BalanchineFan

15 hours ago, Quiggin said:

I think it was Tom Cruise who introduced the broad smile as the default facial expression. I once came across a comment on a discussion group asking why no one smiled in 19th century photographs and Renaissance paintings. For dancers it looks as if it's difficult for them to make the smile look natural and do all the steps at the same time. To me it seems out of place in most dramatic works and for lighter ballets you should perhaps laugh with your body instead. Nothing should distract from, or countradict, what dancers are saying with their bodies – and they have the means to say a lot. For example with the mute mime of The Four Temperaments and the little jokes of displacement of Donizetti Variations. End of rant.

Added: and of course Farrell's and Martins's performance in Diamonds is the standard, I didn't want to imply otherwise.

One other thing: in programs notes such as those at the beginning of the performance, it would be nice to cite Tim Scholl's idea that Jewels references the precious stones of Sleeping Beauty rather than use the commercial hook of Van Cleef and Arpels, which was just Balanchine's tossed off pitch, not his deeper motivation.

I find that performers gain a lot of depth when they can relax their facial expressions and react in the moment as they dance. There's more variety, more truth to the emotions that come out. For the reality is that quite a lot is happening onstage as they dance. There are the rises and falls of the music (usually played live, so it's different each performance). There is the interaction with their partner, and the other dancers onstage. (Here you are close, now, two counts later, you're so far away). There is the choreography itself, the physicality of it, the changes of movement dynamic, now sharp, now smooth, now narrow and tight, now wide; the amplitude, from the finesse of quick pointe work to space devouring jumps. A frozen smile says one thing, and often it communicates more tension than happiness.

Balanchine's work shines through this production and there are many stand out performances. (I haven't yet looked up his name, but the male lead in Diamonds was a true joy to behold). I hope that the corps, and some of the soloists were smiling out of nerves and eventually relaxed into a deeper experience of the ballet.

I"m not sure how long this link will be active, but Bayerishes Statsballett is streaming a performance of Jewels from April 2019 with Ashley Bouder as a guest in Rubies. I believe Patricia Neary set it.

https://operlive.de/jewels/

16 hours ago, Leah said:

Sara Mearns has been posting hints that  the spring season will be cancelled on her Instagram, like on her stories she says it’s her last time in the studio for a while, etc

She says "I don't know, at this moment, when the next time will be..." Let's not get ahead of ourselves. We don't know. 

I don't know how many of you are dancers, or know young dancers who might be at home while dance studios are closed, but a few NYCB ballerinas (and others) have online offerings. There is such a sense of community and people being creative to help each other out in our new shared circumstances.

BRAVO DANCE WORLD!

Ashley Bouder youtube channel offers classes live at 11 am, the classes remain on her youtube channel

Tiler Peck is doing a class via Instagram Live, at 1 pm EST/10 am Pacific Time

https://www.instagram.com/p/B9z-kFtFSv8/?utm_source=ig_web_button_share_sheet

Over at Juilliard, Alicia Graf Mack, head of the Dance Division, offers class via Instagram each morning, M_F at 8:15 AM. Those classes remain online for 24 hours.  https://www.instagram.com/tv/B9y06YtjVDD/?utm_source=ig_web_button_share_sheet

How exciting! I've been watching bits of this tour through the dancers' Instagram posts. It looks fascinating. I love Robbins' choreography, but In the Night is like an afterthought to his two Chopin masterpieces, Dances at a Gathering and The Concert. Do you remember the entire cast? 

I love your account of Miriam Miller in After the Rain. I haven't seen her in leading roles as often, or as recently, here in NYC and I'm glad she's getting opportunities.

1 hour ago, On Pointe said:

Early on,  when I first heard of this production of WSS,  I felt that it was inevitable that Van Hove would get it wrong.  Not just because he's Belgian and so unfamiliar with American racial dynamics that he cast black performers as the Jets.  But because he's arrogant,  and by his comments in various interviews,  he seems not to respect American cullture at all,  and therefore feels no need to try to understand it.  He just wants to exploit it.  He could have produced the Belgian equivalent of the Romeo and Juliet story,  but that would take far more time and effort than rehashing and trashing an American classic.

