Buddy

From what I can tell, sandik, not only was After the Rain "made on" her, but she also did a lot of the 'making' as she probably did with the other works "made on" her by Christopher Wheeldon. For me, not only is it special to see "something performed by the person it was made on," but in Wendy Wheelan's case she's one of the very best in the world at this sort of thing. I once saw a brief video clip of a Kabuki actor and the soulful expression of his basic humanity was mind boggling. At times at the Mariinsky I've seen Alina Somova and Oksana Skorik perform with similar personal depth and beauty, but it's not exactly the heartfelt depth of Wendy Whelan, it's more transcendental. [spelling correction made]

Yes, these really are beautiful performances, sandik. I had tears in my eyes the first time that I watched them.

These two informal performances should speak for themselves. “This Bitter Earth” starts at 1:50. “After the Rain” starts at 14:10. https://www.youtube.com/watch?v=8D316-KMBU8 (posted by the NYCityCenter, the performance site)

Robbie Fairchild, 4th grade. “My Special Place" “My special place is on Broadway. I would really like to be on Broadway because there was this person named Gene Kelly that went on Broadway and I’m doing a report on him. He’s a dancer just like me and I want to be like him. I really want to go on Broadway because it would be just so fun. “I also want to be in a movie.” https://instagram.com/p/4lHqYkRWtA/ (thanks to Bruce Wall at Balletco for finding this) “I also want to be in a movie.” I'd love to see this. I think that this stage production would make a great movie highlighting the choreography, the dancing of Robbie Fairchild and the endearing charisma of Leanne Cope. It would be very worthy of its predecessor.

I Loved It ! Almost unrecognizable except for the general outlines from what I recall at opening night in Paris, because of streamlining, additions, complete overhauls and all sorts of other changes, it all came together remarkably well. If I were to go back tomorrow, and I would, Leanne Cope would be the first reason. This Leslie Caron ‘reinvented’ should have a wonderful future in acting, especially in dance-musical theater, if given the material that she deserves. This An American in Paris is certainly the right material. I’m sure that others who see this production will have their own favorites, but she is probably mine. Robert Fairchild’s excellent dancing and dance partnering is certainly another major factor. That he, Leanne Cope and the others can sustain such a high level of activity and excellence eight shows a week with such a sense of pleasure is another outstanding accomplishment. The entire production most impressed me, not only for its highlights, which are many, but for being able to tie so much diversity together so well. There was art and entertainment. There were professional dancers and professional actors reinforcing each other. There was humor and there was message. For instance when the ultra serious Baurel parents break into the lead of a very enjoyable and highly competent tap dance routine I rollicked inside with delight. When one of the background actor-dancers tread milled his legs merrily into the air in an early show of dance bravura I was equally delighted. This sort of thing was happening throughout. The acting-singing professionals stepping in at just the right moment and the dancing Leanne Cope and Robert Fairchild carrying the play’s ultimate momentum to hugely successful conclusions. The dance routines that I liked very much and that can be seen partially on various internet clips are the I’ve Got Biginner’s Luck dance and the final duet both of which feature Robert Fairchild and Leanne Cope. The masked ball dance (end of Act I) and the 15 minute(?) dance finale (Act II) carried things to highly successful dramatic and artistic closing statements. I’m not really familiar with the Broadway norm these days, but another one of the major accomplishments was the artistic edge to this work. It was Broadway style enjoyment, but with strong elements of art. Yet there wasn’t so much ‘artistic’ attempt that it would lose an audience out to have a purely entertaining several hours. Although I’ve seen other theatrical works with exceptional levels of artistry and enchantment, it’s the beauty, enjoyment and love permeating this entire work and ultimately prevailing that would make me want to come back to this one especially. Added comment: Not to be forgotten by any means are the outstanding sets and stage elements by Bob Crowley, projection by 59 Productions and lighting by Natasha Katz. This outstanding art blended in so well that it was almost unnoticeable at times, but it is brilliant! One brief segment featured a dancer (Leanne Cope?) projected on several mirrors. For me it was a reference to the movie scene where Leslie Caron dances several different versions of herself. The mirror sequence was extremely brief and I wish that much more could have been made of it, but this was consistent with the use of the set designs. One stroke of brilliance after another simply appeared and disappeared without a second thought. Simply background. Simply remarkable!

