motwins8391

Well stated. It was a poignant send off for these two.

From Scienceblogs weekly: http://scienceblogs.com/notrocketscience/2...e_over_time.php

I respectfully disagree with Treefrog's "thumbs down" to Kettentanz. I think Gerald Arpino cleverly set these Strauss waltzes and polkas - simple, popular dances - on his contemporary ballet dancers in a way that does come off -- well, simple and broadly appealing. But isn't that appropriate for the material? I think that's one of Arpino's signature strengths as a choreographer: his ability to get to the heart of the music and weave his keen musicality with emotion, the unorthodox, and a nod to populism. In Kettentanz, he constructed short, classical (or should I say neo-classical?) variations for his company, which tended not to do the big story ballets. At any rate, in this program these balletic divertisements were a welcome balance for me, especially placed at the beginning. I'm happy to see the recent technical growth evidenced by the young dancers under Ashley Wheater. He is willing to take chances through his multiple castings -- and the Joffrey audience will reap the benefits of this increasingly over the coming years. I do agree about the odd insertion of the Cotillon pas de deux/excerpt. It was difficult for me to appreciate this scene out of context. I hope audience members appreciated the physical marathon that the "Chosen One" endures during a performance of Sacre. I thought The Chicago Sinfonietta did a fine job with Sacre.

This may not qualify as "news", as there are really no surprises here, but Hedy Weiss of the Chicago Sun Times covered this trio's final Joffrey performance nicely in this article "Three Joffrey greats go off on the right foot". Plus there are links to some marvelous photos, both from Sunday's performance and from their careers with the Joffrey.

The current "Chicago" magazine has a brief profile on Ashley Wheater: Chicago Magazine 5/08. A photo shows him "playing with matches" in the Joffrey's storage space.

I was there Saturday night (Dvorovenko and Beloserkovsky) and Sunday (Herrera and Corella). Was also at Wednesday afternoon's dress rehearsal, where we were teased with glimpses of Lane/Cornejo and Kent/Gomes. So I was fortunate in seeing a generous sampling of ABT pairings. Even though they were rehearsing (and so not "going all out"), Kent/Gomes were the most exciting in the pas de deux. They looked simply great together. This was my first time seeing Irina and Maxim, and I thought they were charming and ideal for their roles. She was lovely in the Rose Adagio, with a bit of flirtation tossed in to make it not just a solid performance but an interesting narrative too. I liked her attention to dramatic detail in her dance with "the dreaded spindle" too. Shades of Giselle. The pairing of Corella and Herrera was less than ideal. I agree with all that Treefrog said in that department. Corella brings such excitement and charisma; he never disappoints. My hunch is that Treefrog must be talking about Jared Matthews' final series of turns as Bluebird. That was perfection. Sascha Radetsky was more impressive with his leaps and flexibility, but his turns weren't as clean. Anyway, they're both exciting soloists. Part did the Lilac Fairy both performances -- I believe she was filling in for Stella Abrera Saturday PM. I was sorry to have missed Abrera. The sets and costumes were a big distraction (headache?) for me. Gaudy, garish, heavy, crowded. Too much frosting on this cake. And it pained me to see some of the world's greatest dancers riding that silly animal-hybrid sail contraption. I was hoping a fairy would whisk them away to a Land of Tasteful Sets so I could simply enjoy the dancing. (Some of the costumes I actually did like -- those for the four princes who came to court -- I've read were replacements, the originals being garish as well).

But what about the Ashton, Cranko and Massine ballets? I would hate to think that the Joffrey won't be able to readily stage those in the near future.

The Chicago Sun Times' Hedy Weiss reported on Friday that Cameron Basden, Joffrey Ballet associate artistic director, has resigned from the Joffrey. "It's the latest indication of major changes taking place since the arrival of new artistic director Ashley Wheater", according to Weiss. "Basden, who was responsible for maintaining the overall quality of the Joffrey repertory and its dancers, is one of few people to be given the authority to stage ballets by Ashton, Cranko, Massine and Nijinsky, as well as other more contemporary works."

Watching the Joffrey the other night I was wondering, ironically, who Maia would be partnered with, with Willy Shives' retirement at the end of the season. Theirs were such a magical, beautiful partnership. I was also noticing what a strong, fine job Michael Levine was doing in this two roles....

Correct me if I'm wrong, but I don't think she's been cast as the "star" on any of the opening nights this season -- which is unusual and noteworthy as it WAS almost a given in recent years.

Not that I know of and none that I know of!

I completely agree. This new format, with casting printed on weekly inserts without dancer photos, started this past fall and it has a makeshift feel. These artists DO deserve better. And how can the Joffrey build a knowledgeable audience when the audience can't easily identify the dancers?

Amen! Very nicely expressed -- yes, it was palpable!

Unfortunately, I don't think it's been formally announced, which is a shame as he deserves more notice.

