BalanchineFan

I'd love to see Kikta and LaFreniere as Lilac. I realize they may each be working on the SB herself, it never rains but pours. Ashley Hod would be interesting, too. It's nice to see that others remember Davidsbundlertanze fondly. My guess, sadly, is that they'll bring Liebeslieder back before they do Davidsbundlertanze again, but I hope they don't wait too long. They should do the Schuman while Farrell and/or Watts can coach it.

NYCB does $30 tickets for those under 30. They have children cast in many productions, Nutcracker, Midsummer, Coppelia, as well as smaller child casts in Mozartiana, SB.. (I think there are at least 9 ballets in the rotating rep that have children in them.) These all help keep their audience young. I never said they should update Nutcracker (heaven forfend!). My point was that these new ads are 1. probably in response to market research 2. recommended by an ad agency that has done that market research based on NYCB's stated goal, like expanding their audience 3. that WE are the strong core audience, and as such, our interest and attendance are not diminished by ads we dislike. Of course we don't like the ads. The ads aren't aimed at us. I'm glad to see all the things NYCB is doing to keep the institution strong. Glad of their online presence. Glad of the new ballets and really glad that they're keeping the Balanchine and Robbins rep vital. In a related matter, Kurt Froman posted a clip from Davidsbundlertanze. Such a beautiful ballet. I was hoping it might be performed again, but I can't see the casting. Balanchine was great at developing dancers who were so distinctly themselves, different types, different strengths and affinities, even if their technique was all at a high standard. Davidsbundlertanze really needs different types of women. I wonder who would do it now?

One the other hand, if you always play to your strongest audience (and only to them) what does an art institution do when that audience dies off? How do they get younger people or new people in the seats? I imagine an institution’s strongest audience is going to show up regardless of advertising. That’s how I am as a balletomane. I know what I want to see and adverts aren’t going to change my mind or exert much influence. The advertising is for the newbies.

Phelan has been dancing the lead in Walpurghisnacht in NYC, I believe. Or at least rehearsing it. I can't remember where I saw that. Maybe I saw her debut last winter...

You might listen to the podcast. It sounds like there are choreographed, musical transitions between the works. Not that they're adding music, they flow from one to the next.

I guess Peck’d taking that BS about him being Robbins successor seriously 😂😱 (Goldberg) If the ballet doesn't appeal, one might also follow Balanchine's advice, "Close your eyes and listen to the music." 🤣

According to the podcast the music is Rodeo, Appalachian Spring, Billy the Kid and Fanfare for the Common Man. It's Copland's best known music. Have you listened to the podcast, yet? A NY theatrical producer once told me that 97 minutes was the longest he would go without an intermission. I was in a show about that length. John Patrick Shanley's play Doubt is even shorter, IIRC, which I appreciated. Brevity is underused.

LOL!

Thank you for posting this @uptowner! I don't always keep track of the podcasts. This is a total GEM! I just love Wendy and hearing her, Craig Hall, Craig Baldwin and Chun Wai Chan talk about this project is just fascinating. Like Copland, my mother also studied with Nadia Boulanger in Paris! "Drain your bladder. It's 80 minutes with no intermission. You're not going to want to miss anything." Good to know.

Hey, I'm not that young, but edgier work definitely appeals to me. LOL.

The new teaser for Justin Peck's Copland Dance Episodes.

I've read about Ratmansky's historic interests and the research that lead to his Sleeping Beauty, as an example. I haven't seen a lot of the work he's done for ABT. Primarily I've seen Ratmansky's works for NYCB. I think he should be the next Ratmansky, and that Justin Peck should be the next Justin Peck, Wheeldon the next Wheeldon, etc. We've had a Balanchine, we don't need another. Nor is it possible for a contemporary choreographer to obtain the experience in the Imperial Ballet, the proximity to dancers and teachers who worked with Petipa, or simply put, to become another person and use that other person's brain to create ballets. I think it comes up as a journalistic or marketing idea, though it does intrigue me that you have engaged with it, Buddy. I have my own ideas about Balanchine's diversity (the many different styles and subjects of ballets he choreographed) and his genius (the high quality of such a large number of ballets). What do you see as Balanchine's solidity? One place where Ratmansky falls short of Balanchine's skill, in my opinion, is in use of space. Granted, I haven't seen Ratmansky's longer ballets for ABT (except for The Golden Cockerel, which I don't recommend), but Balanchine excels at spatial groupings of dancers that change gracefully, one moving tableaux after another. Emeralds, Tshaikovsky Piano Concerto No 2, the three quartets that move in canon in Agon, the last movement of 4T, all of the Bizet, even Allegro Brillante and Concerto Barocco with their relatively small corps de ballet have formations that change and reform as easily as the spinning of a kaleidoscope. The constantly changing structures please and engage the eye. I've seen nothing remotely like it in any of Ratmansky's work, and certainly not the profusion of formations that you see everywhere with Balanchine. Formations don't make a ballet, but a lack of pleasing tableaux can kill one.

