such a huge house. As for advertising the farewell, I'm grateful that they have done this at all, let alone so far in advance. So often in the past farewells (albeit often for less tenured principals) were only learned about through sources like this site and word-of-mouth, leaving many people "not connected" to find out too late. I'm glad that the company is departing ever so slightly from its "no star" approach by actually announcing these farewells so all who want can "pay their respects" and see the last performances. -amanda
  10. Just an FYI: NYCB web site note about farewell performance ticket availability: I don't think this is a surprise to anyone, but I wanted to make sure anyone who had yet to order tickets didn't wait much longer. -amanda
  11. Lampwick, you're thinking of the subscription brochure. charlieloki et al. are talking about the single ticket brochure that came out in the last week. -amanda
  12. I think the current contract has the salary flattening (except for company-wide increases) at 4 years of service. Downside-- just more stratification, which doesn't help the morale of those not put into the rank. Every time there is a promotion, I'm guessing there are lingering negative feelings among those not promoted. Adding a new rank means even more of that happening. Three levels might be a good balance between having distinctions but maintaining morale, especially at a company like NYCB where so many corps dancers dance solo/principal parts. -amanda
  13. FEBRUARY 22-27, 2005 TUESDAY EVENING, FEBRUARY 22 AT 7:30PM [Quinn] Double Feature: The Blue Necklace: Dorothy Brooks: *SYLVE Mrs. Griffith: NICHOLS Mr. Griffith: *FROMAN Billy Randolph: WOETZEL Mabel: *TAYLOR Florence: FAIRCHILD Intermission Makin' Whoopee: Anne Windsor: ANSANELLI Joe Doherty: EVANS Garrison: HIGGINS Jimmie Shannon: GOLD Edward Meekin: ORZA WEDNESDAY EVENING, FEBRUARY 23 AT 8:00PM [Quinn] Double Feature: The Blue Necklace: Dorothy Brooks: SYLVE Mrs. Griffith: NICHOLS Mr. Griffith: FROMAN Billy Randolph: WOETZEL Mabel: TAYLOR Florence: FAIRCHILD Intermission Makin' Whoopee: Anne Windsor: ANSANELLI Joe Doherty: EVANS Garrison: HIGGINS Jimmie Shannon: GOLD Edward Meekin: ORZA THURSDAY EVENING, FEBRUARY 24 AT 8:00PM [Quinn] Double Feature: The Blue Necklace: Dorothy Brooks: KOWROSKI Mrs. Griffith: NICHOLS Mr. Griffith: FOWLER Billy Randolph: WOETZEL Mabel: BOUDER Florence: FAIRCHILD Intermission Makin' Whoopee: Anne Windsor: ANSANELLI Joe Doherty: EVANS Garrison: HIGGINS Jimmie Shannon: GOLD Edward Meekin: ORZA FRIDAY EVENING, FEBRUARY 25 AT 8:00PM Symphony in Three Movements: WHELAN, BOUDER, SYLVE, SOTO, HENDRICKSON, J. ANGLE Intermission Afternoon of a Faun: ANSANELLI, WOETZEL Pause Eros Piano: FAIRCHILD, TAYLOR, *MILLEPIED Intermission Glass Pieces: TINSLEY, HIGGINS, RUTHERFORD, FOWLER, KROHN, la COUR, KOWROSKI, NEAL SATURDAY MATINEE, FEBRUARY 26 AT 2:00PM Shambards: WEESE, SOTO, KÖRBES, la COUR, BOUDER, FAIRCHILD, DE LUZ, ULBRICHT Intermission Apollo: MARTINS, KISTLER, SYLVE, RUTHERFORD Intermission Glass Pieces: TINSLEY, HIGGINS, RUTHERFORD, FOWLER, KROHN, la COUR, WHELAN, *LIANG SATURDAY EVENING, FEBRUARY 26 AT 8:00PM Glass Pieces: TINSLEY, HIGGINS, RUTHERFORD, FOWLER, KROHN, la COUR, KOWROSKI, NEAL Intermission Chichester Psalms: ABERGEL, SETH Intermission Symphony in Three Movements: WHELAN, BOUDER, SYLVE, SOTO, HENDRICKSON, J. ANGLE SUNDAY MATINEE, FEBRUARY 27 AT 3:00PM Fanfare: Piccolo: KEENAN Flutes: HYLTIN, PAZCOGUIN Oboe: ARTHURS Violas: RUTHERFORD, J. ANGLE Harp: REICHLEN Celli: RICARD, BESKOW, KROHN Major Domo: LOWENSTEIN+ Clarinets: TINSLEY, LIANG Bassoons: FOWLER, FROMAN Double Bass: la COUR Tuba: ULBRICHT Trumpets: CARMENA, HENDRICKSON Percussion: SUOZZI, GOLD, RAMASAR Pause Liturgy: WHELAN, SOTO Intermission Chichester Psalms: ABERGEL, SETH Intermission Stars & Stripes: ANSANELLI, MILLEPIED, TINSLEY, HANSON, ULBRICHT
