Alexandra

Thanks very much for that, Dani -- I'm glad Webre and TWB are doing this. It's a terrific idea, and it will get people excited about going to the ballet.

From NYCB: NEW YORK CITY BALLET PRINCIPAL CASTING FOR THE WEEK OF JAN. 27 – FEB. 1, 2004 TUESDAY EVENING, JANUARY 27, 7:30 P.M. (Conductors: Quinn, Kaplow) CHOPINIANA: Students from the School of American Ballet [McDill] PRODIGAL SON: Boal, Kistler, Fayette, Golbin, Abergel, Suozzi, Hendrickson [Q] TSCHAIKOVSKY PIANO CONCERTO NO. 2: Somogyi, Askegard, Reichlen, Tinsley, Rutherford, J. Stafford, Ramasar [K] [Walters] WEDNESDAY EVENING, JANUARY 28, 8:00 P.M. (Conductor: Kaplow) SWAN LAKE: ODETTE/ODILE: Kowroski; SIEGFRIED: Askegard; VON ROTBART: Fayette; QUEEN: Abergel; JESTER: Hendrickson; BENNO: Hanna; PAS DE TROIS: Mandradjieff, Fairchild; PAS DE QUATRE: Ringer, van Kipnis, *Tinsley, Neal; HUNGARIAN: Rutherford, Fowler; RUSSIAN: Borree, Hübbe; SPANISH: Beskow, Muller, Seth, J. Stafford; NEAPOLITAN: Edge, Gold; PRINCESSES: Golbin, Hanson, Körbes, *Barak, Krohn, Arthurs THURSDAY EVENING, JANUARY 29, 8:00 P.M. (Conductor: Quinn) SWAN LAKE: ODETTE/ODILE: Somogyi; SIEGFRIED: Martins; VON ROTBART: Evans; QUEEN: Muller; JESTER: Ulbricht; BENNO: *Orza; PAS DE TROIS: Tinsley, van Kipnis; PAS DE QUATRE: Borree, Riggins, Mandradjieff, Millepied; HUNGARIAN: *Lowery, la Cour; RUSSIAN: Ansanelli, Fayette; SPANISH: Beskow, Abergel, Seth, J. Stafford; NEAPOLITAN: Fairchild, Carmena; PRINCESSES: Golbin, Hanson, Hankes, Barak, Krohn, Arthurs FRIDAY EVENING, JANUARY 30, 8:00 P.M. (Conductors: Moredock, Quinn, Fiorato) DONIZETTI VARIATIONS: Ringer Neal [M] APOLLO: Hübbe, Kistler, Sylve, Weese [Q] SERENADE: Nichols, Borree, Kowroski, Askegard, Fayette [F] SATURDAY MATINEE, JANUARY 31, 2:00 P.M. (Conductor: Kaplow) SWAN LAKE: ODETTE/ODILE: Kowroski; SIEGFRIED: Askegard; VON ROTBART: Fayette; QUEEN: Abergel; JESTER: Hendrickson; BENNO: Hanna; PAS DE TROIS: Mandradjieff, Fairchild; PAS DE QUATRE: Ringer, van Kipnis, Tinsley, Neal; HUNGARIAN: Rutherford, Fowler; RUSSIAN: Borree, Hübbe; SPANISH: Beskow, Muller, Seth, J. Stafford; NEAPOLITAN: Edge, Gold; PRINCESSES: Golbin, Hanson, Körbes, Barak, Krohn, Arthurs SATURDAY EVENING, JANUARY 31, 8:00 P.M. (Conductors: Moredock, Kaplow) DONIZETTI VARIATIONS: Ringer *Millepied [M] SCOTCH SYMPHONY: Nichols, Martins, van Kipnis [M] TSCHAIKOVSKY PIANO CONCERTO NO. 2: Weese, Neal, Bouder, Tinsley, Rutherford, Orza, Veyette [K] [Walters] SUNDAY MATINEE, FEBRUARY 1, 3:00 P.M. (Conductor: Quinn) SWAN LAKE: ODETTE/ODILE: Somogyi; SIEGFRIED: Martins; VON ROTBART: Evans; QUEEN: Muller; JESTER: Ulbricht; BENNO: Orza; PAS DE TROIS: Tinsley, van Kipnis; PAS DE QUATRE: Borree, Riggins, Mandradjieff, Millepied; HUNGARIAN: Lowery, la Cour; RUSSIAN: Ansanelli, Fayette; SPANISH: Beskow, Abergel, Seth, J. Stafford; NEAPOLITAN: Fairchild, Carmena; PRINCESSES: Golbin, Hanson, Hankes, Barak, Krohn, Arthurs * First Time in Role PROGRAM AND CASTING SUBJECT TO CHANGE (1/20/04) To request press tickets, please call (212) 870-5690 on Monday, January 26, starting at 11:00 a.m.