Well, the new Peck will certainly NOT be performed on concrete outdoors, so no, the entire ballet can’t be like this. 🤔 I’m guessing they’ll also ditch the long overcoats. I’m looking forward to seeing it. I’ve been loving Gilbert Bolden (and the rest of the cast, WOW!) for some time and I really enjoy Justin Peck’s vision. I loved what he did with Rodeo, particularly since beforehand I couldn’t understand why anyone would want to revisit that music, and he then blew that idea out of the water (the male ensemble in the opening gets the heart racing, the group adagio section melts you in your seat) . I’m glad he’s working with women on pointe again. I also love Aaron Copeland’s music. I find Peck to be a major talent and I want to see as much of his development as I can. I remember reading the reviews when Vienna Waltzes premiered and many were disappointed in it. [Perhaps it was another ballet] They wanted another of whichever Balanchine ballet was THEIR favorite (particularly in the press) and weren’t really up for what Balanchine happened to be exploring. With certain choreographers I’m along for the whole ride. I may complain at times, but I love, LOVE being there.

With Gilbert Bolden III, as far as I can tell.

Are ballets typically "box office successes"? Or is that a way of looking at full lengths? I saw The Golden Cockerel at ABT, what a mess. I think Ratmansky at NYCB is a huge get for them, for their dancers, and for him as well. I still don't really like his aesthetic. But maybe I'll like the next ballet.

Wasn't Christina Clark rehearsing the Siren in Prodigal Son during the digital season? I took that to mean that she really has a future. LaFreniere is spectacular in Firebird. I saw her last spring. She deserves all three performances in that first week. And anyone who hasn't seen her do it should GO!

In the recent City Center program on youtube with Suki Schorer, Phelan and Woodward agreed with you about their favorites of the two roles: Phelan chose SPF and Woodward chose Dewdrop. Their opinions may have changed by now, of course. I thought you, of all the people I've come in contact with, would have really enjoyed it.

He's really suited to it. Barefoot pointe work and all. Did you see her when she danced Concerto Barocco? It was with Silas Farley, both debuts. Savannah Lowery was the 2nd woman, iirc. It was Lowery's last performance.

Gilbert Bolden III's IG has Marzipan and Dewdrop, and his pointe work is pretty darn good! I'd pay to see him as the Tall Girl in Rubies (but maybe only in rehearsal). It looks like his Dewdrop was originally filmed for something called Nutcracker Miscast. It may have been an online challenge for social media, all in fun as you say, Balletwannabe. Does anyone know more about Miscast? Sounds like a drag name.

I checked it out. Very fun and forward looking. Are there any roles you would gift to one of the dancers? I say Davide Riccardo in Duo Concertant. I'd also love to see Indiana Woodward in Square Dance.

The Joyce theater holds some tickets for each performance that can only be bought at the box office and only when you ask for them specifically. Perhaps it's similar at NYCB. The following confounding conversation was recounted by a friend coming to see me perform. Customer: I'd like the least expensive seat for Friday. I've already seen the show twice. Box office: We've got $40 tickets Customer: What about the first row? Box office: Those are $10. They are partial view. Customer: What about the second row? Box office: Those are $21 Customer: two tickets in the 2nd row, please. [unsaid: WHY DIDN'T YOU TELL ME ABOUT THESE THE FIRST TIME I ASKED!!]

Good points about conservative casting. I also wonder if the opportunities for guesting have changed compared with opportunities before 2020, whether it's pandemic related or not. From IG you can see some of the guesting has resumed but certainly no one is going to Russia or Ukraine for guest Nutcracker gigs.

Well, IIRC that’s primarily how Unity Phelan spent her Nutcrackers until recently: lots of Hot Chocolate and a few SPF and Dewdrops. The posted schedule is just a draft. With injuries and Covid it remains to be seen how the season will actually play out.

I loved this symposium on Balanchine's Nutcracker. Alistair Macaulay moderates, Suki Schorer, Indiana Woodward and Unity Phelan talk and show excerpts from Nutcracker with a focus on SPF and Dewdrop. It starts about 3 min in. The dancing is JUST GLORIOUS!! Macaulay is his usual self.

I love Gilbert Bolden! What an unquenchable spirit! And so handsome in his Cavalier costume!