  14. Several of my friends are going to the rooftop today to see the Gates. The Met has opened the rooftop (usu. closed at this time of the year) for the next few weeks, so people can view the Gates, acc. the friend who called for info. -amanda
  15. I believe two of the other three are Ashely Laracey and Genevieve Labean. I'm not sure if I could figure out who the other was. -amanda
  16. Program and Casting Subject to Change * First time in role + Guest Artist # SAB Student FEBRUARY 15-20, 2005 TUESDAY EVENING, FEBRUARY 15 AT 7:30PM Jewels: Emeralds: RUTHERFORD, LIANG*, SYLVE, J. STAFFORD*, DRONOVA*, KEENAN*, CARMENA Intermission Rubies: WEESE, HÜBBE, REICHLEN [Walters] Intermission Diamonds: KOWROSKI, NEAL WEDNESDAY EVENING, FEBRUARY 16 AT 8:00PM Symphony in Three Movements: WHELAN, TINSLEY, SYLVE, EVANS, GOLD, J. ANGLE Intermission Shambards: WEESE, SOTO, KÖRBES, la COUR, BOUDER, FAIRCHILD, DE LUZ, ULBRICHT Intermission Glass Pieces: TINSLEY, HIGGINS, RUTHERFORD, FOWLER, KROHN, la COUR, WHELAN, LIANG [Chelton] THURSDAY EVENING, FEBRUARY 17 AT 8:00PM Jewels: Emeralds: RUTHERFORD, LIANG, SYLVE, J. STAFFORD, DRONOVA, KEENAN, CARMENA Intermission Rubies: WEESE, HÜBBE, REICHLEN [Walters] Intermission Diamonds: KOWROSKI, NEAL FRIDAY EVENING, FEBRUARY 18 AT 8:00PM [Quinn] Double Feature: The Blue Necklace: Dorothy Brooks: KOWROSKI Mrs. Griffith: NICHOLS Mr. Griffith: FOWLER Billy Randolph: WOETZEL Mabel: BOUDER Florence: FAIRCHILD Intermission Makin' Whoopee: Anne Windsor: ANSANELLI Joe Doherty: EVANS Garrison: HIGGINS Jimmie Shannon: GOLD Edward Meekin: ORZA SATURDAY MATINEE, FEBRUARY 19 AT 2:00PM [Quinn] Double Feature: The Blue Necklace: Dorothy Brooks: KOWROSKI Mrs. Griffith: NICHOLS Mr. Griffith: FOWLER Billy Randolph: WOETZEL Mabel: BOUDER Florence: FAIRCHILD Intermission Makin' Whoopee: Anne Windsor: ANSANELLI Joe Doherty: EVANS Garrison: HIGGINS Jimmie Shannon: GOLD Edward Meekin: ORZA SATURDAY EVENING, FEBRUARY 19 AT 8:00PM [Quinn] Double Feature: The Blue Necklace: Dorothy Brooks: KOWROSKI Mrs. Griffith: NICHOLS Mr. Griffith: FOWLER Billy Randolph: WOETZEL Mabel: BOUDER Florence: FAIRCHILD Intermission Makin' Whoopee: Anne Windsor: ANSANELLI Joe Doherty: EVANS Garrison: HIGGINS Jimmie Shannon: GOLD Edward Meekin: ORZA SUNDAY MATINEE, FEBRUARY 20 AT 3:00PM [Quinn] Double Feature: The Blue Necklace: Dorothy Brooks: KOWROSKI Mrs. Griffith: NICHOLS Mr. Griffith: FOWLER Billy Randolph: WOETZEL Mabel: BOUDER Florence: FAIRCHILD Intermission Makin' Whoopee: Anne Windsor: ANSANELLI Joe Doherty: EVANS Garrison: HIGGINS Jimmie Shannon: GOLD Edward Meekin: ORZA
  17. Balanchine: Serenade, Symphony in C, Concerto Barocco, Square Dance, Stars & Stripes (even if just the men's regiment) Robbins: Glass Pieces, In G Major, Gershwin Concerto, The Cage, West Side Story Suite (if that counts) Martins: Ash, Fearful Symmetries Wheeldon: Liturgy -amanda
  18. I noticed that she no longer wore the wig, as well, when I was there on Sunday. Last week, it looked like her wig either caught on something or just started having issues, for she ended "Cool" with what seemed like stretched out hair (I know it wasn't as bad as Gilda Radner's Baba Wawa (sp?), but that's what pops into my head). I think they must have decided her brown hair was "Jets-like" enough and that the wig was more trouble than it was worth. -amanda
