AmandaNYC

It looks like the Polyphonia casting for the Sun mat. changed, as well, with Taylor and Evans making their debuts. Whelan is still listed for the Eifman piece right afterwards. Polyphonia: *TAYLOR, WEESE, ANSANELLI, ARTHURS, *EVANS, LIANG, HALL, J. STAFFORD

Re: the Coffee solo in the coda. There are definitely two different sets of choreography for that segments. Different dancers seem to choose which choreography to do. I have always thought the options were there since one is more difficult than the other, and Balanchine often adjusted choreography to the talents of the different dancers. I don't remember positively who has done which, but I am pretty sure Abergel has done the harder one. Reichlen, who is the only Coffee I have seen this season, I think tried the harder one out during one of the performances. With her long limbs, I think she looks best with the attitude poses. I personally think the harder version always seems to look a bit awkward even with someone like Wendy doing it. The one with the attitude poses just seems more in keeping with the role. -amanda

Now, Boal as Drosselmeier would get me to watch the first act more than once this season! And, Scheller debuts as Dewdrop. I had a feeling she'd get to do solos sooner rather than later based on her performances at the SAB workshops in 2002 and 2003.

Piskin and Peck are performing the Dolls roles in the first act. These roles are traditionally done by younger girls in the corps who are "small" girls (vs. "tall" girls). It is certainly great that even apprentices get a chance to have their moment in the spotlight. I do agree with you about Hyltin-- She stood out to me ever since I noticed her passionate dancing in the corps of Wheeldon's Carousel piece. -amanda

Kristin Sloan is back in the company. When I saw the listing for Waltz of the Flowers today, I thought it might be a misprint, but there she was in the corps again. She's back listed in the company program listing. That was a happy surprise! Also, I noticed that Karin von Aroldingen and Richard Tanner are now listed with the other Ballet Masters. Also, were the other ballet masters (other than Dunleavy) formerly called "assistant ballet masters"? I don't have any of my old programs handy. But, now the title for the group says Ballet Masters. Forgive me if I am posting something previously posted, but I didn't remember seeing any of this mentioned. -amanda

I saw her debut with Hubbe, I believe. Her debut came earlier than announced, if I recall correctly. But, I don't remember her performing the role in any later season. She was quite lovely in the role. -amanda

He's no longer listed on the website (I just checked). Once regular performances begin on Friday, anyone at the performance can ask the volunteers who staff the Information table about Tewsley or other dancers. If they don't know the answer off-hand, they'll write it down and follow-up so they have the answer next time. They're a less formal channel than the Press Office, but always a good source for official company information (i.e., not gossip). We're briefed at the beginning of each season so we can best answer any audience members' questions. -amanda

Congrats to him! I think the ramifications to discuss are more about (or include) SAB... Didn't he take over the Advanced Men's class when Stanley Williams passed away? Does he still teach the class? If so, I wonder who would take it over... Re: NYCB. During my tenure as an audience member, I don't recall another season where two *stalwarts* retired. Next spring will be a sad time with Boal and Soto retiring... -amanda (who has taken a "break" from lurking)

Alas the weather for both evenings looks to be rainy. Any idea if they cancel/postpone if there's rain. Or must the show go on? (I can't find such info. on their website) -amanda

Free Balanchine Centennial Tribute at Summerstage in Central Park on the 27th and 28th of July. Summerstage Balanchine Tribute ---------- Artist: George Balanchine Date & Time: 7/27/2004 8:30 PM (and 7/28) Gates Open: 7:30 PM Genre: Dance Price: A special tribute to the foremost ballet choreographer of the 20th century. The all-Balanchine program features Apollo, and Tchaikovsky Pas De Deux, and excerpts from Agon, Who Cares?, and Stars and Stripes; performed by principal dancers from American Ballet Theatre, Dance Theatre of Harlem, and New York City Ballet. Choreographies by George Balanchine. The George Balanchine Trust. Balanchine is a trademark of The George Balanchine Trust. ------------ Anyone know how early you need to go to get on line to get in? -amanda

