Alexandra

Schaufuss is an interesting case; I've never figured him out. The repertory of the Peter Schaufuss Ballet does seem to be Seriously Pop, but Schaufuss also is a big Ashton fan. I interviewed him about Ashton once, and he not only admired Ashton, but he understood him, or at least could discuss with enthusiasm all of Ashton's virtues. Yet I can think of few dancers who were less Ashtonian, and his own work has nothing of Ashton's sensibilities (much less craft). Yet Schaufuss is the one who persuaded Ashton to revive his "Romeo and Juliet" (and now owns the rights and the costumes for it, yet has choreographed his own version) and who provided shelter for the Ashton choreography that Dowell threw out of the Royal Ballet production when he staged his own version.

Phrases I'd like to leave behind in 2002 and never read again: "We are not a museum company!" "No tutus and toe shoes for the XYZ ballet!" "Jones has turned classical ballet on its ear!" "The new work goes beyond ballet..." I could think of more, but I don't want to be piggy. Are there any phrases you'd like to confine to oblivion?

Ari posted this Monday on Links, but for those who didn't see it: This week's New Yorker has a profile of Suzanne Farrell. It isn't online, but there is a short interview with the author, Joan Acocella. This interview is NOT in the print magazine (and the Profile is not on line). Clever New Yorker!

I would be very happy to see Balanchine's "Don Q" -- no matter who staged it! Many people did hate it, but I have quite a few friends who loved it and felt it was very misunderstood and undervalued. So to me, that's good news!

Well, it's Bowl season. And at the end of every game, the MVP (Most Valuable Player) gets the game ball and a trophy and maybe a sports car. The MVP is the guy who threw the most passes, made the most tackles, blocked what would have been the winning field goal, and just generally made himself really really useful. So who was the Most Valuable Dancer in your hometown company this year? Not the best dancer, or one's favorite dancer, necessarily, but the one who was the backbone of the company, who made the season special, the dancer without whom 2002 would have been just another season? In sports terms, who carries the load for the team? In the Washington Ballet, it's Jason Hartley. He's Septime Webre's leading man, every ballet -- and he's interesting in every ballet. When he first joined the company, I didn't particularly like him. He doesn't have an ideal body for classical ballet: short legs, stocky build. And much of what Webre sets for him is perpetuum mobile -- jump around, run, spin. He must lose 10 pounds every performance. But he makes ballets I don't particularly like watchable, and that is no mean feat And I've come to respect what he does very much. I can't imagine the WB's current repertory without him. They'd have to cancel the season. [Not that I asked this question, but I'll answer it. She doesn't have as much a hold on the repertory, but that's not her fault: most interesting dancer, Erin Mahoney. Her Dark Angel in "Serenade" was, for me, the performance of the season.]

There's a thread in the Dance forum for things we saw and liked that weren't ballet It's very bare.

Exceptions are what make rules worth enduring We have an unwritten rule that the more one stays on topic, the more one is allowed to occasionally diverge -- especially in this instance, where it's both interesting and useful.

Oh, not another, "You're making it all up and looking at everything through rose-colored glasses" post! A new little cousin for our old favorite, "Were Ulanova and Fonteyn really any better than Paloma Herrera and Yvonne Borree?" Of course, one has every right to disagree with the idea that Farrell's stagings are sound, or imaginative, or whatever; I have no quarrel with that. But I think the implication that anyone who says they are is desperately trying to recapture a bygone age, etc etc, is a bit much. (My standard answer to the "Were Ulanova etc" question above.) Yes, I think the same people would be making the same comments were Farrell staging at NYCB. If Balanchine were still there, she wouldn't be staging them, of course. I don't think she, or Villella, whose stagings are also excellent, or Elyse Borne, whose "Serenade" for Washngton Ballet was divine, are trying to recreate anything. They're trying to make the ballets look alive. (I haven't read the Profile yet, so I can't comment on it.)

Editorial comment on press release above Although I'm certainly glad the Boston Ballet is getting "Fille," it sounds as though they're marketing it as kiddie fare. I hope those over 12 who read this won't be turned off by it. This is one of the finest 20th century ballets and it's also a popular one. I've never seen this one fail with an audience. Yeah, bring the kids; it's kid-safe. But it is not a children's ballet.