Updated casting for Jan 20-25: NEW YORK CITY BALLET PRINCIPAL CASTING FOR THE WEEK OF JAN. 20 – JAN. 25, 2004 TUESDAY EVENING, JANUARY 20, 7:30 P.M. (Conductors: Kaplow, Moredock) TSCHAIKOVSKY PIANO CONCERTO NO. 2: *Somogyi, Askegard, Reichlen, Tinsley, Rutherford, J. Stafford, Ramasar [K] [Walters] HARLEQUINADE: COLOMBINE: *Borree (replaces Ansanelli); HARLEQUIN: *Hübbe (replaces Millepied); PIERRETTE: Fairchild; PIERROT: De Luz; LA BONNE FÉE: *Reichlen (replaces Sylve); LÉANDRE: Danchig-Waring; ALOUETTE: *Bouder; CASSANDRE: Kramarevsky [M] WEDNESDAY EVENING, JANUARY 21, 8:00 P.M. (Conductor: Moredock) CHOPINIANA: Students from the School of American Ballet [McDill] HARLEQUINADE: COLOMBINE: Borree; HARLEQUIN: Hübbe; PIERRETTE: Edge; PIERROT: Gold; LA BONNE FÉE: Reichlen (replaces Sylve); LÉANDRE: Danchig-Waring; ALOUETTE: Tinsley; CASSANDRE: Kramarevsky [M] George Balanchine’s Birthday THURSDAY EVENING, JANUARY 22, 8:00 P.M. (Conductors: Quinn, Fiorato) APOLLO: Hübbe, Borree, Somogyi, Rutherford [Q] SERENADE: Nichols, Neal, Somogyi, Kowroski, Fayette [F] PRODIGAL SON: Boal, Kistler, Fayette, Golbin, Abergel, *Suozzi, *Hendrickson [Q] FRIDAY EVENING, JANUARY 23, 8:00 P.M. (Conductor: Quinn) DOUBLE FEATURE (New Stroman – World Premiere) ACT I – THE BLUE NECKLACE: DOROTHY BROOKS: *Kowroski; BILLY RANDOLPH: *Woetzel; MRS. GRIFFITH: *Nichols; MABEL: *Bouder (replaces *Taylor); MR. GRIFFITH: *Fowler; FLORENCE: *Fairchild ACT II – MAKIN’ WHOOPEE!: ANNE WINDSOR: *Ansanelli; JIMMIE SHANNON: *Gold; JOE DOHERTY: *Evans; EDWARD MEEKIN: *Orza (replaces *Marcovici); GARRISON: *Higgins SATURDAY MATINEE, JANUARY 24, 2:00 P.M. (Conductor: Quinn) DOUBLE FEATURE (New Stroman) ACT I – THE BLUE NECKLACE: DOROTHY BROOKS: Kowroski; BILLY RANDOLPH: Woetzel; MRS. GRIFFITH: Nichols; MABEL: Bouder (replaces Taylor); MR. GRIFFITH: Fowler; FLORENCE: Fairchild ACT II – MAKIN’ WHOOPEE!: ANNE WINDSOR: Ansanelli; JIMMIE SHANNON: Gold; JOE DOHERTY: Evans; EDWARD MEEKIN: Orza (replaces Marcovici); GARRISON: Higgins SATURDAY EVENING, JANUARY 24, 8:00 P.M. (Conductor: Quinn) DOUBLE FEATURE (New Stroman) ACT I – THE BLUE NECKLACE: DOROTHY BROOKS: Kowroski; BILLY RANDOLPH: Woetzel; MRS. GRIFFITH: Nichols; MABEL: Bouder (replaces Taylor); MR. GRIFFITH: Fowler; FLORENCE: Fairchild ACT II – MAKIN’ WHOOPEE!: ANNE WINDSOR: Ansanelli; JIMMIE SHANNON: Gold; JOE DOHERTY: Evans; EDWARD MEEKIN: Orza (replaces Marcovici); GARRISON: Higgins SUNDAY MATINEE, JANUARY 25, 3:00 P.M. (Conductor: Quinn) DOUBLE FEATURE (New Stroman) ACT I – THE BLUE NECKLACE: DOROTHY BROOKS: Kowroski; BILLY RANDOLPH: Woetzel; MRS. GRIFFITH: Nichols; MABEL: Bouder (replaces Taylor); MR. GRIFFITH: Fowler; FLORENCE: Fairchild ACT II – MAKIN’ WHOOPEE!: ANNE WINDSOR: Ansanelli; JIMMIE SHANNON: Gold; JOE DOHERTY: Evans; EDWARD MEEKIN: Orza (replaces Marcovici); GARRISON: Higgins * First Time in Role PROGRAM AND CASTING SUBJECT TO CHANGE (1/20/04)