I came late to the van Hove parade. Network was the first of his productions that I saw. I thought it was an assault on the senses, between the many video screens, the reflective surfaces, the audience and bar onstage, and video of things present and not. A viewer might spend half of any scene watching large format video and be surprised when the two actors involved stand up and exit, 'Gee I could have watched it live in front of me instead!' I've heard his View from a Bridge, and even Crucible were somehow better and less confusing.

Arrogance is never a good look for an artist, but I don't begrudge van Hove's efforts to reimagine classic plays and musicals. That's what directors are supposed to do, whether they make big changes or not. With any luck, next time the results will be better.

5 hours ago, Kathleen O'Connell said:

Roxane Gay makes a similar observation in an article entitled "White Fever Dreams: The distortions of black and brown lives in the white imagination." 

"The new staging seems quite forward-looking and inclusive but most of the creative and production team is comprised of white people. Ivo van Hove, Belgian, directs and Anne Teresa DeKeersmaeker, Dutch, choreographs this new staging. They are accomplished and talented, certainly, and they do bring a sharp and interesting energy to this revival. But how committed can a show be to genuine inclusion when people of color have little or no hand in the show’s artistic voice and direction? How authentic can the portrayals of people of color be when it is predominantly white people shaping those portrayals?

The show’s attempts at inclusion are, at times, clumsily executed. The black Jets would have more solidarity with the Puerto Rican Sharks than the white Jets. That they don’t in this show is the misstep of people who did not bother to learn much about the cultures they tried to represent. During “Gee Officer Krupke,” there are, among others, images of the border wall between the United States and Mexico. It’s clear what they are trying to say but it is also cognitively dissonant because Puerto Rico is part of the United States, and it is an island and the show is set in present day. To flatten the experience immigration without nuance makes it seem like the show’s architects think all brown people and their experiences are interchangeable."

I found it interesting that Carina del Valle Schorske seemed to take issue with WSS throughout its history, not just the current production (which is a hot mess in how it depicts race). While I think it would be ideal for all art and representations of people to be influenced and even created by the people they represent, I don't have an issue when they are not. Mostly, I want the art itself to be good and to move me.

I love Jerome Robbins' WSS. And I can experience it (the film casting of Natalie Wood aside) as coming from the time it was created, with all the limitations that entails. I wasn't aware there was such a general objection to the musical, but I respect the objections. Is might be a generational thing. I find milennials can be much less forgiving on pc issues than my personal, post-menopausal cohort (Roxane Gay excepted).

15 hours ago, nanushka said:

I don't think they would need to explain it. Again, they wouldn't be firing him, they would simply be choosing not to renew his contract. They would need good cause to do the former (as they discovered previously); there's no such requirement, I believe, for doing the latter (so long as they're not doing so in a discriminatory manner against a protected class).

IF they do I suppose he goes back to AGMA for arbitration. To me, non-renewal would be like NYCB not accepting AGMA's decision, or not negotiating in good faith. I guess we'll have to see how it plays out.

I just read another take on the production. 

https://www.nytimes.com/2020/02/24/opinion/west-side-story-broadway.html

30 minutes ago, nanushka said:

No grounds. As I said, I understood that they were only required to employ him for the remaining period of the contract they inappropriately (according to the judgment of the arbitrator) terminated. Again, I may be wrong, so if anyone has details about what specifically the union arrangement requires I’d be interested to know. They are not simply required to automatically renew every dancer’s contract from year to year, are they? At least I assumed they were not.

The idea that, after arbitration, NYCB is "only required to employ him for the remaining period of his [yearly] contract" was an idea that I only ever heard on this message board. I don't think they can fire him twice for the same event and whatever I think, by keeping Amar Ramasar on the online roster and listed in NYCB programs while he's performing on Broadway, NYCB isn't acting like that's their goal. They may not be required to renew contracts in general, but for a reinstated principal dancer who is dancing well, how would NYCB explain the decision to AGMA and the arbitrator? 'We reinstated him like you said, but now we just don't like his dancing.'?