They had the correct men listed last week for Ivesiana... -amanda

This week I am at 4 of 7 performances... though I didn't stay for the whole program tonight. So, I'll chime in about 2 of them. Tuesday night was that All-American audience favorite program of Who Cares?, Western Symphony, and Stars and Stripes. Just because these ballets "go down easy" doesn't mean they are either fluffy or minor works by Balanchine. In fact, seeing them all together helps illustrate just what a genius he is. When we tend to talk about Balanchine in just a few words or citing just a few ballets, we tend to cite neoclassism, Concerto Barocco, Four T's, etc... But, in these three works, as I mentioned in my post for last week about Union Jack, we see Mr. B fully "getting" a culture or, rather, subculture. On Tuesday, Balanchine immersed us completely in great aspects of American culture past and present-- the jazz age, the old west, and what I think of as mid-century high school spririt and patriotism. He still brings his trademarks of speed, etc. to bear on these works. He also adds great heart and wit. He has fun with these aspects of American culture, and, in turn, the audience has fun, too. Even with performances that one does not love, it's hard not to have a great time. But, again, it's not "fluffy" fun. The corps work, esp. in the Men's Regiment in Stars & Stripes both thrills and fascinates me, as the corps in Serenade do (I could watch the Men's Regiment movement all the time. Kudos to all the corps boys). The finale of Western Symphony reflects the coming together of the geniuses of Balanchine and Karinska, with a brilliant marriage of choreography and costuming, just as one gets in Vienna Waltzes, too. And, in Who Cares?, we get one of the most soulful and moving pas de deux (the Man I Love) that Balanchine ever created. I introduced my boyfriend to ballet last season by taking him to a program with Concerto Barocco and Prodigal Son, and a new world opened to him-- he had never seen dance like that. With Tuesday's program, he fully grasped the greatness of Balanchine. Now, as far as the actual performances go, there was the good and the bad, as usual. The good: Miranda Weese and Nilas Martins moved me much more than they usually do in the Man I Love. They didn't add much to what was there, as in I didn't learn or see anything new. They let the choreography speak for them, and that it did. Wonderfully. Bouder, not surprisingly, made her usual sparkling debut as the girl in burgandy, the more independent one. I already know others disagree (there were certainly plenty of us in attendance on Tuesday night), but I don't think Bouder adds much to the Stairway to Paradise. I certainly loved her performance, but I didn't find it particularly more enjoyable than others (like Janie Taylor in the role). I guess I have gotten used to Bouder making a role her own. I felt she shined more brightly in her pas de deux with Martins. She wasn't too cute nor too independent. I'd rather see in her the blue girl role. Ringer made the most of the first movement in Western Symphony, enjoying herself thoroughly. She wins the award for most professional of the night, if not the season so far. Her skirt started to unravel to the point that a long thick string of embroidery was long enough to touch the floor. I was holding my breath in fear as the thread wound in and around her feet as she danced. When she made an exit, the audience let out their collective breath and some even applauded. I'm still not sure how I think/feel the ballerina in Western's 2nd mov't should do the part, in theory. I'm not sure I need to decide this. I do know that I and the audience were thoroughly entertained by Evans and Ansanelli. I think Ansanelli brought the right mix of straight-faced classical ballerina and coy gal of the Old West. I am sure some will feel that the pair overdid it. In Stars & Stripes, there was a guest conductor. Some have mentioned to me that he conducted the orchestra to play too fast. Whether this was the reason or not, Whelan uncharacteristically fell of pointe at one point and then had trouble with the next combination. I actually thought she might have injured herself (but she danced tonight). Despite this, Woetzel and Whelan were consummate performaners. When Woetzel does Stars & Stripes, you know you're in for great entertainment. And Bouder also made a solid debut in the first movement. This is a more minor role, but her complete musicality still shines. Especially with the music going fast, it often seemed that Bouder was the only one at one with the orchestra (as with Piano Concerto No. 2 last spring). But, this is yet another role with which she can only do so much. I'd rather see an up-and-coming corps girl do this role, and save Bouder for something else. The bad: The corps in Who Cares? seemed lacking umph and seemed a bit sloppy. I tend not to notice corps sloppiness, so this took me aback. With the number of ballets the young corps members are learning this season, I wasn't exactly surprised to see a ballet not fully gelling (sp?) at the first performance. Disappointing all the same. The really bad for me was Sylve in the blue girl role in Who Cares? I honestly felt her dreadful in it. I don't know what she was dancing, but it didn't seem to be Balanchine and the jazzy Gershwin. Sure, Sylve is not American and jazziness might not come naturally to her. But, in her solo, in the wonderful My One and Only piece, she danced too big and too "look how high I can jump" and "how great my fouettes are". There was no jazziness in the hips or upper body that I could see. It seemed like she was dancing a classical showpiece that just so happened to be with Gershwin music. The audience loved it, clapping at all her feats. I was just looking for some glimpse of Balanchine and Gershwin, for the soul and spirit. The only other time I have felt like this, whereby I lost sight of what I believed to be the spirit of the choreography, was when I saw Dvorvenko (sp?) perform the first movement of Symphony in C as a "look at me perform" piece. With My One and Only, the feats, I feel, should be performed almost as throw away/after thoughts, meaning the dance is not all about them. The non-feat aspects of the choreography are just as important, if not more, to shading the role-- it should not be all about getting from one big sequence to the next. Two days later, I still get upset when I think about the performance. To happier things... tonight... Millepied and Fairchild performed Tarantella. Millepied does not make your jaw drop like Ulbricht does in this role. Millepied was more the principal dancer, sure of himself and able to play with the music-- and I liked his interpretation. Fairchild just becomes more at home with this role every time I see her perform it. I have begun to notice things in the solos I hadn't in performances by others. She's so sharp in a "dainty" (appropriate for the role and costume) way. When she does the plies en pointe with the quick foot movements, you wonder how someone can do that so well and so fast. And her great eyes work well for her here. She can flirt with the audience while knocking off some crazy fast footwork. The "kids" in Interplay turned in the usual energetic and playful performance. During the pas de deux, Korbes fell down (she was doing a turn that Hanna then was supposed to come in to stop-- not sure whose fault it was, if that matters), but those things tend not to color my feelings about the rest of the performance. I fear I may have seen this ballet too many times for it to thrill me and move me (the pas de deux) as it used to. It's become a bit "same-old, same-old" for me. I think I might be sitting out the performances of it for the next few years (unless there's some cast I need to see, of course). Alexandra, will that suffice?