This press release just in from Boston Ballet: BOSTON BALLET PREMIERES SIR FREDERICK ASHTON’S CHARMING AND COMICAL NARRATIVE BALLET La Fille Mal Gardée (The Wayward Daughter) Much like Boston Ballet’s The Nutcracker, La Fille offers a delightful experience for young theatregoers (BOSTON)- Boston Ballet proudly presents its Company premiere of Sir Frederick Ashton’s full-length story ballet, La Fille Mal Gardée, at The Wang Theatre from February 20- March 2, 2003. Set to music originally written by Ferdinand Hérold and originally choreographed by Jean Bercher Daubervalle, La Fille is the oldest surviving ballet in the repertoire, debuting in France in 1789, and is regarded as a turning point in the history of ballet as a break from the pseudo-classical tradition. Boston Ballet’s premiere production is choreographed by Sir Frederick Ashton, regarded as a master choreographer of 20th century classicism. His works are recognized especially for their precision, lyricism and charm. The Ballet features score arrangement by John Lanchbery, sets and costumes designed by Osbert Lancaster, and lighting by Brad Fields. Ashton’s protégé, Alexander Grant, who performed one of the male lead roles, Alain, in the original Royal Ballet production in 1960, will stage La Fille for Boston Ballet, along with Christopher Carr and Grant Coyle. “This wonderful Ashton masterpiece will enchant children and adults,” says Boston Ballet Artistic Director Mikko Nissinen. It is a love story with beautiful, intricate dancing and magnificent choreography. Ashton’s humorous characters will charm and delight audiences.” Sir Frederick Ashton was Artistic Director of Royal Ballet and served as their principal choreographer from 1933-1970. Ashton’s major contribution to British ballet was recognized with a CBE (Commander of the British Empire) in 1950, and knighted by Queen Elizabeth II in 1962. He was honored by many including, the Royal Academy of Dancing, London and Oxford Universities. Ashton created over 80 major ballets and also produced dances for theatre musicals, films and operas. Ashton’s choreography invigorated La Fille with exuberance and comedy. Set in the English countryside, this renowned version of a beloved classic tells the story of Lisa, a young woman who has fallen in love with a suitor, Colas, contrary to her mother’s wishes. While the plot is simple, the story is a universal one: La Fille is a tale of the triumph of love over expediency. Lise is also courted by the rich, but dim-witted Alain, whom her mother, Widow Simone, favors as the better choice. Well-suited to each other and innocently in love, the lovers must convince Simone that a marriage based on true love is preferable to a financially advantageous one. Dancers costumed as chickens, roosters and a live pony make a special appearance, introducing the stories rustic setting. Hilarious characters and situations, a beautiful lovers’ pas de deux, and folk customs such as maypole dancing and Mother Simone's "Lancashire clog dance,” add to the ballet’s appeal. During the process of choreographing the ballet, Ashton consulted Tamara Karsavina, whom Ashton referred to as “The Goddess of Wisdom.” Karsavina danced La Fille’s Russian version at St. Petersburg’s Maryinsky Theatre Ballet to perfection. In 1885, Marius Petipa, who had introduced the concept of the full-length ballet, staged the ballet for that same company. Karsavina taught Ashton specific comic and mime scenes, which gave him historical reference, and a new focus on displaying humor through pantomime. Karsavina told Ashton encouragingly, “The whole ballet should charm with innocence and should not be interrupted with any other mood.” Music collaborator, John Lanchbery, had extensive experience creating arrangements for musical productions on the London stage. Lanchbery’s score for Ashton’s version of La Fille Mal Gardée, helped launch Lanchbery’s career. Lanchbery has since adapted and composed many ballet scores, including that of Madame Butterfly, which Boston Ballet performed last season. Drawing on his background in musical theatre, Lanchbery came up with colorful instrumentation and musical sequences to support Ashton’s humorous take on the ballet. # # # Ticket prices for La Fille Mal Gardée range from $26 to $82. Tickets can be purchased by calling Tele-charge at (800) 447-7400, or by visiting Tele-charge online at www.telecharge.com, or in person at The Wang Theatre box office, located at 270 Tremont Street in Boston’s Theatre District. The Wang Theatre box office is open Monday–Saturday from 10 a.m.–6 p.m. Discounted group tickets (15 or more) are available by calling Boston Ballet’s Group Sales Office at (617) 456-6343. Student rush tickets are available for $12.50 in person at The Wang Theatre box office and must be purchased on the day of a performance. Student identification must be presented at time of purchase, limit one per student.