Maria Kochetkova — Swan Lake Possibly the Highlight of the Swan Lakes that I’ve seen here this year was her Act II White Swan Duet. Certainly one of the finest performances of this duet that I’ve seen anywhere. I can find some words to describe it, such as enchantment and dramatic composition, but it would have to be seen to have any real significance. Her Russian trained fineness was highly evident as was her own added dramatic perfection. The result was an Artistic Masterpiece with the look and feel of artistic greatness. One thing that became evident tonight is how different drama can be. The beauty of drama as performed on a ballet stage is one of motion and composition that makes it visually magnificent as well as soul touching. There was much else of fine quality tonight by her and by others, but for me her performance of the duet eclipsed everything.

I’ve seen about as many of Gillian Murphy’s Swan Lakes as I’ve seen Veronika Part’s (approx. eight). Tonight she performed the best of these that I’ve seen her do in quite awhile. This was her most mature. Her Swan Lake at the Mariinsky Festival about ten years ago was one of the finest performances that I’ve seen there in eleven years. She was just beginning to develop an almost enigmatic pre-Raphaelite attraction in her facial expression that was naturally derived. It was part of her somewhere and it defined her and made her absolutely special. http://www.preraph.org/images/firstread01.jpg Her dance prowess reinforced this perfectly. She was a childlike innocence that harnessed and superseded her Wagnerian powers. Her presence and her expressiveness, for me, represented the finest artistic statement of female humanity. I actually called her an ambassador for womankind. Rather than elaborate now I would like to keep Veronika Part’s performance from last night dominant in my thoughts because it was much too fine to let pass by so quickly.

I was there also, nanushka, as I was at their last year's Swan Lake and I have to agree with you completely. I've seen about eight Veronika Swan Lakes (with Marcelo and Roberto also) and regard each one as an adventure in excellence. Like several here I consider her performance with Roberto Bolle to be one of the finest ballet performances that I've ever seen. She somewhat made the ballet her own creation, a step beyond just making the performance her own. A step beyond is what she's about. Last night she may have been just as good in many respects.

This is the same chance that Gene Kelly took with his 17 minute dance finale. Despite a non humble comment the producers of the stage version took this position from the beginning and should be commended for it along with the movie studio's final acceptance. Chris Wheeldon did say though that he had to stick to his determination to finally accomplish this.

Thanks very much, cobweb. I'll definitely try to give Fun House a more thorough look. Since I'm back, two thoughts come to mind from what posters have written. Art vs.popular (or commercialism?) George Balanchine didn't seem to consider that to be a meaningful barrier. Fun House was true art. There's plenty of 'true art' also in An American in Paris. The level of the principals' dancing for one. And thanks, Abatt. I just saw your comment after posting.

Sometimes very little says a lot and enthusiasm speaks for itself. And it's always good to hear more exact reasons for loving someone's exceptional art. Thanks, Quiggin. And added (of course ): Back at ABT she was already saying this. What are you looking forward to as a ballet dancer? "I really need to take the next step. I’ve taken all the steps that I can to make myself a better dancer. And now I need to stop being comfortable with that. I don’t really know what that is yet….By week six of Met season, you’re pushing through and I want to feel like I put the thought and effort into every role, no matter how little it is. I want to have that opportunity." http://www.timeout.com/newyork/dance/simone-messmer

So I guess we should open a discussion of Fun House somewhere. I'm of course disappointed that Leanne Cope, Robert Fairchild, the entire production, etc. didn’t get awards. The sets did and with this I totally agree. Dirac, as you pointed out, some humbleness and respect by at least one involved, although it probably didn’t effect the voting, does have its place. Almost all the comments from those involved have been of a very positive and appreciative nature. As for Fun House, this is a work that I probably may never see but I’ve read some very sympathetic comments about it and it’s apparently a fine and very heart touching production. My reason for favoring something like An American in Paris is that it’s 'cheerfully' uplifting and in this sometimes ‘very serious’ world this is what I appreciate in ‘entertainment’ and art. I know that this is a view wide open to debate. I think that the movie and the subsequent stage adaptation of An American in Paris have a lot of value. They are a story about the rightness and success of true love. They also feature the idea of art superseding and trying to heal the wrongs of human behavior. So I hope that when I see the NYC production that it lives up to the great potential that I saw in Paris. Apparently Leanne Cope and Robert Fairchild’s, along with other cast members’, TV performances were received very well at the Tony awards broadcast and such wide media exposer should certainly help. Wishing the company all the best. Added: This is the video of the Tony performance. In regard to the previous discussion about such productions increasing interest in ballet this should certainly help. (7 million Tony Awards viewers last year). https://www.youtube.com/watch?v=pqbwpUlDOvE (thanks to Janet McNutty at Balletco. for finding this)

