AmandaNYC

Back to her performance in this post! My boyfriend, whose 2nd time at NYCB it was (first being a few weeks ago with Barocco, Flower Festival, Prodigal, and Slaughter), offered his own observation which I found so interesting and beautiful. He's an actor, so he approaches watching a performance from a different angle. At both performances he has attended I have learned so much from him! At intermission Thursday night, he said that during her vision scene, Bouder's dancing was like witnessing the act of creation at every moment. She transcended the choreography. On a personal note, I think I'll keep this boy. -amanda

having just seen the 2nd performance of Bouder, all I have to say is... WOW. -amanda

What I always love about reading posts here is that I learn so much, not simply about the dance and dancers, but also about the different ways people watch dance. As someone barely schooled in dance and not much for specifics of technique, I tend to focus on the upper body and the presence of the dancer. I didn't notice what Anna said. Unless something is majorly off, I don't really pay attention so much to lines. So, of course, I was able to able to enjoy Bouder's performance more than Anna did. But, next time around (meaning tonight) I shall probably try to see what Anna was talking about. As for my perceptions of Bouder's performance, I don't really have much to add to the glowing and articulate praises of the others. As with others, what wowed me this time were the aspects to Bouder's dancing I hadn't had the opportunity to see before-- her delicacy in a romantic role. Her vision scene was breathtaking. As I have said before about Bouder and Somogyi, they invite you in to notice the choreography and movement in ways that no other dancers do for me. I learn so much watching them-- but not learning in a way that takes away from the emotion of the moment. I did feel that, at times, she may have over-articulated some of the mime-like dance movements-- cargill said it better, saying that Bouder had seemed a bit too studied at times (I hope i paraphrase you correctly, cargill). Over time, she'll learn that you can convey the same thing a little more subtly. But, at least the feeling was there to go with the movement. I was never so disappointed in Woetzel as I was in this performance. Truly phoned in. Didn't help that the last prince I saw was Boal on Friday night. As for the rest of the cast... I am waiting until the end of the run to sum up my experience. I shall say, at this point, that I am truly missing having more seasoned and technically adept dancers in many of the roles. And, I wish the tempos were more consistent! -amanda

AT NYCB it hasn't simply be injured or older dancers doing Carabosse. Riolama Lorenzo performed the part before she left the company, and she's the same age as Kowroski. She had great dramatic flair that she used well in the part. Casting of Kowroski didn't surprise me. She also has a great flair with *character* roles. We've already seen her do many comical roles. As yet, I'm not sure she's able to embody evilness enough for her Carabosse to work for me (I only saw her debut so far). But, I have seen her grow into many roles over the years, so i foresee her becoming a great Carabosse.

Sold-Out doesn't always seem to mean that-- always try. Yesterday late afternoon (after casting was posted by Alexandra) I traded in my 2 2nd ring subscription tix for this Sunday for two tix for next Thursday (bouder's 2nd SB). So often people like me trade in seats at any point. I'd guess that the ones I got were subscriber seats turned in (front row on the end). I also got a single ticket in the 2nd ring for Tuesday (bouder's debut). So, always check at the BO. Also, even if the theater is sold-out, you might be able to buy donated tickets. A half hour before each performance, NYCB volunteers sell donated tix (tix people can't use) from the left side of the lobby (where the guard is usually stationed). You can often get great orchestra, 1st ring, 2nd ring, etc. seats, as often the people donating are subscribers. So, if the BO has no tix, the ticket donations people might. As far as casting goes, as I have said I'll be there for both Bouder's performances (of course), so I hope to see some of the usual suspects. On Tuesday, I may be a bundle of nerves, as it's a huge debut.

NYCB tried to make the distinction about the debut in their press release about the promotions: "Ms. Fairchild will make her New York debut as Swanilda in Balanchine and Alexandra Danilova’s Coppélia on Saturday, February 14 at 8 p.m."

