AmandaNYC
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Posts posted by AmandaNYC
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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
Amanda, I've got to ask:How does one sign a bathrobe?
Inquiring minds want to know.
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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
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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
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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
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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
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Looks like they recently updated the site, as well.
That's too bad. We have so little Soto left already.
-amanda
I just stopped by to check the casting at the theater, and Soto is out all week, repalced by Evans in the Barber and (I think) Neal in Union Jack. Sonata and Interludes is replaced by Tarantella. I hope this is not due to an injury, and if it is, not a serious one. -
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
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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
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Just an FYI:
NYCB web site note about farewell performance ticket availability:
PERFORMANCE ALERT!Due to overwhelming subscription sales for Series 12, Performance Dates: June 5 (Peter Boal Farewell) and June 19 (Jock Soto Farewell) have extremely limited seating 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
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Maybe I'm thinking of the wrong brochure? The front cover has the dancers in pastel colored short tutus. They'd make a very uncomfortable nightgown.
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
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If they aren't paid more than the corps salary stipulated in the contract (which is based on years of service up to three, if I'm not mistaken), they certainly should be.
Also, for those who don't attend as regularly as some of the BalletTalk gang, it would give a more accurate indication of those dancers' place in terms of seniority and heirarchy.
So what's the downside?
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
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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
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I think this is something best viewed from the air. Perhaps the roof garden of the Metropolitan Museum of Art would be a good place?
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
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They are wearing their Divertimento No. 15 costumes. The two in pale yellow are (left to right) Ringer and Van Kipnis. I don't have the issue, but that's all I remember from looking at it at the newsstand.
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
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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
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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
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It was interesting that on Friday in West Side Story Ashley had red hair. On Saturday she had brown.
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
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Cast changes within the corps are not listed on programme inserts. Almost every night in the bigger ballets, somebody replaces somebody. It's fun to try to spot the missing persons and figure out who is replacing whom.
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
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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
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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
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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
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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
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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
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Amanda, you and I can just agree to disagree. I am interested, though, in provoking a good strong discussion on this Board and I'm pleased to have been able to do that.
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
NYCB Dancer on Dancer
in New York City Ballet
Posted
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