Alexandra

I think the question of critics "bashing" other critics is a thorny one. On the one hand, what we write is published, and is fair game for comment. On the other, there is a hesitancy for one critic to correct another critic -- if one reads something in a review that one thinks is inaccurate, it's bad form to write a Letter to the Editor calling attention to the inaccuracy, for example. If a critic takes a position on a ballet that's different from your own, I think it's petty and unprofessional to say so publicly, and usually when it's done, there's a private agenda. (I've been the butt of this 2 or 3 times, once ten years ago by someone whose article I had rejected for DanceView, for example. Luckily, everyone I knew guessed that!) "Ms. X's notion that the new 'Swan Lake' is the best ever is pathetic," for example, or even the indirect (following a review that says this) "There are those whose who actually believe that mime is relevant to our modern times." If you think the "Swan Lake" is brilliant, say so; forget what Ms. X says. And if you hate mime or think it drags the ballet down, write that. But nevertheless moreover and however, there is the notion of policing one's own profession, and Mr. Barnes has a right to think he is in that position, particularly on a back page column in Dance Magazine. Ms. Homan's piece caused an enormous amount of comment, along the lines that Barnes mentions, among critics. There's a big problem now in journalism and publishing with editors who are not general experts on cultural matters, say, as would have been the case 30 years ago. Then, the editors would have seen the company themselves and had a context in which to put an article submitted by someone they don't know. Now, few do -- and that, coupled with the, "Hey, who's to say? Everybody has an opinion. We have a hole to fill" attitude, has produced a lot of puff pieces championing, for example, a choreographer who's about ten years, or lifetimes, away from being "perhaps one of the greatest choreographers of our time." I think those editors need to know that someone is reading what they publish and will speak out when necessary. I'd held off writing because I hoped that more readers would respond -- we always get the critics chiming in on critic questions, but it's much more interesting to see what the rest of you think

The Danish production was broadcast on Danish television in the early 1980s, with Lis Jeppesen as Swanilda and Fredbjorn Bjornsson as Coppelius. (It's quite different from the Balanchine or St. Leon-derived. The second acts are remarkably similar in all versions, but in the Danish one, only Swanilda is on pointe, there's a lot of character dancing, and everyone in it is nasty.)

I saw Nureyev's Apollo during his Mid-Creaky Period. I adored Nureyev, but I think everything looked like Nureyev, not like Balanchine, Ashton, Bournonville, or whoever. Not that it wasn't interesting and wonderful! It just looked...different. What I do remember is his absolute commitment to it. Whatever he was doing, he believed in it.

I think it's revivable. There was an Ashton panel here at the Kennedy Center the last time the Royal was here, and someone asked what more would be revived. The Heir said, regrettably, none. But David Vaughan and Clive Barnes, the other panelists, instantly -- and in unison -- said, "Oh, yes there are," and began to tick them off. "Sylvia" was one of them. Like many companies, the Royal started filming and, later, making videos of ballets from the 1960s, at least, there's a good chance there's a film record -- don't know whether they've kept it (the famous story is that Antoinette Sibley's Aurora was filmed, but does not survive). I'll have to be convinced about the capering goats but, of course, I'd love to see it!

I think they tried to revive the Ashton solo for Nureyev (Poem Tragique, I think -- to Scriabin) for a gala honoring Ashton when Ashton "retired" from the Royal and Nureyev couldn't remember it, so I think it's lost, unfortunately. But why isn't Ashton represented? He had a lot more to do with Nureyev's career than MacMillan, and M&A is conveniently in repertory. I don't see what In the Middle and the Darde solo have to do with Nureyev, no matter how they're celebrating him.

