Alexandra

Alas, no. The huge change in training that I noticed is that within the time she was with what was then the ABT Studio company they de-Vaganovized her, in that the polish was removed. That happens at ABT generally, but it only affects the "style". Wiles was always a very businesslike dancer, to me. (As is Murphy.) In the past few seasons, I've enjoy watching some of her performances as exquisite geometry, but have never considered her expressive. Her Hagar this season was arasbesque (tortured look) after arabesque. She's always impressed me as one of those dancers who simply cannot let go. The Myrtha has no anger, no history; the Odette, no mystery; the Aurora, beautiful, beautiful balances.

Absolutely! That's why poetry has "feet." (Not that they teach scansion any more in schools, of course.) It makes sense that the playwright would have been the "choreographer" -- although they wouldn't have considered it a separate thing, of course, as "plays" were unities of poetry, music and dancing. (Originally performed by a single actor, on platform shoes, declaining poetry, differentiating his roles by changes of mask, while the choros -- 15 men -- either reacted to the story, or became a part of the story, or made asides to the audience, or explained what had happened or was going to happen.)

I can't resist posting an admiration of Wiles's arabesque. She was on the cover of Dance Magazine in arabesque at the beginning of her career, and it was so old-fashioned, so PURE, that I really thought, singlehandedly, she would bring it back and the era of KickaTheSideOfYourHeadova would be over.

I'd like to address vrsfantatic's excellent questions but won't have the time until tomorrow or Saturday. But I just ran across something that was too good not to post, even though I'm sure I'll go to hell for it I'm grading papers, reviews. We took the KAB students to ABT's "Swan Lake" and, by coincidence, the leads were Wiles and Hallberg. The kids were extremely excited to see Wiles (they know she's from KAB, as were two of the other soloists that day). And so far, having graded 15 of their papers, there are a couple of comments that are appropriate to this thread. Nearly everyone has liked the other two dancers, but everyone has been disappointed in Wiles, several stating that "she doesn't look like a Vaganova dancer" (which might please her). Everyone I've read so far thought she was a good technician but didn't think much of her acting or, as several have put it, "artistry." And then came this wonderfully apt comment (I paraphrase): "I didn't think it looked as though she'd had good coaching in this role. She should come back here and work with Mme. M-- [teacher of the senior girls] on this." It's all how you look at it

I think this is a very interesting question -- not possible for the Romantics to consider, though. Everything is so condensed in Romantic drama ( novels, plays, ballets). Baryshnikov added something to "Giselle" that I liked (and I was not a fan of his Albrecht generally). Right before the hunting party came, he went to her door (she was inside resting) and put up his hand as if to knock. You could tell by his expression that he had made up his mind to tell her the truth. Whether he would leave her, or hope that she would say, "Of course, I understand. Let's go off together and live in the woods," one couldn't tell. The cad Albrecht (Nureyev, Bruhn) planned to move on, I think. For the True Lover Albrecht (Dowell and Baryshhikov, of those I've seen) things would be more complex. He might have set her up in a house and the relationship would continue. On the fourth hand , there's the key to the Romantic personality: like James, if they touch their dream, it dies. If they reach the mountain, there's another, better mountain across the river.

Marga, thank you for the best thread this board has had in years. Your take on the dancers is brilliant! (And very, very funny. Loved the blog, too.)

Jane, I think he knows his audience

Thos interested in this topic might want to check out Mindy Aloff's new book: Hippo in a Tutu: Dancing in Disney Animation about Disney animation. I haven't had a chance to read it yet, but it looks gorgeous -- very handsomely produced, with lots of illustrations. (And Aloff is an excellent writer, of course, with an affinity for the subject, so it should be excellent.)

I think critics do do this, actually. If you see something that sends up a red flag -- a 540 by the man in "Concerto Barocco," say -- you reason, "If the director cared, he would have stopped this before it happened. Ergo, I must say SOMETHING, or when the next boy does 3 540s it will be my fault." Not saying that dancers should, or do, read critics or take them seriously, but one wants to have a clear conscience on things like this. Sorry, but other companies ARE often better than NYCB at Balanchine. That should come as no surprise. If they do a good job and if they are now doing a better job, that does not always mean they are always doing better Balanchine than other companies. Well put.

I'm glad you posted that, Kathleen. I had the same view, that it was generally quite positive, and he had the time and space to explain his views. (Now, I don't always agree with Macaulay )

Thanks, Helene. Again, I'd like to post a reminder that this site was created 10 years ago as a place for civilized discourse about ballet. That does not include name calling or personal attacks, of dancers, choreographers or critics. I thought Macaulay's piece was a very thoughtful account of the season, of the type that the Times has published since at least the 1950s. I didn't read his description of Whelan as an attack, but as an account of her virtues and why she doesn't move him. That's off-topic for this thread, which was about the cuts to the corps and other budget-saving measures. Please discuss, but please keep it civil. If you have a gripe with Macaulay, or any other critic, please write to him or her directly.