  19. Since these dancers were doing soloist parts, there should have been inserts. In the past, there were inserts for those doing the soloist parts in Who Cares?. I guess this has changed now, which is a shame. I think harpergroup was just trying to make sure no one was under the mistaken impression about who they saw dance some key parts. Thanks, harpergroup! Not everyone knows who all the dancers are, especially with the large influx of apprentices each year for the last few years. Oberon, I do agree with you that it's fun to figure out which corps dancers have been substituted... though it sometimes causes me to miss actually "watching" the beginning of the ballet! But I like to correct the program (after the ballet), so I can have it noted for posterity whom I saw. -amanda
  20. Golbin was giving a talk before those attending the semi-annual Evening with Friends at the Ballet, an event organized to bring in those who haven't attended or don't normally attend the ballet. Besides attending the performance, the attendees have an opportunity to learn more about the company, including through a talk by a dancer or dancers. The event is a great way the company tries to cultivate new audiences. -amanda
  21. I may be mistaken, but I recall Darci Kistler mentioning in her autobiography for kids that she was supposed to be in the movie. I recall her saying that her part was left on the cutting room floor (in which case I would love to see that). Anyone else recall? -amanda
  22. I know he does not have the body or line that some would prefer, but Daniel Ulbricht in Four Seasons is just awe-inspiring. This is one time that I do "go for" such crazy jumping. -amanda
  23. I am hoping carbro or Leigh posts about last night (Thurs night), as I think they are much better at articulating my feelings and thoughts (and their own) than I am. I'll start off with the reason I went-- Bouder. As usual, she pulled out all the stops. Save for one part, you wouldn't have known this was a last minute debut. She had a hard act to follow in the form of audience fave Daniel Ulbricht (who should be added to the list of best jumpers). Bouder had the playfulness and attitude to have fun with the role, finishing difficult sequences with an extra flourish of ballerina attitude that worked with the part (not "look how great i am" attitude. but more of a "tada"). I am always a bit nervous at Bouder debuts, because she'll go for broke. The one place this didn't work to her total favor last night was in the fouettes. After her first one, she tried to do a double, and started to fall out of it, moving off center stage, causing my stomach to lurch a bit. But, in typical Bouder fashion, she actually managed to return to stage center and finish the fouettes, barely missing a beat. I have never seen a recovery like that. Rather than feeling let down, you (or at least some of us) just marvel at how she recovered and executed numerous perfectly centered fouettes for the rest of the sequence. It made me laugh. Actually, I laughed several times, out of a mixture of delight and awe. She also managed to have the beautiful upper body she has more fully developed in the last year, and end her solo in breathtaking manner. I hope she repeats the performance tonight (not that I wish Weese or Millepied to be still injured or ill), so i can get a second viewing. Now, I just wish she had been partnered with someone suitable for her. de Luz was too similar to Ulbricht in height and not sufficiently commanding. In that role, the dancer needs to contrast the Puck role, but there wasn't enough of that here. de Luz is also, well, just too short for Bouder. During the curtain calls, Bouder looked to be taller than both men. I'm all for opportunities for short dancers, but this just didn't work. Ulbricht, on the other hand, is just a wonder in this role. Whatever your opinion of