What follows doesn't answer your questions but it states that AGMA reviews each case of non-reengagement.

From a 1999 NYCB AGMA contract:

REENGAGEMENT EMPLOYER will notify Dancer(s) whom the EMPLOYER does not plan to re-engage for the following season in writing no later than February 28, however EMPLOYER will use best efforts to notify such Dancer(s) by February 1. The EMPLOYER will furnish AGMA with a list of these Dancers at which time AGMA will review each case of non-reengagement and will make recommendations to the EMPLOYER. ARTISTS will make every reasonable effort to give notice of resignation no later than May 31st which is the middle of the Spring season in New York for the ballet.

3 minutes ago, nanushka said:

When does his current NYCB contract end? The reason it could change is that NYCB is not required to renew his contract despite being required to finish out the period. of the one they terminated — at least that’s my understanding.

I understood that he had his job back... period. They can fire him again if he gives them cause. They would remove him from the roster if they didn't want him back (or if they could, I suppose). They remove other dancers quick enough.  What grounds do you imagine they would fire him for now?

On 2/21/2020 at 9:34 AM, California said:

Does he even have that option? Didn't the union-negotiated resolution guarantee him just one more year at NYCB? That might be gone. 

Ramasar is still on the NYCB roster as a principal. I don't see why that would change. If WSS runs for a year he'll be there. Equity contracts run for a year after opening night. If it closes, I imagine he'll return to NYCB.

First random thought: My lawyer once told me that, "anyone can sue anyone for anything at any time." Here in the USA, I've found that to be true.

Two: Waterbury is using RAINN's definition of sexual assault which includes nonconsensual online sharing of sexually explicit images. Sometimes it's called digital sexual assault, revenge porn, cyber assault, etc. I don't think all of the protesters understand the distinction. It's certainly unclear to many who comment on Waterbury's feed. If Ramasar didn't pass on her images to anyone (which he claims he didn't and she does not believe) then he hasn't committed digital sexual assault against Waterbury. When Waterbury says "he sexually assaulted you" she must mean that Ramasar committed digital assault against Alexa Maxwell. [gotta say digital sexual assault is an unfortunate term. Kind of sounds like finger rape]

Three: In New York City, and throughout the United States, we have a right to peacefully protest on any public sidewalk. We do not have the right to block entrances or exits, or disrupt traffic. We do not have the right to use amplification. Waterbury and WSS Protest can legally protest as long as they like.

I don't know about defamation or slander, but Waterbury is repeatedly calling him a sexual predator. My sympathy for her is fading mostly because I don't see any evidence that he is a predator based on ANY definition of that word. 

Four: NY has a revenge porn law on the books, but it requires malicious intent. The person sending the images must be shown to have an intent to harm the person(s) in the photos. This law doesn't say anything about requiring consent. Nothing requiring consent to take the photo (at least not in the revenge porn law, privacy laws probably include consent) and nothing about consent to share the photos. I don't see how Waterbury's case against Ramasar, or NYCB for that matter, will hold up in court. No doubt that's why she's making a big push tonight at WSS's opening.

https://slate.com/technology/2019/07/revenge-porn-law-new-york.html

16 minutes ago, nanushka said:

Presumably there's a mode of informed and informative interviewing/reporting that would not constitute a review but that would still be something more substantive than a puff piece, no?

Sure, call it what you like. I don't say puff piece to denigrate the reporting, I say it as a binary opposite to a review. There is no journalistic attempt to evaluate the results, just to report on the creation of the piece and promote the project.

On 2/18/2020 at 3:23 AM, On Pointe said:

The reporter was Bill Whitaker,  and I'm sure he knows how Broadway shows are produced.  But assuming ignorance is a technique often used by television journalists,  because they try to ask the kinds of questions that viewers who may know nothing about the subject might ask.  That said,  this was a puff piece,  not a review, more public relations than actual reporting.