Funny moment while we anxiously await the Tony awards. If you go to page 17 and click on the video of Andrea Selby with her sketchbook and go to 1:43 you will see a drawing of the lead couple dancing. And who does the lead male resemble? Rolando Sarabia. Go back to page one to find out more about him in our determined search for the best possible cast. He was one of my favorites. Vipa of course wins the prize with “Robert Fairchild - he was terrific in Who Cares!" (page one, posted July 8, 2013) Now that a roadshow has been announced we can resurrect all this all over again. — Rolando are you available? Do you sing? Do you act?

Choriamb, thanks for for the clips. Over the years I’ve only been able to find two very brief ones from December, 2008. I would say that they give just a hint of what I’ve seen and felt in just one very specific area of her range. I don’t follow ABT that closely, but I’ve found very little in the way of ABT internet videos, especially for Veronika Part, who also seems limited in appearances, but not nearly as much as Simone Messmer apparently was . I once chatted briefly with Simone Messmer and she didn’t seem that tall, certainly not by Mariinsky standards. (there’s a second followup clip) Cristian, this is an interview by Gia Kourlas in Time Out New York, Sept., 2009, that touches on the enthusiasm that she has generated. http://www.timeout.com/newyork/dance/simone-messmer I’ve only seen her perform a few times, but I was taken immediately by her presence. Like Veronika Part she creates her own worlds and they are immense and compelling. As interviews suggest she commits herself completely. She was quoted as saying that what you see is what she is. I saw her perform Gamzatti and she created an identity totally her own and absolutely charged with imagery. Each style that I’ve seen her attempt has been a standout effort. Added comment: In February I posted the names of guest artists that I would have loved to have seen at this year's Mariinsky Festival. They were Alina Cojocaru (who performed five full length leads at previous Festivals), Veronika Part (hopefully Swan Lake) and someday -- Simone Messmer. Added added: And I have to wonder if Lourdes Lopez, who apparently spent much time in NYC and was probably very familiar with the ballet scene, was 'smitten' as well.

Dirac, I have to agree with the sentiment of your post about the American in Paris movie. I think that the movie is a classic and deserves a great deal of respect. No matter what claims others might make, the stage production is based almost completely on its entirety. Added comment: Even without the historic inclusion and exceptional nature of the choreography, the movie is a meaningful, charming and right hearted work of art.

Just yesterday I was thinking of checking the internet to see if there was anything new about her. I think that this is great news ! She's so remarkable and so one of a kind that she might be able to create a real identity and wide ranging presence here. MCB seems the be the kind of company that would give her that chance and hopefully grow and profit considerably from doing so. I used to feel that if some great company didn't feature her then someone should create such a company for her. I've not really followed MCB since Edward left, but my interest has just re-escalated. I used to side trip to Florida for a few days from visiting my daughter further north principally to see it. Hopefully once again ! When Edward was there a lot of things seemed very right. There was an outstanding level of youthful, lovable talent, a feeling of family and some extremely good choices in programing, especially new programing. I still wish that he could reconnect some day. I always think of Yuri Grigorovich's return to the Bolshoi as a precedent. In any case this may be another spark to the momentum that Edward created. Lourdes Lopez's decision to include Simone Messmer may be a fine step in this direction. I wish Simone Messmer and the company much success together.

Great ! I think that MCB could be wonderful for her. She's such a fine and one of a kind artist that this might be the perfect place for her.

Back to the sets for a moment. Cristian, for what it's worth, the 2015 Act III wedding background is a fairly successful effort to merge the background and the foreground spaces that are going in different directions perfectly at the middle ground. It's a pretty good trick if you can do it. Added: The Bakst designs only partially attempt this. Added added: The 2015 set does make this easier than the Bakst set by covering up the top of the columns with the golden tassels in front. Also with a more careful second viewing the Bakst set does make a fairly good effort and besides that, he was there first.