Let us pray

I think this is a topic well worth exploring -- but please keep it to the IDEA of being too thin rather than discussing particular dancers by name or implication. Often we forget that THE DANCERS READ THIS BOARD. We have a Forum version of the Golden Rule -- Post About Others as You Would have Others Post About You There have been a couple of threads that are getting too personal, for this board, anyway, so the Moderators will be making reminders. Thank you! Alexandra

Just a friendly warning -- please be careful on this thread. PLEASE REMEMBER THAT THE DANCERS READ THIS BOARD. A great dancer is retiring. Appreciations are welcome. But let's leave it at that. ____________________ Alexandra, in Board Founder mode

I received this press release Saturday afternoon: THE WASHINGTON BALLET MOURNS THE PASSING OF STUDIO COMPANY MEMBER MARY SALUDARES WASHINGTON, D.C. (February 21, 2009)– The Washington Ballet (TWB) announced today that Mary Saludares, a 20-year-old member of The Washington Ballet Studio Company, passed away early this morning in a tragic automobile accident while on tour in Harford, Maryland. The remainder of TWB Studio Company’s tour has been cancelled, and the remaining dancers returned safely to Washington, DC today. “No words can describe the pain of losing Mary,” said TWB Artistic Director Septime Webre. “She was not only a beautiful dancer, but a radiant soul who emitted peace and joy. The entire TWB family mourns her passing and extends its thoughts and prayers to Mary’s family.” Saludares began dancing at the age of six under Sofia Elizalde and Raul Sauz at Steps Dance Studio in Manila, Philippines. In 2006, she received the highest Royal Academy of Dance Award, the Solo Seal. She had the honor of being the first Filipino entry in the 2006 Adeline Genée International Ballet Competition. In 2004, she received the Luva Adameit Award in the 1st NAMCYA Ballet Competition in the Philippines. She later attended the School of American Ballet and The Washington School of Ballet's Release Time year- round program. Her imprint on the TWB community was immeasurable. Students, dancers and staff alike were touched by her joy, dedication and generosity. She was selected to join The Washington Ballet Studio Company for its 2008-2009 season, achieving one of her dreams of moving from student to professional. Saludares is survived by her father, José M. Saludares, Jr.; her mother, Marissa S. Saludares; and two brothers, Patrick Vincent Saludares and Bryan Joseph Saludares. Students and staff are being offered grief counseling services. A memorial service is being planned for early March in Washington, DC to honor Saludares. A private family funeral will be held in the Philippines in the coming days. All other inquiries about the accident should be directed to the Harford County Sheriff’s Department in Maryland.

Welcome to Ballet Talk, Josie -- and what a good question! Scheduling problems happen all the time. I know in D.C., we'll have ABT, say, playing in the Opera House and a modern dance troupe in the Terrace Theater (both theaters in the Kennedy Center), or there are only two ballet companies in a summer, and they both open the same night -- one at Wolf Trap and one at the Kennedy Center. Often the schedules are so complicated that it can't be helped. In this instance, at least, people who want to see both can go to the Morris and tape the NYCB version.

Oh, thank you, Helene. Green is good (I don't know whether it's the shade, or that there's only one other shade and you've done a beautiful job of matching it/making it complementary, but I like this.)

Compared to what has happened in the last 25 years, it may seem like a great lost masterpiece!

We've been trying different schemes, and will no doubt try several more, so please don't fall in love with anything!

I think, as noted above, we're still working on it and there will be more changes. I have to say that I am not a fan of yellow (even in smilie signs) I think that the several colors makes the top look busy and is distracting. I get a jolt every time I log in -- and not because there's a change, but because of the contrast of colors.

Amen to all! Many of us were afraid they'd ditch dance criticism after Clive Barnes' death and were holding our collective breath. Good to be able to breathe again, and to have someone who actually knows and cares a lot about dance AND is a good writer and critic is absolutely wonderful!

The audience lustily booed Niels Bjorn Larsen back in the 1990s and he was definitely taken aback -- he recoiled and left the stage immediately during his solo front-of-the-curtain call. I wanted to boo the audience. It's not intentionally rude, but it is inappropriate and unsophisticated, as has been said. I don't think this was a mass booing. I was sitting in the front left orchestra and neither heard the boos nor saw any reaction from Englund. She is a very modest artist and her staying in the group during the calls is not out of character. Lund was there, but neither he nor Englund took a call as producers.

Yes! They're also younger than we are (as a board age). I think they'd look terrific in pink!

I think feet will be the Next New Thing. There are already articles about strength in pointe work appearing in the teaching literature (and, I believe, even in Pointe), and lots of different kinds of "enhancements."

Thank you for this, kfw! These are fine specimens of the genre, indeed Re Baltimore Opera, a few years ago they had a WONDERFUL bumpersticker that said, "Opera. It's not as bad as you think!" (To which I came up with the obvious ballet rejoinder: "Ballet! It's not as bad as opera!" and I was very disappointed that not a company in the world picked up on that. ) And also a few years ago, a company which shall remain nameless (but it wasn't NYCB) once had an enticing double bill called "Murder and Mayhem." now, the two ballets were "Chaconne" and "Slaughter," and I was never sure which was which!