I'd like to see Paradis Perdu -- and it would be interesting if the Royal would revive it, actually. A good reminder that in its heyday, the Royal did commission experimental works. Paradis Perdu may look like it's by the hand of Aristotle himself, in these troubled times

Leigh's suggestion is a good one -- even if a dancer never choreographs a ballet, it would be good to learn how (a solo, a duet, a trio and a very short group dance or segment, say) if only as a way to get the dancer to see beyond his or her own part, to have a view of the whole. I'd vote for a choreographic acadmey -- I know that, as yet, no great choreographer has graduated from an academy, and Fokine, Balanchine, Ashton, etc didn't, but that was then, this is now, as they say. There aren't scads of Petipas around to serve as models for baby Fokines. In my Choreographic Academy, I'd not only have composition classes, I'd make them stage existing masterpieces -- good for young dancers to have to dance them, good for fledgling choreographers to have to bring a work to the stage. That's a way to force them to learn composition -- how did Balanchine put Agon together? What about Les Sylphides, even Petrouchka. I think it's the analog to having young painters copy the masters. You may never paint a bowl of fruit in your life, but it's good to know how that painter got those colors and captured that lighting.

I think giving young dancers a chance to choreograph is a terrific idea. How else will we have new choreographers?

Hmmm. From your summary, it sounds as though this is about snobs, written by snobs. It's so difficult to talk about these things without offending someone, or tiptoeing around and not offending anybody, and not saying anything. The arts have always been for the educated, people with leisure time, but not only for the wealthy, unless he considers anyone who owns a house wealthy. The middle class has always been part of the arts audience -- and since the early 19th century, often chastised by the avant-garde (of whatever generation) for being "middlebrow" -- that which is not quite High Art, definitely not Pop Art, and which the avant garde and the High Art people consider Bad Art. Yes. Interesting commentary

I wondered about the Darde, too. I'm not familiar with it, and thought it may have been The Very Last Solo created for Nureyev, or something like that. Yes, In the Middle was acquired for POB during Nureyev's directorship -- and he may well have adored it -- but that has nothing to do with his career at the Royal, and there are dozens of ballets that do. It sounds more like a Celebrate Sylvie evening than Remembering Rudolf.

Thanks very much for posting that link, Tracey. Reading between those lines, and patching together other fragments, the seemingly-conflicting stories can be made to fit. IF Lady M proposed changing the schedule, and IF Stretton did not wish to do so and IF he was pushed by the board to make the change and IF he said he would resign if he did not have authority and then did -- realizing that these are all IFs that have been in British news articles and that I do not know what happened, then I think Stretton was right to resign and I admire him for doing so. This scenario also explains the statements by several Most Likelys for the job that they would not take it unless it were absolutely clear what the board wanted and that the board would back the new AD's policies. I don't think he was the right man for the job. I thought he made several injudicious and inappropriate remarks. I think the stories from the dancers indicated there were problems. As a civilian, not a critic, I would not willingly sit thorugh Prince of the Pagodas again. However, the Artistic Director needs to be able to set his repertory. Now that the changes have been made I think the triple bill is a good idea, as is the tribute to Nureyev. It's so lovely that one is his most noted roles, "a solo from In the Middle, Somewhat Elevated" is to be included. Ms. Guillem and Nureyev were not particularly chums, but there you go. The living always win, in these situations

For what it's worth, the Danish production (late 19th century), which derived from St. Leon and bypassed Petipa, also has the blowing kisses mime.

Dana Tai Soon Burgess's company, Moving Forward Dance, turned 10 Saturday night and celebrated with a splendid evening of dance. I reviewed it for the Post: Moving Forward at 10: Wise Beyond Its Years I saw a lot of people I know there, but no one who posts here, unfortunately, but if this company comes your way and you have any interest in choreography, I'd recommend it highly.

Did no one go? I thought this was the strongest program I've seen from the company in years. And years. (And that includes last season's opener, which was quite fine.) My review in the Post and Jean Battey Lewis's in the Times are on Saturday's Links thread. What did you think?

Well, it's a 19th century score, and it may have a 19th century story, but it won't be a classical ballet if it's done by Mark Morris. That's not what he does, nor what he intends to do.

A new Robert Wilson production, from today's London Telegraph: A harrowing classic robbed of passion Ah, so the 20th century, too, will be unsafe from Tamperers.

There was a dancing daughter, too, wasn't there? Bronwen? I remember reading about her -- very talented, but very short. Does anyone remember her?