Thanks, meunier fan. My feeling after seeing the Paris opening was that I loved Leanne Cope, the choreography and script had great potential, but that the sets were masterpieces. I would have wanted the production to have succeeded if only for her and for those. This is a brief but very interesting look. Here is someone else that you might want to add to the artists involved. “Andrea Selby is an artist who has observed the life of An American in Paris from its early stages. Her sketches cover the show from rehearsals to Broadway and are used for merchandise, marketing and internal purposes. Here, she talks about the process of drawing from the complex and inventive Christopher Wheeldon choreography.” http://www.playbill.com/multimedia/video/exclusive-sketch-artist-andrea-selby-documents-an-american-in-paris-349621 Thanks, abatt, for the latest update. My sense from what I’ve read and seen on video clips since Paris is that there’s been considerable tweaking for the good. In addition an entire half hour was eliminated. The man sitting next to me in Paris said that the first act seemed a bit long. I somewhat agreed with him and would have parred back some of the post war heaviness. I, for one, really enjoyed the movie's 'innocence.' This production seems to be riding a wave of popular enthusiasm that may have translated into the work itself. Christopher Wheeldon commented in a video clip right after the Paris opening that he was overjoyed with the audience response because you can never tell which way these things will go. Many of the artists have expressed a similar feeling and this hopefully has encouraged the best performances and the best production possible. My peripheral response is quite positive, but I’ll get an actual look in the middle of June. As I’ve felt all along, this effort has so much going for it that I have to wish it all the best.

Just had to throw this in. The Universe's version, posted today. Pulsating Aurora over Iceland http://apod.nasa.gov/apod/ap150601.html

I’ve just started to follow this discussion. Because a lot of the comments have been about the costumes and sets I would like to add one observation that caught my attention immediately from the few photos that I've seen. I find one of the backdrops to be quite fascinating architecturally. Having greatly appreciated Bob Crawley and his associates’ brilliant backgrounds for “An American in Paris” this one has a similar attraction. I believe that Bob Crawley is noted for playing with perspective and creating interesting view points. In the Marina Haars New York Times article, scroll down to the third picture, entitled “The wedding set from Act III of Alexei Ratmansky’s “The Sleeping Beauty.” The handling of the perspective (the angle) of the middle background and the bringing it together with the foreground is quite inventive. http://www.nytimes.com/2015/05/31/arts/dance/the-sleeping-beauty-awakes-to-vibrant-ballet-costumes.html?_r=1 Clarification: These sets are not by Bob Crawley if my comment might have given that impression. Added comment: Ditto for the backdrop at the top of this article. http://dancetabs.com/2015/05/american-ballet-theatre-the-sleeping-beauty-new-york/ Also from the first review: “Compared with the costumes, the scenic elements are relatively pared-down: Layered drop curtains denote fanciful Neoclassical interiors, airy rotundas, a formal garden and an autumnal mountain vista. The drops were made in workshops in Milan, Turin and outside of Venice, where the canvases were laid on the floor to be painted with giant brushes.” They may be "relatively pared-down", but are still quite impressive. For one thing they are almost cubist in composition.

“Since its inception in 1976, El Sistema, Venezuela’s phenomenal youth orchestra program, has brought social transformation to several million disadvantaged children in that country. In addition to producing world class musicians like conductor Gustavo Dudamel, El Sistema is now a rapidly expanding global movement, changing countless young lives worldwide.” http://www.crescendofilmdoc.com My pleasure, dirac.

This is rather heart touching to say the least. Is anyone else familiar with this? It does remind me of Edward Villella and The Miami City Ballet's efforts to encourage and recruit young and sometimes underprivileged dancers from Brazil and give them an opportunity to become great world class artists.

Paul, with the Mariinsky bringing their Raymonda to the US this year this observation may be very interesting. Are there any others who would like to comment on it? Moderators: It just occurred to me that it might be better to place such references as these at the Mariinsky 2015 US & Canada Tour http://balletalert.invisionzone.com/index.php?/topic/38451-2015-us-canada-tour/page-4 or a new Mariinsky US Raymonda topic and link back to here.

Since the Mariinsky's Raymonda is making its way to the US we'll probably be reactivating these discussions. As sort of a combination of things mentioned here, I saw Maria Alexandrova perform all this with the Paris Opera Ballet a few years ago and it was the best I've ever seen her do. Pure enchantment ! In preparation for what I hope is a marathon of Raymonda watching in Costa Mesa (September) I'm looking at lots of internet clips and will probably come up with some favorite variations (solos). The only other time that I've seen this on stage was a Bolshoi series in Chicago. I do recall liking Maria Allash's 'handclapping' variation very much. For the moment from videos I find Alina Somova's recent debut to be extremely lovely and Oxana Skorik's performances to be exceptional with the poetry and meaning that she infuses into her lyrically beautiful motion. [typo correction made]