Thanks for the links and the commentary on the reviews, Marc -- that's very helpful. (And thanks for the photos, too!)

"Marguerite and Armand" was the first ballet I saw and I still love it You're right -- it is part of the Nureyev video-biography "I Am a Dancer." Try a search on Amazon for it -- I don't know whether this has made it to DVD or not. Others may be able to be more helpful.

I hadn't heard that story, Herman -- thank you. I first saw the ballet danced by Nureyev. It was early in my ballet-dancing days, and I knew nohting about it, but I'd seen Dowell (I loved both dancers) and it LOOKED like Dowell. I was very proud when I read afterwards that it had been made for him! He did exemplify the British style. In its day, it was considered minor. I think today it might be taken more seriously!

She has danced some soloist roles, Jeannie -- there were some posts a few weeks back (but I don't reember what they were!) She was front and center in the Napoli finale, too. She's small, light, and modest -- and so should be one of the non-Danish dancers who will fit in there.

There's a whole site for this award -- lots of info here: http://www.nationaldanceawards.com/

Ah, the one Van Manen made for Anthony Dowell. I saw that with Dowell, and with Nureyev, and liked it very much. I've liked a lot of Van Manen choreography, actually, and wish we saw more of it. He's one of the last classicists!

Welcome, Herman!! I hope we'll read much more of you in the future. Thanks very much for the information -- as you can see, we have some posters who see the company occasionally (or at least write about it occasionally) but no regulars. We'd love to read more about it, and hope you'll keep us posted.

I don't think anyone is suggesting one not see the show! But it's not unreasonable to point out that Balanchine's ballet is a two-acter and that there's a tie between the two acts.

Did anyone go to either performance today?

Yes, tempusfugit, I think that's it exactly (and it's great to read you again!!!)

atm, if ballet were as "important" as, say, hockey, there would be a video game where you could choose your favorite star, and cast him or her in your favorite ballet (or the opposite, if you had a different turn of mind!). But, alas, the market would be too small for the effort! Now, if some 14 year old computer geek/ballet student had a free summer.......