some of my wishes are echoes of others, some not. First and foremost: Evans as Apollo. (would also love to see him in Who Cares?) New cast of The Four Temperaments (this was what i thought about as i went to sleep last night). Theme 1: Keenan or A. Stafford and J. Stafford Theme 2: Riggins or Ricard and Hall Theme 3: Korbes and Ramasar Melancholic: Hanna Sanguinic: Taylor or Bouder and Angle Phlegmatic: Fowler Choleric: van Kipnis or Bar Bouder top choices: Rubies, Aurora in SB, Fall in The Four Seasons, Square Dance, any of the Who Cares? leads, Ballo, Tchai. pas de deux, Stars & Stripes main (her SAB role), Valse-Fantaisie Somogyi top ones: Square Dance (it's about time!), Theme and Variations, Walpurgisnacht lead Taylor: Chaconne, Symphony in 3 Mov'ts main Ringer: In G Major, 3rd mov't Brahms-Schoenberg Korbes top 5: Bizet 2nd mov't, Chaconne, La Sonnambula, Slaughter, in G Major Arthurs: Slaughter, Divertimento No. 15 Keenan or Ricard: Western 1st, Divertimento No. 15 Hyltin: R&J Balcony Scene (I could see her passion even in a corps role in Carousel), Maria in WSS (with a wig, I guess) Flynn: Steadfast Tin Soldier (I had to after her Double Feature role) Abergel: Cortege Hongrois character dance, Swan Lake Hungarian Rutherford: 3rd mov't Brahms-Schoenberg In general, I'd like to see more of the girls listed above. Girls I'd like to see in (more) solos so I can get to *know* them better: Mearns, Muller, Laracey I'd like to see Les Gentilhommes brought back so we can see more of Higgins, Ramasar, Hall, J. Johnson, Hanna, Fowler, Carmena, etc. I don't really have specific other roles in which I want to see them. I just want to see them! yes, I have thought WAY too much about this... I'm sure I'll come up with more as I drift off to sleep... -amanda

Serenade. I still see new things in this ballet each time I see it... and I have seen it many, many times! And, the casting doesn't seem to make as much a difference in my enjoyment of Serenade as it does for other ballets (e.g., Barocco, Apollo). Four T's would be my back-up, though it's not a sentimental favorite of mine. It is, however, the other ballet that stands up against bad casting for me (not that i have seen many bad casts). -amanda, who will eventually post reviews of the current season...

Oddly, I can't seem to find the casting on the NYCB site in either of the two places they post it... (this is at 1:25pm ET) -amanda

I come out of the shadows to post about Bouder. I have only seen the first ballet so far (I see the full program today). As such, I am reserving full judgment on the ballet until tonight... But, I, of course, need to post about Bouder. The ballet is worth seeing (and I stood for all of it and it was still worth it) for her performance. She had me in tears-- I think it was a combination of how beautiful she was (and how beautiful she could make whatever she was dancing) and that she was in such a star-making rolem which showed off that she is a true ballerina in the making (if not already!). Sure, there were chances for her to display her incredible jumping prowess, but it was in the dream sequence with Woetzel and at the party scene where she shined for other reasons. She was no longer a young girl. There was such great maturity there-- not that this is anything new to us about her. But here she was doing a romantic pas de deux, which is not, I believe, something in which we have had a chance to see her-- before now, we have seen in her pas de deux where it's been more about two independent people dancing together (symphony in c, tarantella, etc) or solos (nutcracker, la source). Here I had a glimpse of the years to come of seeing her in the meaty ballerina roles. THis was a fully-realized performance-- musical, luxurious articulation of every movement, charm when needed, quiet passion when needed. I can see Taylor doing some of this role, for sure. But, I think many layers would have been missing in the pas de deux. In her Nutcracker performances, I still don't feel Taylor's awareness of her partner and passion for that relationship. And, as you well know, I often think Taylor rushes to get from one grand movement to another, without attending to the movement in between (that's not to say that approach doesn't work, at times, esp. for Dewdrop). Nichols was fabulous. And, coming from me that certainly says a lot, since I have not been a fan of hers (that's not to say I haven't appreciated her). And, Fairchild is a great comic talent. With those great eyes of her, she doesn't even need to do much. But her entire being was that awkward, spoiled girl. In the party scene, she was a true hoot. As I said, i reserve judgment on the ballet until later. But, first impression is that there's not much there. Typical Stroman gimmickiness (is that a word?). Months ago I dealt with my issues over the company having her choreograph a piece, in the first place. -amanda

Alexandra- this is in New York magazine, not the New Yorker. I saw the photo and thought it looked like Le Clercq, too, but dismissed the though. -amanda

