L. Pinth-Garnell

The Times Union is reporting that Nilas Martins was charged with felony cocaine possession in Saratoga. Here's the link: http://timesunion.com/AspStories/story.asp...wsdate=7/4/2007

There's been good and bad in the Rockwell reign. Bad: Rockwell doesn't seem to know much about ballet, in technical terms. Now, I don't think he should have to be able to throw around step names etc...several great critics didn't use a lot of dance terminology, but they were able to explain what they saw in an informative or even evocative way. Yes, he writes for a general audience and not ballet followers only, but sometimes his copy reads "he spins well, she jumps high." So, looking for depth there is pointless. Good: Rockwell has taken to writing critics' essays on Sundays, hitting upon an interesting topic. Bad: His arguments are usually half-thought through, full of holes. He'll also make pronouncements like "classical ballet is dead" and then he'll actually see a ballet and write "you know, this classical ballet aint half bad." Good: He's gone on the road to review the companies in Boston, Seattle, Portland etc... Bad: He's brought the above described to those reviews. Good: He's brought in more writers. Sometimes during the season, they'll be several dance stories. Bad: Some people have complained about the tone of those newer writers. Good: Those dancers, companies etc.. that were receiving protection by Kisselgoff don't get the same treatment by Rockwell. ++++ I'd second some of the venues mentioned by Alexandra, such as the reviews in the Wall Street Journal, New Yorker, Ballet Review, DanceView, Dance View Times, ballet.co.uk magazine and the like.

This is what I was talking about. So, if people don't agree with casting they are hoping the dancer fails? I didn't get that from any other post on this thread. If they don't like the way a ballet is being performed, they are living in the past?

[snip] Boosterism? I'll help you out with that one, oberon. The dictionary says it's the vigorous promotion of something. In this case, I would say it is a poster who swoopes in the the rescue anytime (and almost everytime) somebody posts something slightly negative about NYCB or Peter Martins. I don't think somebody has to accept every casting decision to enjoy and care about a company and it's dancers. In fact, I think people are questioning the casting because they want Mearns to develop into the wonderful dancer her school performances promise her to be. I will be there to root her on -- and do wish her the best (for her whole career, not just one performance).

Debates about casting are good, but they are even better without boosterism. I wish Mearns the best. However, I do respect those who question the casting, especially if one studies the careers of some of the other dancers pushed in this way. It's nice that we have posters who refuse to take the "hear no evil, see no evil" stance with NYCB.

That excuse of his error is pretty weak. I would suggest Mr. Rockwell invest in some ballet reference books and not rely only on old reviews (especially in the age of Jayson Blair). And since he'll be reviewing the New York City Ballet a lot, "Repertory in Review" by Nancy Reynolds would be a must, as would Mason's and Balanchine's ballet synopsis book.

I don't know. Great dancers I've seen, from Makarova to Ringer, dance for the whole house, not just those who paid $90 for their seats.

Regarding Franz, I think the dancer's strengths count for more than the height. Peter Martins had very strong foot work. Damien Woetzel is 5-10, not short and not tall, and handles the technical tests of the part. So did Bonnefeux, who was of average height, and La Fosse, who danced Franz opposite a taller Kozov as Dr. C. Yes, a Coppelius that matches up height-wise with Franz is ideal, but is it a hard and fast rule? Is Askegard ideal as Franz? The important thing was to have Ringer dance the lead. With Woetzel out, Askgegard is probably a better partner for her than Millepied and Boal. I thought he aquitted himself well. Not as perfect in the part as Millepied, but OK.

I agree Farrell Fan. I saw Peter Martins as Franz and he was as wonderful as Tomasson in his own way. I've also seen other tall men dance the part at other companies and I wouldn't say it was an exclusively short man's role. In addition, Dr. Coppelius and Franz are not dancing a pas de deux. I don't think their heights need to match. Old men come in all shapes and sizes. I never read anywhere that he and Franz had to be the same height. -- Leonard Pinth-Garnell