Thank you for that, Jane. Gosh, who do you think they'll get to play Acosta? :confused:

Dale, I think that is Luders, and I'd heard he was working with Schaufuss as a ballet master (as is Johnny Eliasen). I think the poppers Sleeping Beauty might have a future. Unfortunately. The Princess Diana and Elvis ballets are what made me think of Eifman -- the side of Eifman who has his finger on the popular pulse. The Princess Diana ballet may have been intended for a London audience, as Schaufuss was hugely popular in London both as a dancer and as director of English National Ballet (where he had an excellent artistic staff backing him up ) It just dawned on me -- Elvis and Diana: a Love Story Beyond Eternity. Now THAT would play in football stadiums on both side of the pond.

And the fairies would have Big Hair and dance with the movement equivalent of a singsong nasal twang? I think Schaufuss was after something much deeper than that; hidden lusts and secret torments are big in Denmark. From the photos -- I've only seen bits of "Hamlet," and that's on video -- Schaufuss looks as though he is a blend of Eifmanian ideas and Forsythian high energy aerobics. And he might be very, very popular. He's on record as saying that he wants to bring ballet to as large a crowd as possible, as in football stadiums. For that, you'd need a burping Elvis and lots and lots of simulated sex.

Ah, the "jumping boy" Thanks for that news, Jorgen.

Good poiint, Carbro. On a less serious note, perhaps we could clone some of today's traveling guest stars. Then they could dance everywhere, yet save on air fare! I can think of a lot of administrators I wouldn't want to clone, and few that I would!

Yup. Did you like the two red unitard-clad dancers of indeterminate sex grappling in what they bill as Kermessen (the Bournonville ballet "Kermesse in Bruges" rethought for our troubled times")? And the "Swan Lake"? One of the Danish critics wrote of his "Sleeping Beauty" "At last! A 'Sleeping Beauty' for adults!" (none of that bothersome kiddy stuff, like classical choreography or a fairy tale). "Sleeping Beauty" was described in one press release as "Tchaikovsky's wet dream."

I don't think Nikolai Legat's opinion of Cecchetti was solely based on jealousy. I think there were marked aesthetic differences. A hundred years ago, before PC was born or thought of (as Mel well knows) people from one school of thought or one country were blissfully intolerant of anyone else and totally committed to their own vision, as in Bournonville's assessment of the Italian school where "the women dance like men and the men like women." I think there were elements of Cecchetti's style, which Legat details, that were anathema to him. Bravo Legat, bravo Cecchetti. Would that today we had a dozen teachers with strong opinions

No

You found Cojocaru's Giselle colorless, did you? That's why she's only a runner up

It's in Danish, but hang on, look at the photos. www.schaufuss.com This company has gotten excellent reviews in Denmark -- all ballet should be like this, this is new, this is what the RDB should be doing, why don't we ever get anything neat like this in Copenhagen, etc. It's a tiny company, yet they do all three Tchaikovsky ballets -- big hits in Paris, I think. I don't think they've come to America yet. Do click on Nyheder (news) and see a shot from his latest work, a ballet about Princess Diana. The ballets seem to be, well, topical. "Midnight Express," "Elvis the King." If you click on the Forestillinger Link (repertory? something like that) you'll see a list down the left side of the ballets (all by Schaufuss). NYCB fans might be interested in clicking on H.C. Andersen -- I think you'll recognize a dancer. KATHARINE KANTER, ARE YOU READING THIS? You must, must, must click on Kermessen. But only if there are no sharp objects around, all windows are locked, and you are not eating or drinking anything that could choke you if you happened to swallow hastily. (It's the Kermesse en Bruges, redone for a new century. In an unpublished interview with Allan Ulrich, Schaufuss said he was preparing a "Kermesse in Bosnia." I can't see any indications of Bosnia, but it does look different.)

Paquita? Calling Paquita??? Actually, we have quite a few people registered from Toronto. Gosh, you guys are shy Or maybe just the "strong silent type"?