Just an informational post: I haven't seen a complete list of apprentices (the Information Table on the promenade has those lists when they're available, so keep a look out there), but the Nutcracker performance programs have had the following listed as dancing (but not listed as company members). Some of these we knew about last spring: Likolani Brown Olivia Lavery Sara Mearns Lauren King Maya Collins Tyler Angle Vincent Paradiso -amanda

I don't know if I should post this here or in announcements, but if anyone is interested in going together to the MT&R this Saturday (13th) or the following Sunday (21st) for the 12:30pm screening in NYC, please let me know. It's always more enjoyable to have company. -amanda

I guess it's about time I posted! Long time, no post... So, I have seen 3 perfs of the 2nd act so far (many more to go). All in all the leads have been all great in their parts. Of course I have my faves, and they didn't disappoint. But before I get there, I just wanted to note two things I haven't seen posted yet. Acc. to the program Daniel Ulbricht is the Janice Levin Award Honoree for this year. And, as far as roster changes go, Deanna McBrearty retired from the company after performing Coffee the first weekend. She definitely had a large crowd there, helping to give this hard-working corp member her final due. It's so odd to have so many long-time corps members gone now! Anyway, back to Nutcracker. My first perf back (Sat the 29th mat) gave me Bouder back, in Marzipan lead, and how happy was I. She's back in top-notch form, with the same amount of joy in her dancing as I recalled. I thought for sure she wouldn't be able to live up to my expectations, but she did! She had it all-- clarity in the footwork, softness in the upper body and that intelligent gleam in her eye. Couldn't take my eyes off her when she was one of the yellow Marzipans or one of the snowflakes, either. Somogyi was the Dewdrop, and she just gets better and better. I'm not one to get wowed by balances, but I couldn't help it here. She's just so solid in those turns. You don't fret watching her. In contrast, but incredible in her own way, was Janie Taylor's Dewdrop Sat the 6th eve. Her Dewdrop was lighter than a dewdrop! Lighter than air! When she did the diagonal sequence she barely touched the ground. She almost bounced. She really did take my breath away. It was amazing. Of course, coupled with that go for broke attack was the feeling she was going to hurt herself in other sequences-- she's still not fully stable in some of the turn sequences. But in order to get that flying sequence, I guess we still have to take some of the daredevil turn sequences... The other Dewdrop I saw was Ansanelli, at the 6th matinees. She was beautiful in her own right, with her growing and growing maturity. So different frm the Dewdrop of 7 years ago when she debuted on or around her 16th b'day. Sugarplum-wise, I saw Weese, Ringer, and Somogyi, so, again, I was in heaven. I know that some on the board find Ringer's continual sunniness not right in some roles-- but it's definitely key here. Her warmth fits perfectly in the role of the fairy. All three seemed to have little trouble with that ridiculously difficult turn sequence where the Cavalier must often rescue his fairy. No matter who I watch do that sequence, I still get nervous every time. But, Askegard and Martins were the partners, and they were there just in case. I don't know that I have much to say about the rest of the casts. Nothing bad or disappointing to report, nor anything of particular note. Well, there was Ulbricht's take no prisoners Candy Cane--- I'm starting to take such performances frm him for granted-- which i know i shouldn't! With so many Hot Chocolate ladies departed now, there have and will be a few debuts in that role. I did get to see Hankes. For better or for worse, there's not much room in that role to make it your own or special. All I can say is that she looked as comfortable in it as if she had been one of the long-performing Hot Chocolates. Oh, I did particularly like J. Stafford's Mother Ginger. It wasn't simply that he wasn't over-the-top as some have been in the last few years. He exuded a particular WARMTH in the role that I don't recall ever seeing. I actually felt like he was the odd mother of these children and quite proud of them, too. Now, that is something of note. -amanda

As posted in the links area, the NY Times did their fall preview, which included mentioning info. about Balanchine Centennial celebrations, other than what NYCB and other ballet companies are doing. The article said: "Balanchine's work processes and early archival history will be probed in events next year in New York City at the Guggenheim Museum, the Museum of Television and Radio, the New York Public Library, Symphony Space, the Manhattan School of Music and a city park, as well as on the PBS "American Masters" television series. There will also be events at Harvard University and the San Francisco Performing Arts Library, and at least 20 American ballet companies will present tribute performances. www.balanchine.org " Does anyone know anything more about these? I may have missed an earlier thread on this (I did try doing a search to see if I missed on). The Balanchine site doesn't seem to have more info. I'm a member of the Museum of TV and Radio, so will get their mailings when such events will happen there (nothing yet). But, was curious if any of the other org's have issued releases about their Balanchine Centennial involvement. Thanks. -amanda