his potential in other roles, he's a delight in his wit and great height in his jumps. I couldn't help but fall for him in this role. Earlier in Four Seasons, Fairchild debuted a few days earlier than planned in Winter. I'm not sure whether she had all the proper rehearsing, for she did seem to hold back in some of the jumps, where she might not have been sure of spacing. But, she is perfect for this role. Just her eyes alone make her perfect for it. In addition to that, though, she had the presence and technique to rule the scene. Leigh might have more specific things to say about what was so wonderful about her in this role. Spring and Summer had familiar dancers in the roles. I shall just say that Spring is definitely one of Ringer's best roles-- you'd think it was made on her. Even earlier in the evening, I had my 2nd viewing of Thou Swell. I enjoyed it much more than I expected, esp. one of the pas de deux for Askegard and Kowroski. The choreography works with the music and shows off the dancers well. Seeing Taylor in Thou Swell and Goldberg Variations convinces me that she seems most comfortable on stage when playing a girl (young woman). Her body seems less tense, and she seems to enjoy herself more, which helps me enjoy her dancing more. At the same time, you don't lose any of the Taylor energy and fearlessness. Ok... back to work... -amanda
  24. And i'm not going to be at any of those performances! I have been waiting for Bouder to both those roles! I am envious of all of you who will be there (and love her like I do). edited to add: i'm going to buy a ticket for tonight, afterall! Thanks, Alexandra! -amanda
  25. Indeed. That's why I come here-- it would not be very interesting to read perfect agreements with all my opinions (comforting, yes). I just prefer it when opinions are expressed as opinions and not as facts. Of course, the presumption here is that everything we post is an opinion. I'm just much more sensitive than most about how those opinions are presented. Since you did mention Sylve, I do want to add a few things. I don't want to go on a tirade or anything (that's not in my nature, anyway), but I did want to explain why I am having trouble fully enjoying her performances, some of which Michael has already mentioned. I don't expect her to be a "Balanchine ballerina" (yet), but I do want to see an appreciation for the difference in movement. I still feel like Sylve dances most roles as if it were the BIG ballerina role. In Who Cares? I differ from most others who have posted in that I think she mangles the role. There is no jazziness in her movements, in her hips or elsewhere. There is no Gerswhin in her dancing. She seems to go too far in trying to show off. When I saw her perform last Saturday, she either fell out of or ran into some difficulties with two different turning sequences as she tried to outdo herself. Just as when I saw Dvorovenko dance Symphony in C, when I have seen Sylve dance numerous roles, I wonder "where is the choreography? where is Balanchine". The dancing seems to be much more about the dancer than the dance. I am very much a viewer who prefers the dancers who become instruments of the dance, servants of the dance. I go into each Sylve performance hoping to enjoy her fully, as I believe she has a lot to offer. As I have previously posted, I loved her expansive dancing during the solos in T&V. Strangely enough, I liked her a great deal in Stravinsky Violin Concerto, where she did let the choreography be seen. So, that's where I am coming from regarding one of this seasons most often used dancers. I wish I could see Sylve the way most of you do. -amanda
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