Those going to the Washington Ballet performances this week at the Kennedy Center Eisenhower Theater, note the start time is 8:00 p.m., not the usual 7:30. (I'm told the Eisenhower and Opera House have switched start times this year generally -- the Opera House will start at 7:30, the Eisenhower at 8:00. Check the calendar at www.kennedy-center.org for times.) I hope some posters will go and report on the season opener. It's Balanchine's "Serenade" and Septime Webre's "Carmina Burana."

Oh, Manhattnik. You insist on thinking postiively! I'll amend that to: Ballet -- it's not as bad as opera! Thanks for all the suggestions so far. I see a lot of material for bumper stickers here!

The "Ballerina" film has some treasures -- including a bit of Niels Bjorn Larsen's Dr. Coppelius. Kronstam dances some made up ballet -- never had a name; Spanish flavored; two solos that were never in Coppelia (and he never danced Franz), and White Swan pas de deux. (The corps is all Danish dancers, btw. That's often doubted.) Unfortunately, in the bit of "La Sylphide" someone no one I know can identity is dancing James for a few seconds in the reel, but you can spot Peter Martins and Flemming Ryberg in the corps. Jenny Agutter plays the overly excitable little girl, and you can catch a split second of Michael Bastian and Lis Jeppesen in the children's class.

I heard this with my own ears. I am not making it up. An opera company nearby Washington was advertising its season opener. It's exciting, it's wonderful, it's etc etc. All perfectly acceptable. And then they ended with this line? "Opera.....it's better than you think!" Should ballet be left out? Along these lines, I came up with "Ballet....almost as fun as curling!!" I'm sure someone can top that.

There's another aspect to the language -- a kind of language readiness, I guess -- called Effort/Shape that analyzes movement, breaks it down into components. One easy example is that a clenched fist would be "bound" movement, while an open hand would be "free". I neither read nor write Laban, and have attended Effort/Shape lectures, though not taken the course, unfortunately. It's a wonderfully clear way to see dance, and talk about dance. Thanks for posting the link, BW -- that's a useful resource to have on the board

An interview witih Royal Ballet stalwart, David Drew, giving the dancers' side of Ross Stretton's directorship, is on Ballet.co: David Drew, RB Principal on the Ross Stretton Sacking A small sample:

Department of Clarifications: I write this with my journalist's hat on. I made some calls over the past few days to try to sort out some of the rumors -- and published gossip. I spoke with someone in London yesterday, on background so I can only say "reliable source close to the situation," who was absolutely certain that Stretton resigned, and had NOT been fired. That, in fact, the statement that the Board released, and Stretton's statement, was really what happened. This will be part of a news story in Ballet Alert, but that won't be out for another 4 weeks, and since there has been so much speculation, and so many versions and rumors printed in the papers, I thought it fair to post this here, now.