Sorry I missed the 60 minutes segment. As a point of general info: Official news outlets can't review any show, or post reviews until after opening night. That's the journalistic agreement, and what an opening is for. Pre-opening all you get are puff pieces, "This is what's coming to Broadway!'

On 1/9/2020 at 2:18 PM, California said:

Could you elaborate on how water is being used? I can recall seeing photos of Mariinsky students with watering cans sprinkling water on classroom floors, with the explanation that they needed to get used to such things. Is that what's going on?

It rains onstage during The Rumble and during Somewhere. The dancers in the Rumble probably take their shirts off because it's easier to deal with rain on skin than wet clothing. Plus the guys look super hot.

23 hours ago, abatt said:

Whelan danced Ballade a long time ago w. Robert Tewsley.  I hope Whelan revives Ballade.  I also hope they get Tzigane - which I've only seen in excerpt on video.

I agree wholeheartedly!

I also hope NYCB doesn't become a repository of 19th century full-lengths, it's just that they seem to have the marketing down and they sell well. If they did Liebeslieder  every Valentine's Day I'd be ecstatic. Maybe they just need a different marketing approach.

6 hours ago, ivanov said:

Don't we want them to come back?

If they do return after SL they'll be astonished at the rest of the repertory. It's like setting up low expectations, production-wise. Martins chose great music to choreograph, even if many of us don't like the results.

@canbelto I'd love to see Harlequinade more often!

2 minutes ago, nanushka said:

Bad sets and costumes. Tempi way too fast. And the dramatic structure is all messed up by the intermission placement.

NYCB could really stand to get some sort of broad artistic vision for full-lengths, because as brilliant as Balanchine was they did not inherit one from him.

I beg to differ. Midsummer is perfection, even if the dramatic action ends before intermission.

13 minutes ago, abatt said:

I thought that the chemistry created by Cote and Mearns made a big difference in their portrayal compared to the Bouder - Furlan and Reichlin-Walker pairings, which had zero chemistry.  Also, the small details in the performances of Mearns and Cote made all the difference.  Cote is a very charismatic actor, and he was the most convincing of the three Siegfried dancers this weekend.

[...]

Furlan was the most impressive technically of the three Siegfrieds.  He and Bouder are both technical marvels, but the performance left me cold.  There is a little more flow to Bouder's dancing than there used to be, but her phrasing still leaves a lot to be desired in this role.

As for the other characters in the production, Ulbricht was a marvel as the Jester.   I wish the company used him for more ballets.  Loved Gerrity in the Russian dance. 

Ulbricht was ON FIRE last weekend in Rodeo. I always think that's a fabulous role for him. 

Somewhere online there's a video of a European ballet company doing the Black Swan pdd. The drama of it is so clear and it all builds up to the moment where he drops to one knee, swears his love and Odile throws her head back in exaltation that she got him to do it. At NYCB all of that is just movement.

2 minutes ago, abatt said:

It seems like Whelan's focus is hiring choreographers to create new contemporary work.  I think the number of new works each season must cost a lot of money in terms of paying the choreographers, designers, and rehearsal time for both the dancers and the orchestra.  Nobody wants the company to become a museum, but I think the number of new works that are box office duds every season is starting to become a  problem.  I don't think new full lengths are a priority for the company at the present time.

There have always been a lot of new ballets that didn't get repeated much. John Taras and John Clifford used to choreograph on NYCB, so did Jacques D'amboise. We don't see their ballets now. New contemporary ballets aren't so expensive.  I'm pretty sure that during the season they have to pay all the dancers whether they rehearse or not. It's probably the same for the orchestra. Most new ballets don't have complex sets, and, in any case, NYCB has a costume department and scene shop on salary to create them. 

New full lengths are more expensive, and don't seem be a priority at the moment, but at some point they're going to retire all the Martins choreography. Martins is not a good enough choreographer for NYCB to keep doing his ballets long term. At least with new contemporary choreographers the dancers get to grow and learn and get a chance to be a muse to someone.