I agree with Flipsy about much of Chaconne. Most of you know that I have an undying adoration for Kistler. I have hated watching her in many of the pieces she has danced in these, probably, last years of her career. I want to remember her glorious days. I do get used to not seeing her dance. But, then I see her in Symphony in C.... or on Sunday in Chaconne. I was in tears by the end... Her joy was so palpable. She seemed to exist on a different plane. This piece still works for her, as she is able to play with the choreography as Farrell did, while being both a celestial being and a regal one. I was reminded why I fell in love with her dancing in the first place. She exists as the dance. A true muse. I fell from that great high to pondering how awful it will be at some point in the next few years to know I shall never see her dance again. As much as I love Bouder, Ringer, and Somogyi... and you all know I do... Kistler transports me with her to a heavenly place. Ok, I am now sounding like I should either be founding the Church of Kistler or going into rehab... While this thread is about the current week, I am going to take this opportunity to post my thoughts about all the performances I have seen thus far (I have a bad habit of procrastinating). Looking back over the last month, I think my greatest disappointment is... my lack of excitement over the season. There are so many All Balanchine programs and guest stars, but I am strangely unexcited. And most performances, so far, have left me happy, but not particularly moved or excited. Walpurgisnacht Ballet with Nichols was actually painful for me. While I have never been enamored of Nichols like a great number of you, I still don't like to see her having difficulties doing pieces that she used to fly through with ease. I don't think some sort of artistry makes up for it, especially as I have always found Nichols too grounded a dancer). In the plays with balances that some of the solos require I just saw Nichols having trouble holding steady. I don't want to see that. To mix in some positivity. I was very happy to see Mandradjieff and Riggins get big last minute debuts, the former in Walpurgisnacht and the latter in a last minute learning of and dancing in the 4th movement in Symphony in C. Neither dancer ever moves me in an emotional way, and I think both not soft enough in their movements (they're more spry)-- I have come to accept that certain dancers just won't have that affect on me. But, I found their performances passionate and exciting, if even because they were so happy to be dancing (and unfortunuately, it often seems many other dancers seem like their they would rather be elsewhere). I still think Ringer miscast in Symphony in C 1st mov't. It's a role less about the beauty of the dancer herself and more about showing us the movements and a beautiful upper body. I adore Ringer, but not in this one. I don't see the genius in the arm movements choreography with dancing in that piece. I did, however, adore her in Spring. I am SOOO glad Liang is back. He is one of those male dancers who can be utterly graceful and masculine at the same time. I know he's still working himself back in, but I want to see MORE of him! Stat. On the negative side, I guess I can be traditional at times. I was disappointed to see Reichlen and Lowery as the demis in the first movement in Symphony in C. In the 14 years I have been attending (a short time compared to many of you), those roles have take on a sort of hallowed stature for me-- they are danced by longtime corps members who are often on the verge of becoming soloists. So, I guess, I wanted some senior corps members in those roles.. or at least not so young one. Those roles feel like ones the dancers should earn Ah, well. I still don't connect with Reichlen on any level, but did think she acquitted herself quite well in Episodes and in 4 T's-- though in the latter she needs more frenetic force. I understand the appeal of her, and the company has a definite need for stronger taller girls (whereas there seem to be too many very talented smaller girls vying for the same roles). Dances at a Gathering-- This ballet used to tire me so, but I have finally come to see it as the great work it is. I love just being able to enjoy the dancers and enjoy them enjoying each other. I'm not sure how I feel about Ringer in the mauve role now, as I still see her as the girl in yellow. On the male front, Millepied has really developed into an artist. He reminded me of Boal in his ability to make great form so achingly beautiful. I didn't remember loving Union Jack as I seem to now. It is always great to see a work like this to be reminded of one of the many aspects of Mr. B's genius-- his ability to get to the heart and soul of a culture or "genre" and possibly wink at you at the same time. Nilas Martins seemed to relish the Pearly King role, and I delighted in seeing him have some fun on stage. Ah... now to La Source. What a great performance all around on Friday night (Ringer, Millepied, Bouder). I went into the performance with trepidation as I have savored my memories of Bouder in this role for the last few years-- could anything match such expectations? And then she goes and does it. For me, Bouder owns this role (though there is no need for her foot to touch her ear). And I can watch her perform it over and over again-- I'd pick the first *solo* over any other role she does. She is the quintessence of musicality here. Just breathtaking. She creates an electricity as she seems to ignite with the music. She needs to do Square Dance... especially as I was disappointed with Weese. I thought this role would be perfect for her, but I found her quite uninteresting (which was my sister's comment to me, as well). I didn't see anything anew in the choreography. She didn't even seem as musical as usual (one NYCB fan with whom I chat often usually argues with me that Weese is not musical, while I say she is). While I still find A. Stafford's presence as a dancer lacking in some ways, I have always been pulled in by her Square Dances. How I miss Somogyi. This ballet has her name written all over it. Ok. I think I have said enough. I, who am usually so delighted by most of what I see, have been decidely dissatisfied so far (but still with many rays of light). -amanda

