KayDenmark

It can be hard to let go of fixed concepts of what a ballet **should** be like - even though time, technique, and dancers have moved on. But it can also be hard to let go of dancers we once loved. One of the strongest points in Gottlieb's piece, I believe, is his frank appraisal of the company's ageing icons. Darci Kistler, unfortunately, lost much of her magic long ago. Kyra is lovely, but as Gottlieb points out, she relies more on her aura than her technique at this point. Jock Soto is such a wonderful dancer, and a wonderful person, that it is hard to see him like this. And besides "Circus Polka", what in the world is Robert LaFosse still doing in the company? (And how do I arrange for an equivalent paycheck for an equivalent amount of work?) Very few dancers have the character strength to go out on top. Others will probably beg to differ, but my memories of Merrill Ashley involve her barely being able to keep up with the corps while dancing "Ballo della Regina" during her last season. One of the first things Peter Martins had to do when taking over the company was fire one of Balanchine's ageing icons, Allegra Kent. I hope we do not have to wait for Martins' successor to clear out some of **his** the tenured toe shoes and give the younger dancers the onstage time they need to make roles their own.

It can be hard to let go of fixed concepts of what a ballet **should** be like - even though time, technique, and dancers have moved on. But it can also be hard to let go of dancers we once loved. One of the strongest points in Gottlieb's piece, I believe, is his frank appraisal of the company's ageing icons. Darci Kistler, unfortunately, lost much of her magic long ago. Kyra is lovely, but as Gottlieb points out, she relies more on her aura than her technique at this point. Jock Soto is such a wonderful dancer, and a wonderful person, that it is hard to see him like this. And besides "Circus Polka", what in the world is Robert LaFosse still doing in the company? (And how do I arrange for an equivalent paycheck for an equivalent amount of work?) Very few dancers have the character strength to go out on top. Others will probably beg to differ, but my memories of Merrill Ashley involve her barely being able to keep up with the corps while dancing "Ballo della Regina" during her last season. One of the first things Peter Martins had to do when taking over the company was fire one of Balanchine's ageing icons, Allegra Kent. I hope we do not have to wait for Martins' successor to clear out some of **his** the tenured toe shoes and give the younger dancers the onstage time they need to make roles their own.

I've always enjoyed Stabat Mater - it has that lovely lift in it, that backwards pull, that appears twice and then never again.

I would also love to see Slavonic Dances again, but I get the impression that Chris, himself, is not a fan of it - he's been quoted as saying the first work he was really satisfied with was "Mercurial Manoeuvres" - so, given his association with the company, I don't think we'll see it back in repertory any time soon.

Wasn't Wheeldon's "Slavonic Dances" originally a Diamond Project creation? Not only did it launch him, but I still think it's one of the best things he's ever done....before he ran off to the Land of Twee. Lynn Taylor-Corbett's Chiaroscuro brings out the best in Jock Soto - it's a dance about and centered around a fascinating dancer, which makes it fascinating in itself. Haven't seen it in a few years, but I also remember excellent lighting. And I love La Stravaganza - it's challenging, bizarre, thought-provoking and exhilarating. The first time I saw it, all the old people got up and ran out of the theater.

I see that the Diamond Project is losing out in the voting - but what's the alternative? Endless revival peformances of Symphony in C? Having a set time, place, and funding for new choreography is the best way to make sure new choreography gets a chance. Granted, the Diamond Project has produced some stinkers - Kevin O'Day's pieces are unwatchable, in my opinion, and Damien Woetzel should keep his day job - but it has also produced some masterpieces. And I would put Prejlocaj's "Stravaganza" on that list!

How about a ballet based on "I Love Lucy"? There could be a memorable adagio based on the famous "chocolates off the conveyer belt" scene. Of course, there would be quite a rivalry among male dancers to play the coveted role of Ricky Ricardo...character dancers could audition for the part of Fred Mertz. Up next: A ballet based on "Three's Company"....

The Independent, a British newspaper, recently ran a long feature story on a 25-year-old Russian ballerina named Anastasia Volochkova...a very pretty lady whose appearances in London are being financed by a wealthy lawyer. (The gentleman claims to have only an artistic interest, although he recently divorced his wife.) Has anybody seen Ms. Volochkova perform? Does her talent match her looks, and her ability to command publicity?

The word "charming" scares me a little bit...reminds me of Christopher Wheeldon's worst excesses!...but I'm glad to see Martins giving young choreographers a chance, particularly a young female choreographer. Was the work particularly modern or more classical? Was it plotless or did it tell a story?

I see that 19-year-old NYCB corps dancer Melissa Barak's piece for the June SAB ballet workshop is being restaged on the entire company next winter. Has anyone seen this precocious work of genius? [ 08-08-2001: Message edited by: KayDenmark ]

Did anyone see NYCB's all-Balanchine opening night last night? Those of us who live far away have to live vicariously...although we are having a Martins festival right now at the Royal Danish Theater. A mix of good (Stabat Mater), bad (Jazz) and ugly (the new one to John Adams, Hallelujah Junction.) The casting is rather creepy, however...a Darci lookalike to do Darci's part in Stabat Mater, someone with a Xerox copy of Jock Soto's build for the part choreographed on Soto. Speaking of Martins, it's always fascinating to follow his current whims as expressed on the NYCB casting list. What, for example, has happenned to the wonderful Ben Millpied? He seems to have been exiled to tiny parts in the Four Seasons. And Sebastien Marcovici, who was getting a lot of stage time during the winter season, seems to have disappeared into one part - the lead in "La Valse." Meanwhile, Nikolaj Hubbe is everywhere...

I love Sebastien Marcovici, but he doesn't have the neccessary oomph for the Bond part, at least at this point in his career. And he's a blond - not the prototypical bond! He'd look great in the action stunts, however. If a Bond ballet movie were being made tomorrow, I'd suggest Jock Soto.

I wish I could have seen Rudolph Nureyev! His sex appeal is so intense in still photographs and videos...I can only imagine what it must have been like to see him dance in person, at his peak.