I just received this in an email: International Dance Figure and Ballet Master of The Asheville Ballet, Brynar Mehl, passed away unexpectedly Thursday evening Jaunuary 15, 2004 from a heart attack. Brynar Mehl, dancer, teacher and choreographer, was born in the Great Lakes Region and raised in Southern California where his professional dancing career began under Anna Sokolow. In New York City he danced for her with the Manhattan Ferstival Ballet, under Alica Alonso in her Giselle and Coppelia, and with Charles Weidman at New York City Opera. Mehl's lifelong teacher and mentor was Margaret Craske, from whom he acquired a sense of the great value of teaching, and with whom he shared an appreciation of the work of Meher Baba. He met Baba in 1962 and considered that the turning point in his life. Other profound influences were choreographer Anthony Tudor and ideokinesiologist Andre Bernard. Mehl danced with Merce Cunningham and Dance Company in many signature works such as Rainforest and Winterbranch. He created roles in several pieces and was given one of Cunningham's own solos. He toured three continents with the company and helped Cunningham set the direction and establish standards for dance on film and tape in the landmark Westbeth Video Project. He is one of two people credited with bringing the Cunningham technique to Europe. Mehl also danced in musicals at Lincoln Center, on Broadway, with Agnes de Mille, and in Hollywood with Donald O'Connor, Ethel Merman and Ginger Rogers. He appeared on the Ed Sullivan and Perry Como shows. Mehl taught and created choreography for schools and companies all over the world, from San Francisco to Paris, to Alaska, to London, to Brussels, to Vermont, to Texas. At the time of his death he was Ballet Master for The Asheville Ballet and taught at Fletcher School of Dance, The International Ballet Academy, and Western Carolina University. His friends, colleagues and students mourn the loss of a gentle and noble soul, a consumate artist, a most generous teacher, and a beloved amie. Ann Dunn (director, Fletcher School of Dance) 4 Lynnwood Rd Asheville NC 28804 If anyone who knew him would like to share memories, photos, or tapes. Please send them to Ann soon as possible.

I thought it a pleasure just to watch Lund demonstrate the steps: the open chest and arms, and the clean way he delivers steps are so rare. He kept telling the students "Don't die on the top" -- something any dancer can use. Did anyone else see this? Anyone here take it?

Back to Napoli, here are links to two reviews, copied over from Ari's Links forum: Reviews of the Royal Danish Ballet at the Kennedy Center: Sarah Kaufman in the Washington Post Anna Kisselgoff in the New York Times

Susan, you said you might go if they were different casts -- they are different. Only the Sylph is the same and it's not a ballerina ballet. So by not seeing the Saturday matinee, you're missing the first cast -- Thomas Lund's James, Lis Jeppesen's Madge. It would be different ehough to sit through, or you could send Husband off to the museums

As of now, Sunday matinee will be Gudrun Bojesen and Mads Blankstrup. Bojesen is replacing Rose Gad, who didn't make the trip. Saturday matinee is Gudrun Bojesen and Thomas Lund (with Lis Jeppesen as Madge). There will be a different Effy (Amy Watson), Gurn (Morten Eggert) and Madge (ette Buchwald).

The pas de six in Napoli was always danced by the stars. One of the glories (and surprises) of the RDB was that the four women would be the company's Sylph, say, and Swanilda, and Giselle, and Aurora. Sometimes a senior corps dancer who was known as a stylist, or particularly suited to one of the solos, would dance, but it was meant for the stars. In the past 15 years or so very young dancers -- not stars -- have been cast in it, and I think it suffers. No matter how "correctly" they dance, it's more interesting when you have someone with more experience who can "play" with the steps -- the way Schandorff did tonight.

Did anyone go last night? Half-price tickets are on sale at ticketplace -- Ari has been posting this in the News forum. Good seats for $41, which is a real bargain. If you've never seen "Napoli" I'd recommend it; there are very few ballets like this around anymore. It's a hard sell iin D.C.; few people have heard of the ballet, and Bournonville, despite "good press" from every local critic for the past 30 years, is not an audience draw. But like it or not, it's still something to see. I'll be very curious to read reports

Anyone can see something in anything. If someone sees it as "queer," well, then that's the way they see it. But I think to assume that the authors are winking at you is a big assumption. Several people involved in that production were gay. How can we assume they were "encoding" or "subliminating" -- i.e., really wanting to make a gay story but being "forced" to make a straight story? It was a different time. The line about casting an actor whom everyone in New York knew was gay made me shiver -- that's exactly why so many gay actors were forced to remain in the closet. If they were "out" everyone would assume they A, "couldn't" make love to a woman and B, were turning every role they played into a gay role. And that's not what actors do. Thanks for posting this dirac -- it will be interesting to have a discussion about it. I'm sure there are other views!

Thanks very much for posting those -- I was getting nostalgic yesterday for the old Dance and Dancer Awards (voted by subscribers, so a different kind of thing, but still fun to read).

Poor.

I'll see this program, but I don't yet know which performance. I'm looking forward to "Sonatine," and the company has done some really fine "Four Ts" in the past.