Thanks for the post, Treefrog. I was hoping to read some feedback from those who attended this season's run, especially since there seemed to be so many different casts, with many dancers taking on new roles. Is "Nutcracker" deemed too much of a mainstay to merit discussion? I hope not. As Treefrog points out, things are continually evolving. (Yes, hooray for the macho Waltz of the Flowers dancers!) We attended the 12/30 show as well, as we didn't want to miss Willy Shives' last performance as Nutcracker Prince. He was always such a comfortable, confident and thoughtful presence on stage that he was able to fine-tune and polish the dramatic details to perfection. For instance, the way he would rise out of the mist (as the Snow Scene begins) with such grace and fluidity was magical. His miming of the Nutcracker's story at the beginning of Act II was masterful. And his facial expressions were always honest and pure -- he was never campy. He will be hugely missed. Fortunately he remains as a Joffrey ballet master and mentor. (In another performance, we saw Mauro Villanueva as the Prince -- has Willy Shives passed the mantle on to him? He's also a smooth, confident, musical dancer and his technique is superb.) Heather Aagard has taken the role of Clara to heart. Her sweetness, joy, curiosity and enthusiasm greatly enhance and legitimize the story. Megan Quiroz as Snow Queen and Coffee: outstanding! Matthew Adamczyk wins the male flexibility award for his Coffee. (Valerie Robin was breathtaking in Coffee as well.) We loved David Gombert's dramatic flair as Mouse King and Soldier; same with Michael Smith as Drosselmeyer. My only pet peeve: double casting the Nephew/Nutcracker Prince. It ruins the continuity of the story.

I wonder why they went with an insert this time. Usually they print the full cast for all performances directly in the program. No dancer photos in this program either.

I was there Friday night, the Christina Rocas/Mauro Villanueva cast, and seeing this young, fresh pairing was definitely exciting! Rocas -- a first, starring role for her, I believe -- was in complete command of the difficult steps and balances, and Villanueva was perfection: athletic, but beautifully classical and musical. In act 2 he did sky high assemble jumps, with these solid, bulls-eye landings: very exciting indeed. Perhaps Rocas could have presented more depth during the "Mad Scene", but she and Villanueva were poetic and magical in the second act. May we see more meaty roles for these two in the future! Bravas also to Kathleen Thielhelm, an alluring Myrta, and Allison Walsh, who danced the Peasant Pas fabulously. As I was contemplating possible future changes under the new leadership, I thought how fun the Joffrey's all-star/no-star casting has been. One can see yesterday's Giselle and Albrecht dancing tomorrow's peasant man and woman. I hope this isn't considered too quaint now. I was also wondering why there were not the usual dancers' photos in the program and the casting was printed on an insert.

The Joffrey's website has a new blog, jpointe, which provides an interesting narrative and photos from the recent Iowa tour: http://jpointe.blogspot.com.

Hmm. I didn't pick up any marked difference since my last viewing -- I actually had several deja vu-type flashbacks of Davis Robertson, who performed it several years ago. (Despite the fact that Robertson and Gluckman are different body-types, I think they have a similar approach to the solo). At any rate, the first time I saw "Caught" I could only think, "Wow! That's amazing how he can time his leaps to the strobe light like that!" I was wiser when I saw them perform it a couple of years later, having read that it's the DANCER who holds the switch for the strobe. It's still a remarkable feat, and while watching it Sunday I found myself conjecturing how Gluckman was moving in the darkness. Obviously, he was moving deftly and mightily. What a cardio-workout (does the audience have any idea?)! By the way, I miss Taryn Kaschock to this day! That lady had real spunk! It may have just been a personal reaction, but seeing how the themes of sexuality, childbirth, and motherhood were translated into the dance somehow struck me to the core. I saw these young ladies -- Victorian ladies at that -- dealing with bodies that were suddenly alien to them, while putting on airs of being in complete control. (And the fact that they were Victorian emphasized the naivete/innocence). There was awkwardness, uncertainty, even denial. How were they to adjust? When they "absorbed" those testosterone-laden suitors, they found their feet going in the opposite direction! Would life ever return to normal? Ultimately they managed to adapt and carry on, but with sacrifice, using their own inner strength (and possibly some old-fashioned female camaraderie). I think that gimmicks/gadgets can be more of a distraction. Fortunately for me, the fact that I attended a dress rehearsal helped me get past the distraction so I could focus on the choreography and dancing during the actual performance. So in terms of reacting as a first-time audience member, I'm not a fair judge. And I would not be happy if all Joffrey programs were along this vein. I do feel cheated when I don't get a good dose of pure dance -- and ballet at that. (For instance, I was glad to see the "Green Table". The Joffrey dancers are tremendous actors and the piece was timely. But coming at the end of a program featuring the fabulous, dynamic and polished dancing in "Les Presages", I left the theater feeling let down. I wish "Les P" had ended the program!). Anyway, "Light Rain" was a fun program, if a little on the short side, and I do appreciate the breadth of the Joffrey's repertoire. (Maybe there should be a discussion on how "Giselle" snuck in there. Has Joffrey ever done a full-length 19th century ballet, other than "Nutcracker"? Are they going for marketability?)