I may have missed it or just can't find it, but has casting been posted for the City Center engagement? If not, when should they announce it? thanks. -amanda

Note the final Symphony in C casting-- Bouder is cast in third mov't as De Luz makes his debut... ______________________________ Program and Casting Subject to Change *First time in role +Guest Artist # SAB Student COPENHAGEN, DENMARK: SEPTEMBER 2-7, 2003 TUESDAY EVENING, SEPTEMBER 2 AT 7:30PM Serenade: KISTLER, BORREE, KÖRBES, NEAL, FAYETTE Intermission Agon: WHELAN, SOTO, BOAL, TINSLEY, HANSON, SOMOGYI, HANNA, FOWLER Pause Tschaikovsky Pas de Deux: WEESE, WOETZEL Intermission Symphony in C: 1st Mov.: RINGER, MARTINS 2nd Mov.: KOWROSKI, ASKEGARD 3rd Mov.: TAYLOR, MILLEPIED 4th Mov.: van KIPNIS, EVANS WEDNESDAY EVENING, SEPTEMBER 3 AT 7:30PM Jeu de Cartes: TAYLOR, TEWSLEY, MILLEPIED, MARTINS Intermission Carousel (A Dance): ANSANELLI, WOETZEL, RUTHERFORD, van KIPNIS, HIGGINS, ORZA Pause Sonatas and Interludes: KOWROSKI, SOTO [Chelton] Intermission Glass Pieces: TINSLEY, RUTHERFORD, A. STAFFORD, WHELAN, HIGGINS, FOWLER, HANNA, MARCOVICI THURSDAY EVENING, SEPTEMBER 4 at 7:30PM Square Dance: BORREE, HÜBBE Intermission Piano Pieces: MILLEPIED, SOMOGYI, ANGLE, ANSANELLI, MARCOVICI, KOWROSKI, HANNA [Grant] Intermission The Infernal Machine: TAYLOR, RAMASAR Pause Symphony in Three Movements: WHELAN, TINSLEY, A. STAFFORD, SOTO, GOLD, ANGLE FRIDAY EVENING, SEPTEMBER 5 AT 7:30PM [Quinn] Carousel (A Dance): ANSANELLI, WOETZEL, RUTHERFORD, van KIPNIS, HIGGINS, ORZA Pause Herman Shmerman: WHELAN, EVANS Intermission Guide to Strange Places: KISTLER, WEESE, SOMOGYI, ANSANELLI, TAYLOR, SOTO, NEAL, MARTINS, MILLEPIED, MARCOVICI Intermission Serenade: RINGER, BORREE, KOWROSKI, ASKEGARD, FAYETTE SATURDAY MATINEE, SEPTEMBER 6 AT 3:00PM [Moredock] Square Dance: BORREE, HÜBBE Intermission Sonatas and Interludes: KOWROSKI, SOTO [Chelton] Pause Herman Shmerman: WHELAN, *TEWSLEY Pause The Infernal Machine: TAYLOR, RAMASAR Intermission Glass Pieces: TINSLEY, RUTHERFORD, A. STAFFORD, WHELAN, HIGGINS, FOWLER, HANNA, MARCOVICI SATURDAY EVENING, SEPTEMBER 6 AT 7:30PM [Quinn] Agon: KOWROSKI, EVANS, MARCOVICI, McBREARTY, HANSON, SOMOGYI, HANNA, FOWLER Intermission Jeu de Cartes: TAYLOR, TEWSLEY, MILLEPIED, MARTINS Intermission Symphony in Three Movements: WHELAN, TINSLEY, A. STAFFORD, SOTO, GOLD, ANGLE SUNDAY EVENING, SEPTEMBER 7 AT 7:30PM Guide to Strange Places: KISTLER, WEESE, SOMOGYI, ANSANELLI, TAYLOR, SOTO, NEAL, MARTINS, MILLEPIED, MARCOVICI Intermission Piano Pieces: CARMENA, SOMOGYI, ANGLE, ANSANELLI, MARCOVICI, KOWROSKI, HANNA [Grant] Intermission Symphony in C: 1st Mov.: RINGER, TEWSLEY 2nd Mov.: WHELAN, ASKEGARD 3rd Mov.: BOUDER, *De LUZ 4th Mov.: van KIPNIS, ANGLE