I try to approach all the new works with an open mind, but I have to say that I don't get what all the fuss about Wheeldon is. I'd truly prefer Ash and Fearful Symmetries over any of his works (that might have turned some of you off from the rest of this post...) I do think he has a talent for using his dancers and showing them off well. But, I think he still lacks an ability to put together a cohesive work that remains interesting after one viewing (is that what is referred to as craft?)-- he has moments of great ideas and great choreography, but they don't last. Even Polyphonia, which I enjoyed very much on the first viewing, bored me afterwards. And, I do feel he's too young in his career to be relying on gimmicks (though there is something to be said about creating a kid-friendly, buzz-worthy ballet that can bring people in... to be exposed to other works). He's all over the place experimenting. I think he might learn more about craft by sticking with one "genre" and playing with it, just as many great painters went through different periods. So, it comes as no surprise that I did not like Shambards. Except for the fleeting moments of exciting male corps work in the final part, I was itching for the ballet to end. Forget the dragging of Weese on the floor, the music was dragging my nerves through dark places... Which leads to another point. Being a Balanchine fan foremost, I do believe you can't make a great ballet without great music. And, I don't think you can make a good ballet from bad music. I don't think Wheeldon had much of a chance to make a work that I'd think was great from music that grated on me. I admit it. I voted for "What was he thinking?" -amanda p.s. A choreographer who can waste Bouder and Fairchild so that their two roles could have been danced by anyone is going to lose my affection anyway!

Check out the updated casting for Tuesday, May 25th... Bouder debuting in TWO roles now. Should be quite the tiresome evening. -amanda

In case we weren't tired already of Bouder , for the casting for Tuesday night has changed so that Bouder is now debuting in TWO roles in one evening. Those of us at the Wall-to-Wall got a preview of Bouder in the burgandy girl role (they are giving her a needed rest by taking her out of Interplay). How glad am I that I have tickets? Who Cares: MARTINS, WEESE, SYLVE*, BOUDER* [McDill] Intermission Western Symphony: 1st Mov.: RINGER*, FAYETTE 2nd Mov.: ANSANELLI, EVANS 3rd Mov.: KOWROSKI, HÜBBE Intermission Stars and Stripes: WHELAN, WOETZEL, BOUDER*, BAR, GOLD -amanda

But, there was Symphony in C... Given, with all that white, it might have looked like one white mass, but had they done the final movement of Symphony in C, it would have made me day. Last week I saw it for umpteenth times and both performances still gave me chills when the entire company of women assembles together and dances (similar to but still different from the Vienna Waltzes part). -amanda