This scheduling methodology suits me fine! I found that the program -- vibrant, boundless, playful (and downright sexy) -- was a perfect fit for an idyllic spring afternoon, that is, if it has to be spent inside. For me, it was worth this sacrifice. "Joffrey Lite", arguably yes. But definitely not "Joffrey Trite". While the program is hardly academic or heavy, I found plenty to engage my mind and spirit (without forcing me to actually brood on a gorgeous day). I was quite moved by "Untitled", a piece which so clearly captures the visceral aspects and unrelenting demands of motherhood, and demonstrates how tenuous a woman's relationship to her body becomes once she's caught up in the crosswinds of sexuality and fertility. Yet the female will is strong -- and female companionship is a helpful thing. (This would be a great piece to see and appreciate on Mother's Day!) Maia Wilkins and Suzanne Lopez were superb. Ms. Wilkins' expressive body language, in particular, could probably be read from the rear of the balcony. There WAS lots of "air time" involved, but I thought "Dance for Yal" (Love unleashed!!) and "White Widow" (spinning in isolation) appropriate and illustrative "bookends" to the cautionary tale of "Untitled". For some reason "Valentine" tends to go on a wee bit past my attention span (maybe I'm having trouble following how the music and the musician, more of a distraction to me, fit in. I welcome other's insights here!). But I have no trouble appreciating Julianne Kepley and Fabrice Calmels in action. [What a huge loss it will be for the Joffrey, if Ms. Kepley is indeed leaving for SF Ballet, as reported in the Tribune]. It's truly delightful to see one-time Joffrey apprentices blossom and grow. This year's programing gave many glimpses of that. A standout for me is John Gluckman, who was so commanding in "Caught". This young man is a smart and marvelous actor who I can always count on to bring some "edge", intensity, and downright unpredictability to his role. And his athletic dancing just keeps getting more refined. (I'm keeping my eye on Mauro Villanueva too. Other particularly interesting dancers and rising stars, in my opinion, are Allison Walsh, Erica Lynette Edwards, Kathleen Thielhelm and Aaron Rogers). And finally, "Light Rain" is such an alluring piece. Valerie Robin moves, draws, and commands like the queen of the ant hill! There were some peppy male solos too. There's something quite primal going on here; maybe "Light Rain" is a "feel good" "Rite of Spring". If there was anything amiss in the program for me, it was that the number of "solo" pieces dictated a cut back in the number of dancers who appeared. Many of the Joffrey corps were "benched". I guess we just wait for next season?

Hmm.. principal or soloist??

Here's another vote for a Joffrey recording of Les Presages. I saw it twice and it is a masterpiece, masterfully presented by both casts of dancers.

Yes. In fact she danced both the Cinderella and the Fairy Godmother roles. She was the Fairy Godmother on opening night (didn't see that particular performance) and in two subsequent performances, and she was fabulous! There's one bit during the end of Act 1 when she moves, in fast tempo, across stage on a diagonal, then stops on a dime in a penche arabesque en pointe (pointing her wand downward). Her control was amazing. She was equally exciting as Cinderella -- just a joy to watch. I loved her spunk and energy in that role, (which must be very physically demanding). We were sitting close that night and her chemistry with prince Michael Levine made for some tender moments in Acts 2 and 3.

Thanks for the nice welcome. I've been enjoying your posts and input, Treefrog, since I discovered this forum a couple of years ago. I wish we had more commentary on the Chicago ballet scene. I'm sure you're in good company. It's a devilishly difficult, fast tempo score, and while I thought the Sinfonietta did a fine job with it overall, there were several not-quite-making-it high notes from the horns, missed and otherwise messed notes, and not-completely-in tune passages from the strings that I found pretty grating! I remember leaving "Romeo & Juliet" one night a few years ago and hearing a couple of ladies remark that they hated the music! So, yes it's very much a matter of personal preference.

I, on the other hand, think Prokofiev's score, with all its dissonance and minor tones, is far preferable for children than the bland stuff that Disney, et al, have to offer. The notion that fairy tale music must be "pretty" sells our kids short. What a great opportunity to broaden young minds by presenting all that music has to offer. Prokofiev was a master story-teller. (My kids listened to and enjoyed this score as pre-schoolers!). Again, I respectfully disagree. I saw Willly Shives, Michael Levine and Mauro Villanueva as the Prince. And while I have ADORED Willy Shives for years, Villanueva won hands down for me. My teenage, dancing daughter and her friends were completely taken. And for this 40+ woman, his youth and strength were so refreshing and exciting after seeing the other two. His leaps made Shives and Levine look downright grounded. (Yes, Shives is the ultimate partner and his pairing with Wilkins is perfection -- utter joy for me -- but he looked more like a "king" than a "prince" during his solos. My daughter and I noticed that he "cheated" his turns by turning in his leading foot.). I loved Villanueva's confidence and spark. To the best of my knowledge, this was Villanueva's first go in a "starring" role and as a partner of Jaiani (whose usual partner was the recently departed Samuel Pergande), so I imagine we may be seeing what I hope is the beginning of a great partnership. (I felt that Jaiani was tentative in her ballroom solos compared to Wilkins and Julianne Kepley, but she is relatively young as well). I look forward to a Jaiani/Villanueva Romeo & Juliet. I should also note that we see a very slim Anthony Dowell in the 1960s Royal Ballet recording of Cinderella.