Martins' Sleeping Beauty premiered in 1991, Swan Lake in 1999 (1996 at Royal Danish Ballet) and Romeo and Juliet in 2007. What new thing will NYCB be heralding to get people into the seats, if not new ballets?

And Cuban Miami Boy is right. No one does clean single fouettés anymore, even though they go with the music.

On 2/15/2020 at 10:41 AM, GB1216 said:

It really is sad that so many wonderful dancers have this production as their Swan Lake  vehicle.  They deserve better.  I wonder if it’s on the table for Stafford/Whelan to do a new version? I think it would be well worth it.

I agree. Hopefully they've retired Martins' R&J. IMO, that was the absolute worst of his full lengths. Can't they just do Coppelia for Valentine's Day and Midsummer for June? Or get someone to choreograph a new Sleeping Beauty. Every time I look at Lauren Lovette I think she's Aurora incarnate.

Maybe Christopher Wheeldon would do a full length. Or Justin Peck, when he finishes with the movies.

I ask you all, who should choreograph NYCB's next full length ballet? And should it be Swan Lake?

21 minutes ago, cubanmiamiboy said:

Sara is KILLING IT today!! Loving her so far!!♥️♥️♥️

2 hours ago, cubanmiamiboy said:

And why..oh why..did Martins went away with the Two Big Swans dance, giving its valse-( and tweaking it)- to a most generic variation for Siegfried ..?!?!

I can't get over all the insanity with this production, and excuse me all those who love but I'll keep ranting.

Gotta say, I'm really loving your updates. I saw Mearns do SL a few years back and she is phenomenal. Any thoughts on Guillaume Coté (to anyone who's seen him)?

13 hours ago, vipa said:

14 hours ago, BalanchineFan said:

I understood that part of the article completely differently. I took it as her first SL rehearsal back, a few weeks ago (the author mentions it being the beginning of last month) where she decided to stop at 10 fouettés even though she felt fine. She was never "having difficulty" with the step, she was just being cautious and, like a good athlete, building her strength and endurance step by step, over time.

For example, you don't return from an ankle injury and do two hours of hops on pointe the first day. You do a few hops on day one and add hops each day to strengthen yourself and to be sure your body holds up. I found it funny that Tiler is quoted as saying she used to consider fouettés a "rest step." If her endurance and her health hold I see no reason to doubt her fouettés.

I agree, I think the point of the fouette mention was that in that initial rehearsal she was going to do 10 turns, ended up doing straight doubles and then stopped and said she thought it would be fine. I wouldn't be worried about the fouettes.

I say this as a dancer who has performed on that stage, as someone who has been injured and gone through physical therapy with Marika Molnar and other therapists trained by her in order to resume performing. There's a protocol and Tiler is following it.

12 hours ago, abatt said:

Yes it was removed.

I wonder why they removed the Act 3 pas de quatre. I thought it was a nice piece of choreography. They've got plenty of women who can do it justice.

I understood that part of the article completely differently. I took it as her first SL rehearsal back, a few weeks ago (the author mentions it being the beginning of last month) where she decided to stop at 10 fouettés even though she felt fine. She was never "having difficulty" with the step, she was just being cautious and, like a good athlete, building her strength and endurance step by step, over time.

For example, you don't return from an ankle injury and do two hours of hops on pointe the first day. You do a few hops on day one and add hops each day to strengthen yourself and to be sure your body holds up. I found it funny that Tiler is quoted as saying she used to consider fouettés a "rest step." If her endurance and her health hold I see no reason to doubt her fouettés.

3 hours ago, Leah said:

Are you seeing Bouder tonight? Of all the O/Os she's probably the most adept at fouettés now that Peck is injured. I am very surprised that Mearns didn't do as well, she's not the greatest technician but she usually has a lot of power.

Tiler Peck is back and scheduled to dance SL according to the NY Times yesterday. Or do you mean she was injured AGAIN?????