I don't think there's a set group of dancers (besides, maybe Millipied) that perform with the group. I think it's more of an ad hoc group, different people going depending on availability and interest, etc. When the group performed in London last September, I am pretty sure Whelan and Boal were part of the group (i missed seeing them by a few days). -amanda, who, of course, comes out of hibernation to post about something NYCB-related... -amanda

Amanda emerges from her summer ballet hiatus to exclaim... Bouder did the lead in 2nd mov't in Western Symphony last night?!?! I want to hear more! -amanda

There is no extra performance (i.e., a one-time only Sunday night perf) listed. It seems like they listed all the perfs for the two seasons, both subscription and non-sub. But, maybe they are adding an extra one that is not listed. They haven't announced the guest artists (other than the conductor) yet, either. cargill, I'm only trying to play slight devil's advocate! Just making sure we look at all aspects of the celebration. All you say rings very true. I'm still happy there are many more All-Balanchine evenings than I had previously thought. I never go home happier from the theater than on those nights (ok, perhaps, if Glass Pieces also ended a program). On a different note, I noticed something I had also noticed with the 50th anniversary, as well. Very few of Mr. B's "European" music ballets are among the ones I LOVE, esp. when compared to the early works being done in Winter and the American and Russian ones later in Spring. Is it b/c I like the music less? ... hmm.... it's got me wondering what it is about those ballets... -amanda

oh, btw, perhaps I just read it incorrectly, but I had thought from the earlier postings that there 23 all-Balanchine programs in all. It's actually 23 all Mr. B programs in the winter. There are an ADDITIONAL 24 All-Balanchine programs in the spring! carbro, glad to provide some comfort! -amanda

I'm a classic story of totally falling apart. I was a stress case before I discovered the ballet (well, stayed a bit stressed afterwards too)-- ballet finally helped me learn to take time to smell the flowers. Although I had always loved ballet it was more in theory than having seen anyone or any ballets I LOVED. Then, I saw Darci Kistler on the Kennedy Center Honors, and I was a goner (my tape is so warped by now). I met her less than 2 years later (I was 18 at this point) when she and a small group performed in NJ. By the time my mom and I made it to the backstage area, apparently others had already met Darci and left. But, someone went to go get her for me. The minute I saw her come into sight, I just started crying and crying. I was just so overwhelmed. Thankfully, my mom was there to explain to the concerned Darci why I was losing it. She was so sweet to me. But, it's a bit of a blur after the whole bawling thing. I still have picture from that night-- Darci is still in make-up and my face is all red and blotchy! When I met her a year later on the night the Balanchine Celebration ended, I held it together... while I talked to her. I mentioned I had been the one crying and crying back in NJ, and she sweetly said, "I remember". After she signed my souvenir book, I turned around to my sis and mom... and started crying. Thankfully, I don't cry at meeting the dancers anymore. What a relief for them and me. -amanda

Today, as a subscriber, I received in the mail a *sneak preview* of Balanchine 100-- in other words, I got the schedule for the next two seasons (they even let you know which perfs match your subscription #). Actual renewals will occur at the usual time. Highlights/Summary: Midsummer's- 6 perfs across the first two weeks. The rest of those week's perfs are mixed bills. Swan Lake: 4 perfs New Stroman: 7 Jewels: 6 Coppelia: 4 Final 2 weeks are all Sleeping Beauty The non-full length ballets for the winter are: Apollo, Scotch Symphony, T. Piano Concerto No. 2, Slaughter..., Concerto Barocco, Serenade, Prodigal Son, Flower Festival, Harlequinade, Chopiniana, Donizetti Variations. Spring is as the press releases and Cargill described. But, the final perf of the season (June 27) lists an All Balanchine of Cortege Hongrois, Stravinsky Violin Concerto, and Suite No. 3. Georgian State Dance Company is listed for the Friday night and Saturday night of the last week, but not the final night. Looks like a lot of Balanchine to me in the spring. 54 Mr. B ballets for the two seasons out of 81 tells only a partial story for the celebration. Several of those are full-length or almost full-length (Harlequinade), but it's also a question of how many times each ballet gets done. Looks full of Mr. B to me. In the spring, with the exception of the 2 week American Music Festival, almost all of the non- "All Balanchine" programs have at least 2 Mr. B ballets on them. When you finally look at the actual programs, there's tons of Balanchine in sight. -amanda