Thank you for that, Manhattnik. That was beautiful, and eye-opening even to those who haven't seen the films. I wanted to clarify that I've never seen Slavenska. My praise of her Don Q was second hand. A friend of mine went with a friend of his, years ago, when not that many people knew about the Dance Collection and you could spend hours there, apparently, and decided to have a Don Q contest, and watched every film they could find -- and gave the "gold medal" to Slavenska. I believe ATM also posted once that Slavenska was an unusually fine -- unusual AND fine -- Giselle. (Wrist-flicking has probably been with us since Noverre, unfortunately. There's those that do, and there's those that don't ) I've seen Youskevitch's double air tours in Theme and if I had to pick one film, one dancer of the past, that absolutely knocked me for six it's that. I've never seen such power. What were the rond de jambes like!!! I saw him as one of those automatic battery-powered screwdrivers that you see on late night TV: ZOOMWHIRZOOM, ZOOMWHIRZOOM, etc. Next time, watch the corps. I remember reading very early in my ballet-going days someone complaining that "dancers of today" (the '50s? the '60s?") had no personality, and that "you could recognize every girl in the corps of the Ballets Russes from the top balcony by her elbow." Yes, ma'am.

I don't mean to suggest that it's not interesting or worthwhile to discuss the history of ABT (and the company did, indeed, change again with Baryshnikov, and with Hermann, and with McKenzie), but I'm afraid we've gotten a bit bogged down in it and away from the main question, which I raised because it will be debated at the meeting of artistic directors that will take place in 2 weeks in England. So I'm bringing forward the question from the first thread:

Good questions People are beginning to talk about Balanchine "technique" and there is controversy over this, some people saying that Balanchine didn't have a codified technique. I'd still call it Balanchine style. The second part of your question, no, that's not what I meant exactly, although it's close. If you're a member of the Royal or Houston or Pago Pago Ballet and you have your own style, and you have to dance a Balanchine work, then you have to learn Balanchine style, in the sense that if you're an actress from Boston and you have to do "Cat on a Hot Tin Roof," you'll have to learn a Southern accent, but you won't have to learn English. Does that make sense? To confuse things further, there are some things that are both technique AND style, or at least arguably both technique and style I think that might be something Mel will go into later. If you're visiting a company, you'd take class in your own style. If you were interested, or found the style different and it intrigued you, you might make some changes -- I saw this quite a bit in Copenhagen. Visiting dancers would come in to take a Bournonville class, and if the teacher sensed an interest, s/he'd give corrections and the dancer would ask questions and attempt to do the step in a way that was foreign to him.

Sorry, but you're forgetting the big full-length ballets mounted in the 1970s. The Russification may have started with Baryshnikov, but not the story ballet business, and it's a different issue. ABT staged Makarova's Kingdom of the Shades (another Royal Ballet signature piece) in 1974 , Nureyev's production of "Raymonda" in 1975, and the Skeaping/Messel production of "The Sleeping Beauty" 1976 (the Messel production was the one the Royal had brought to New York to such acclaim in 1949), as well as some now-forgotten full lengths, like Peter Darrell's "Tales of Hoffman." But the point that I have been trying to make, and the point of the thread, is that the decision to stage "Swan Lake" was a turning point that changed the direction of the company and similar decisions are facing companies today. In Charles Payne's "American Ballet Theatre," p 240: It goes on to go through the complaints made by the advisory committee -- that the company would have trouble getting grants to do restagings of "classics" rather than new works, that the number of new commissions would go down, etc. These are issues that are just as relevant today. As for the corps in that time, when people wrote that the company didn't have a corps I agree that partly it was that the company was said to not have a style (which I think could be argued) but also that the corps was not, as Croce put it, "the world's most sensitive choreographic instrument." It wasn't the company's strength. The anti-"Swan Lake" faction argued that ABT's new rep -- the TRdeM rep (I'm tired of writing out the names!) could stand eye to eye with any company in the world and was the company's signature; its corps at that time could not and resources would have to be used to make the corps more cohesive to be able (horrid word) to "compete" with the Royal and the Kirov and Bolshoi on that playing field. From everything I've read, NYCB's corps was put in a separate category because the repertory has different demands. Standards change over the decades, but the standard for the full-length classics in the 1960s were the Royal, the Kirov [on very short acquaintance in the West] and the Bolshoi.