Dale, Kline actually did not embarrass himself that way, but another way. He pronounced Balanchine with the last syllable like the chin in "china" is pronounced. He then tried to recover and poke fun at himself by saying the correct pronounciation and then saying Bernstein with the "stein" pronounced two different ways, as if to show it's easy to mispronounce... As Juliet said, I think SJP a good choice in balancing star attraction with someone with some sort of connection. The dress changes were a bit much. Kline just seem off and ill-prepared to me. I, like most others, was upset with the camera staying on Marsalis and missing BALANCHINE'S CHOREOGRAPHY. While this pas de deux was already televised, I would have liked to have had an "uncut" version again. I really would have been cursing were Kistler or Ringer to have done it. I think Ansanelli should still be doing the girl in blue. The Man I Love requires more dark passion than young girl. Liebeslieder would definitely have been at the bottom of my list for inclusion on a telecast, and so I am glad to read that it didn't "bomb" and others who have not seen it before loved it. Borree is at her best (still relative term for me) in Duo Concertant. Barocco and BSQ were the highlights for me, although I wish the former included the third movement. Most of the dances were more adagio and so I would have liked more pieced that show off the speed for which Balanchine was known. I think my last comment really captures what was off for me about the programming-- it didn't reflect many of Balanchine's choreogpraphy's main attributes. Couldn't there have been at least one leotard ballet? -amanda

For anyone in or around NYC, they will also be telecasting the program out on the plaza outside the theater. Free for the public. I just hope it does thunderstorm while people are out there. -amanda

In Dances at a Gathering, which part would Bouder be doing-- I'm drawing a blank. Nichols/Borree does pink, Ringer yellow, Sylve/Kowroski green. Does Rutherford do purple/lavender or blue? That would leave the other for Bouder. -amanda

Please check out the topic in Announcements about items being auctioned off and ways of helping out with the NYCB AIDS Walk Team. Thanks. -amanda

Liang changed the spelling of his name when he left NYCB to join Fosse, at which time he would have joined Actors Equity. I believe it was joining that union that led to the spelling change. -amanda

Riolama Lorenzo, Emily Coates, Kristina Fernandez, Christopher Wheeldon, Aubrey Morgan, Edwaard Liang. I only started watching the company in 1990, so my list is obviously just from the recent decade+. I tend to like the small girls better than the taller girls, but Lorenzo just captivated me. Since she is still dancing, I can still hope to see her Der Rosenkavalier (sp?) in Vienna Waltzes someday... Not that's it's likely. -amanda

I thoroughly enjoyed my 12+ hour adventure (having gotten in line at 9am and lasting until the wonderful end). My favorite parts were hearing from those who worked with Mr. B, esp. those I hadn't heard from before, and hearing about their experiences in different ways. The coaching was great (I haven't made it to any of the Guggenheim's)-- I have always loved going to working rehearsals at NYCB, but having Verdy do the coaching herself and watching the others on video-- wow. Now, while hearing from these great folks was the highlight for me, it was also my greatest disappoint. Gottleib directed the conversation with Barbara Horgan to things I had less interest in. I wanted to hear more personal things, such as Schuyler Chapin's anecdote about getting Balanchine to choreography 2.5 mins of Boris Gudonov, and less on the facts about the Trust. I relished those moments. Esp the direct moments, such as d'Amboise's film of the NY State Theater's opening night where we got to see and and hear from Balanchine himself. The full Gudonov story is best told by somone else. What stood out for me in that story was both Balanchine's sense of humor and his generosity (another case of him not taking a fee... or rather returning a few and then making a donation). Performance-wise, I was, of course, in heaven to have Bouder there. Since I am pressed for time right now, I am just going to speak about Apollo and Renard. Apollo-- It was illuminating for me finally to see the prologue and see a more dramatic story told. I have mixed feelings about the ballet becoming more story-like. I understand why Balanchine, over the years, trimmed the ballet down to its essence. I am not sure what the portrayals were like in his last years. I do think that most of today's Apollos do not make clear the transition from unsure boy to God. The choreography is still there. And, it doesn't need to be as dramatically asserted as it was in this performance (though I liked this Apollo immensely). It took me years of watching Apollo to see the transition in the character Apollo that the choreography still allows-- I shouldn't have to work that hard to see it. And, Renard. I kept thinking Small House of Uncle Thomas. And, much less so, Fanfare. I wonder if Robbins ever saw Renard. To me the ballet was much more a foreshadowing of some of Robbins' work than later Balanchine works. I don't mean the simple aspect of story-telling. It was the way the story was told and the dance responded to/ mirrored the vocals. forgive me for any errors, as I have no time to proofread... -amanda

Knapp was out for a season or two after she joined the company. But, she was back this season dancing with the other taller corps girls. -amanda