I may be naive about all of this, but, in this day and age of *corporate culture*, can one man have so much power over a company? I am not saying Martins doesn't have a huge say in what is going on, but I believe blaming him entirely for the programming might be forgetting that others have input, too. (I know that many of you are not focusing on blame, but on what aspects of the programming you don't like. I don't mean to imply everyone is doing the blame game on the board.) As for my own personal opinion, I'm going to stay mostly quiet, as I do volunteer work for the company. I do want to say, however, that I like the theory of looking at Balanchine's influences and looking at his legacy. In '93 we were schooled in Balanchine choreography. The idea of seeing his works AND being schooled in what led to the development of that choreography, as well as how others' choreography was influenced by him sounds like a good complement to '93. It's quite clear that Martins and Wheeldon were influenced by Balanchine. I'm not quite sure how Stroman and Eifman were... The most important thing to me about the Balanchine Centennial is getting as many people all over to see his works. We of the NYCB audience are schooled in Balanchine. I love that people all over the world are going to get heavier *doses* of the Master, from their own home companies as well as from NYCB's tour. On a note about the use of Martin's full-length ballets as "influences". .. Sure, it seems a bit odd, but many seem to be taking "influences" more literally than is possible- let's be a little pragmatic. Those versions are what the company has in its repertory. And, certainly parts of the ballets don't deviate greatly from being Petipa-esque (e.g., the final Sleeping Beauty grand pas de deux). That definitely helps set up seeing Theme and Variations. -amanda