Here's the official word. A press release from aBT re casting. CASTING ANNOUNCED FOR AMERICAN BALLET THEATRE'S FALL SEASON AT CITY CENTER, OCTOBER 15-27, 2002 Four World Premieres to Include A Tribute to George Harrison and New Works by Robert Hill, James Kudelka and Lar Lubovitch Monique Meunier and Veronika Part to Debut with ABT Soloists Monique Meunier and Veronika Part will make their Company debuts on opening night, October 15. Miss Meunier will dance the role of the Queen of the Carriage Trade in Antony Tudor's Offenbach in the Underworld and Miss Part will dance the role of the Operetta Star. Miss Part will also perform in excerpts from A Tribute to George Harrison on the opening night program. On Wednesday evening, October 16, Miss Meunier will debut in the third movement of George Balanchine's Symphony in C, and on Sunday evening, October 20, Miss Part will dance the second movement in Symphony in C for the first time with ABT. Additional role debuts scheduled for the season include Gillian Murphy in Grand Pas Classique on Wednesday, October 16 and in Fancy Free on Thursday, October 17. Carlos Lopez and Marcelo Gomes will debut in Fancy Free at the Sunday, October 20 matinee, and Michele Wiles and David Hallberg will perform Grand Pas Classique for the first time with ABT at the Saturday, October 26 matinee. Tickets for American Ballet Theatre's 2002 City Center season are priced from $30-$75 and are available by calling CityTix at 212-581-1212 or on-line at citycenter.org. City Center is located at West 55th Street between 6th and 7th Avenues in New York City. Complete casting follows: FIRST WEEK Tues. Eve., Oct. 15, 7 P.M. OPENING NIGHT GALA A TRIBUTE TO GEORGE HARRISON (Excerpts) Isn't It a Pity (Welch), My Sweet Lord (Parsons) - Company SYLVIA PAS DE DEUX (Pas de deux and Coda) Ananiashvili, Gomes GRAND PAS CLASSIQUE (Pas de deux and Coda) Dvorovenko, Belotserkovsky DANCING WITH MONET (Excerpts) Valse Romantique - Murphy, Hallberg; Clair de Lune - Abrera, Molina DIANA AND ACTEON - Herrera, Saveliev* OFFENBACH IN THE UNDERWORLD (Excerpt) - Part, E. Brown, Meunier, Molina, Reyes, Lopez FANCY FREE - Corella, Stiefel, Carreño, S. Brown, Kent, Faye* Wed. Eve., Oct. 16, 8 P.M. CLEAR - Kent, Corella GRAND PAS CLASSIQUE - Murp[hy*, Carreño SYLVIA PAS DE DEUX - Herrera, Gomes SYMPHONY IN C - Dvorovenko, Belotserkovsky, Ananiashvili, Molina, Meunier*, Stiefel, Wiles, Radetsky Thurs. Eve., Oct. 17, 8 P.M. THE GARDEN OF VILLANDRY (Revival Premiere) - S. Brown*, Molina*, E. Brown* SYLVIA PAS DE DEUX - Dvorovenko, Belotserkovsky NEW BALLET BY JAMES KUDELKA (World Premiere) - Kent, Gomes, Corella FANCY FREE - De Luz, Stiefel, Carreño, Herrera, Murphy*, Faye Fri. Eve., Oct. 18, 8 P.M. A TRIBUTE TO GEORGE HARRISON (World Premiere) - Company CLEAR - Murphy, Gomes SYMPHONY IN C - Herrera, Hallberg, Dvorovenko, Gomes, Reyes, H. Cornejo, Liceica, Torres Sat. Mat., Oct. 19, 2 P.M. THE GARDEN OF VILLANDRY- S. Brown, Molina, E. Brown SYLVIA PAS DE DEUX - Herrera, Gomes GRAND PAS CLASSIQUE - Dvorovenko*, Belotserkovsky* SYMPHONY IN C ? Meunier**, Hallberg, Ananiashvili, Carreño, Murphy, Corella, Wiles, Radetsky Sat. Eve., Oct. 19, 8 P.M. A TRIBUTE TO GEORGE HARRISON - Company NEW BALLET BY JAMES KUDELKA - Kent, Gomes, Corella FANCY FREE - De Luz, Stiefel, Carreño, Herrera, Murphy, Faye Sun. Mat., Oct. 20, 2 P.M. THE GARDEN OF VILLANDRY - Thomas*, Reed*, Bragado-Young* GRAND PAS CLASSIQUE - Murphy, Carreño NEW BALLET BY JAMES KUDELKA - Herrera*, Molina* De Luz* FANCY FREE ? Corella, Lopez*, Gomes*, S. Brown, Kent, Snow* Sun. Eve., Oct. 20, 7:30 P.M. A TRIBUTE TO GEORGE HARRISON - Company DIANA AND ACTEON - Herrera, Carreño SYLVIA PAS DE DEUX - Ananiashvili, Gomes SYMPHONY IN C - Dvorovenko, Belotserkovsky, Part**, Molina, Meunier, Stiefel, Liceica, Torres SECOND WEEK Tues. Eve., Oct. 22, 8 P.M. A TRIBUTE TO GEORGE HARRISON - Company NEW BALLET BY ROBERT HILL (World Premiere) - Kent, Corella, Gomes FANCY FREE - De Luz, Stiefel, Carreño, S. Brown, Murphy, Faye Wed. Eve., Oct. 23, 8 P.M. CLEAR - Kent, Corella NEW BALLET BY LAR LUBOVITCH (World Premiere) - S. Brown, Gaither, E. Cornejo, Gomes, Stiefel, Corella SYMPHONY IN C - Herrera, Belotserkovsky, Part, Molina, De Luz, Liceica, Torres Thurs. Eve., Oct. 24, 8 P.M. CLEAR - Murphy, Stiefel NEW BALLET BY ROBERT HILL - Kent, Corella, Gomes OFFENBACH IN THE UNDERWORLD (Revival Premiere) - Ananiashvili*, E. Brown*, Abrera*, Gomes*, Reyes*, Lopez* Fri. Eve., Oct. 25, 8 P.M. NEW BALLET BY LAR LUBOVITCH - Kent*, Gaither, E. Cornejo, Gomes, Stiefel, Corella NEW BALLET BY ROBERT HILL - Abrera*, Lopez*, Torres* OFFENBACH IN THE UNDERWORLD ? Dvorovenko*, Saveliev*, Meunier*, Molina*, E. Cornejo*, Radetsky* Sat., Oct. 26, 11:30 A.M. ABTKids OFFENBACH IN THE UNDERWORLD (Excerpt) - TBA A TRIBUTE TO GEORGE HARRISON (Excerpts) ? TBA SYLVIA PAS DE DEUX - TBA Sat. Mat., Oct. 26, 2 P.M. NEW BALLET BY LAR LUBOVITCH - S. Brown,Gaither, E. Cornejo, Gomes, Stiefel, Corella GRAND PAS CLASSIQUE - Wiles**, Hallberg** SYLVIA PAS DE DEUX - Dvorovenko, Belotserkovsky OFFENBACH IN THE UNDERWORLD - Ananiashvili, E. Brown, Abrera, Gomes, Reyes, Lopez Sat. Eve., Oct. 26, 8 P.M. NEW BALLET BY LAR LUBOVITCH - S. Brown,Gaither, E. Cornejo, Gomes, Stiefel, Corella NEW BALLET BY JAMES KUDELKA - Kent, Gomes, De Luz A TRIBUTE TO GEORGE HARRISON - Company Sun. Mat., Oct. 27, 2 P.M. NEW BALLET BY ROBERT HILL - Kent, Corella,Gomes THE GARDEN OF VILLANDRY - S. Brown, Molina, E. Brown GRAND PAS CLASSIQUE - Wiles, Hallberg OFFENBACH IN THE UNDERWORLD - Dvorovenko, Saveliev, Meunier, Molina, E. Cornejo, Radetsky Sun. Eve., Oct. 27, 7:30 P.M. CLEAR - Murphy, Stiefel NEW BALLET BY JAMES KUDELKA - Kent, Gomes, Corella A TRIBUTE TO GEORGE HARRISON - Company - - - First time in a role: Tues. Eve., 10/15 - Saveliev in Diana and Acteon; Faye in Fancy Free Wed. Eve., 10/16 - Murphy in Grand Pas Classique; Meunier in third movement in Symphony in C Thurs. Eve., 10/17 - S. Brown, Molina, E. Brown in The Garden of Villandry; Murphy in Fancy Free Sat. Mat., 10/19 - Dvorovenko, Belotserkovsky in Grand Pas Classique Sun. Mat., 10/20 - Thomas, Reed, Bragado-Young in The Garden of Villandry; Herrera, Molina, De Luz in New Ballet by James Kudelka; Lopez, Gomes, Snow in Fancy Free Thurs. Eve., 10/24 - Ananiashvili, E. Brown, Abrera, Gomes, Reyes, Lopez in Offenbach in the Underworld Fri. Eve., 10/25 - Kent in New Ballet by Lar Lubovitch; Abrera, Lopez, Torres in New Ballet by Robert Hill; Dvorovenko, Saveliev, Meunier, Molina, E. Cornejo, Radetsky in Offenbach in the Underworld Ffrst time in a role with ABT: Sat. Mat., 10/19 - Meunier in first movement in Symphony in C Sun. Eve., 10/20 - Part in second movement in Symphony in C Sat. Mat., 10/26 - Wiles, Hallberg in Grand Pas Classique