OK. better late than never with week 7. But, before that, I do want to say that I have been an admirer of Keenan's since her workshop performance (the same year as Bouder). Even then, she had a quiet grace and maturity in her dance that was quite surprising for someone of her age. She's a full body dancer-- beautiful port de bras (sp?) and clear footwork. She also has a joy about her dancing, reminding me a lot of Natanya-- or what I like about Natanya. I'm glad to see her getting so much to do, both in the corps and in solos (she seems to be in everything!) . Now, back to week 7, where I attended Thurs night and both Sat perfs. I had been feeling down about much of the season up until this point. I wondered if it was b/c I missed seeing my favorite dancers dancing a lot. Perhaps, it was the reason, b/c I got them back- or one in particular! I am beginning to sound like a broken record, but every time I think I cannot adore Somogyi more and that she cannot possibly surpass herself, she does. Whereas at her first pass at Western (last season?), I didn't see her suited for it, she's come into her own in it now. I think Leigh has said in the past that Somogyi seems to need to find her way in a part, understanding it at a depper level before she can give that full on performance. Now, not only did she have the steps down, but the wit, too. Even, Martins seemed to have loads of fun in the 1st mov't as well. I was also privileged to see Somogyi perform 2nd mov't B-S Quartet and T. pas de deux, in the same evening no less. With BSQ, this was definitely a case of casting in the part coming perfectly when the person was ready for the part, no earlier. While Ringer no longer makes me cry when she dances the piece, Somogyi did. Somogyi was able to lose/hide/subdue enough of her strong, indestructible self to be heartbreakingly vulnerable. And her Tchai pas.... The pas de deux seemed as if in slow motion-- but i still didn't want it to end! And, of course, she wowed the audience with her effortless whipping off of single and double fouettes. But, nothing she does seems to be show-offy. It's all seamlessly part of the dance. I never see Balanchine more clearly than when I watch Somogyi in his works. That is, perhaps, the highest tribute I can pay her. In the last few seasons, Somogyi has truly become a ballerina, in my eyes. In a study of contrasts, I saw Ansanelli perform roles that others also did that week. Whelan's Cage has become so ingrained in me that my eyes had trouble adjusting, at first, to Ansanelli (though I have seen her in the part awhile back). I love Whelan's Cage. But, Ansanelli's was a breath of fresh air in the part. I noticed aspects of the choreography I hadn't before. She WAS the novice. The way she moved in the beginning made it clear she was scared and confused. And her transition to more confident, sexual being was there. Whereas the Whelan/Soto pas de deux was a pas de deux between, well, Whelan and Soto, the Ansanelli/Marcovici pas de deux was a dance between a novice and her mate and soon-to-be prey. BUT, I do wish Soto had been there to partner Ansanelli. I may have liked seeing new aspects of the choreography, but I do not like seeing the intricacies of the partnering-- that is, just how hard the partnering is in this piece. The novice needs an incredibly adept partner for this part, and Marcovici is just not that kind of partner. The other part I saw Ansanelli perform was Tschai. pas. And this was before the Somogyi performance. I loved them both. Ansanelli and Woetzel's partnering seemed to hit some snags, but I otherwise think them well-suited. Ansanelli went for broke in her solos. And, as with Somogyi, it wasn't in an overly showy way. It was more that Ansanelli threw caution to the wind. In one sequence (Leigh will have to tell you what steps they were), she seemed to fly and still be moving even when she was just ending the move in an arabesque. She certainly held her own to Woetzel. Well, actually, Woetzel seemed more to phone in this performance, despite the sequences being better executed than most other men could do it. And, speaking of the other men, Askegard was Somogyi's partner. I think he's a wonderful dancer and a gracious partner, but his height is a hindrance to my enjoyment of his virtuoso performances. Which is too bad. What else? Hmm.... In Western 2nd mov't, Taylor doesn't seem to have settled on a characterization-- I'm not sure what she's trying for, if anything. In BSQ both weeks, I saw Taylor and Ansanelli in the 3rd mov't. It's such a romantic ballerina part, but I don't think either of them is quite ready for it. Yet. They're both incredibly interesting dancers to watch, but a ballerina role of this type requires more than that. I would like to see Ringer move from 2nd mov't to this one. On a side note, re: BSQ. I really wish that all the girls would do their buns in the low romantic style. Some do it that way, while others keep the higher bun. First, I think there should be some consistency. And, second, since this is a big, romantic piece, the low buns just fit. Those are the girls I end up watching. Fairchild's debut in Valse-Fantaisie was a fully-realized performance. She had the power and clarity in the steps, as well as the charm and happiness in her presence. I still haven't quite warmed to her as I would have liked to, but it's still early yet. I just wish Stafford could relax more in her performances and simply enjoy herself, as Fairchild seemed to. My reaction to West Side Story Suite is less enthusiastic than everyone else's. Don't get me wrong- I didn't dislike it. But, something just seemed off to me. Maybe with so many newer guys in it, I don't feel like they're quite at home in it. My eyes tended to wander to the more experienced ones, like Higgins (who should be doing Bernardo by now!). I was especially disappointed by America. Ringer, Ash, and Edge all *got it*, but the other girls (Arthurs, Bar, and Krohn) are too introverted for this piece. Of all pieces, the girls here need to be showy and have fun. Their performances were just not in sync with what was called for. :-( When I first saw Millepied, I didn't quite recognize him. He looked so old! Not in an old man sense, of course. But, he didn't have that boyishness I am used to seeing in him. It was so odd! Esp. b/c you need to see that charm and wonder in Something's Coming. I am not asking that he be LaFosse in the part, but I didn't quite see a character. While I was not happy with Bar in WSS, I really liked her as the supporting ballerina in 1st mov't BSQ. She danced big and a revealed a power to her dancing that I didn't realize she had. And, similarly, Krohn has grown into her role of Queen in the Cage. Her serious demeanor works for in this part. And now, she has added more power and presence. As for the last mov't of BSQ, I previously talked about Kowroski and Askegard and their sexiness in the role. In Week 7, Whelan and Woetzel not only had that sultriness, but also the fun and wit. It was a more full-bodied performance, when I reflect back on both perfs. What was most interesting in the last weeks of the season was seeing different people in the same roles and liking them both, but for different reasons. Usually, I have clear preferences to the point of strongly disliking one cast. But, this season (or at least the end of the season), I have seen many equally convincing cases. Midsummer's comments coming soon. I want to keep my high from that a little bit longer before attempting to articulate it (until i got there, i didn't realize my last night for the season was Kistler as Titania, Somogyi as Hippolyta, and Ringer in the Divertissement. Amanda was so not happy ;-) ). -amanda