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One of my most poignant memories from ABT mid-80's is of waiting backstage after a performance with others (actress Jackie Bisset was there too) when an elevator door opened and Alexandre Gudonov appeared with an expression like "a deer caught in headlights just before the car hits it"; absolutely stricken. I felt so bad for him, and was glad Ms. Bisset was there to help him fend off the crowds, something he was definately uncomfortable with. His technique was never Baryshnikov's, but Gudonov did have a grandeur/power onstage that was memorable. I also remember that sweet performance in 'Witness", so self-effacing, without all the star treatment afforded Baryshnikov's films, and yet another memorable performance in a medium not his own.

In answer to your questions (but off-ballet-topic I know)... I was based at Newnham, but the dons who taught were mostly from St. Catherine's (supposedly the artsy college?), with one from Sidney Sussex; also had classes at New College. Of course the whole time I was there I tried to catch all the services/concerts at Kings that I could, and attended others at St. John's. My favorite quad though was G&Q's (sp?) with the lavender. And of course Auntie's scones--tho' price has tripled since I was last there. During my college years the "trivial pursuit" was to find the quad used in the "Chariots of Fire" film race--only to be told exams were in progress during filming so a separate boys public school was used instead. I also visited a few museums in London this past Feb. (didn't have time to go to Cambridge's Fitzwilliam this time): The Tate Britain (ie. old Tate) especially to see the Pre-Raphaelites, (and Augustus John's portrait of T.E.Lawrence--which wasn't on view for cleaning?) but enjoyed almost everything else there too. And tried to swing by the Imperial War Museum and Globe Theatre. I saw the Royal Ballet's "Swan Lake" and did a review for BT at that time.

Welcome Melanie, very glad to greet you. I did my 'semester abroad' at Cambridge when I was at college in the U.S., and was just back there this past February. The modern city elements have encroached much more than I remembered, but still, it was lovely to re-visit my old college(s) and favorite haunts. And the weather was much better than the blizzard I left in the States. I, too, went to see the Royal Ballet (and visiting ABT) during my long weekend in England, and would have loved to have stayed to see more.

And like Julio Bocca and Vladimir Malakhov before him, Angel Corella will now have his own company (and school) to attend to, and so will probably be less able to commit to a full season at ABT in the future. So yes, Mr. McKenzie et.al. need to consider the talent present in ABT's soloists and corps, (or imported from elsewhere) and the next generation of stars they want to promote.

The odd thing is, they (WNET- DiA) were planning to do an international "Jewels" peformance way back in 2000, so look how long it's taken to get this co-production finally made. If everything is taking 5 years or more to put together (contractually? financially? artistically?) that really says something about arts programming viability. I had a more detailed post about this arrangement at another BT thread--too late to link, but it was... "Why aren't there more (recent) ballet performances on DVD?" it was posted Dec.15, 2008.

As a former professional ballet dancer, who has produced-directed (shot-edited etc.etc.) at several PBS stations in the US (with some forays overseas), let me explain a few things... 1) PBS is a kind of ad hoc "network" composed of approx. 350 stations--each with their own agendas and ideas concerning programming. Stations are offered the national schedule (think long-running series--usually created at either WGBH or WNET) which they can choose to take or not in varying percentages. In the interest of unified national promotion, if a station does take a national sched programming package, it should try to air the programs at the same time as the national sched. or other stations have established. But not always. So there is the chance that a certain kind of programming (e.g. Arts) may not appear on your local station, or at a time (2am?) when you may not see it. But since the majority (usually over 50% to 2/3rds) of station funding is from viewers, their voice does count, so speak up! 2) Performances are expensive to film, which is why a production can take several years of planning (and searching for funding) before it is ever recorded for air. Smaller stations simply do not have the large crews, or large budgets to do such programming--or only in limited amounts. (My problem as an arts producer-director at smaller stations, and why I have so often ended up doing other types of programmig such as documentaries or long-form series.) Of course venues are smaller too, so the full-length ballets are not likely to be performed unless they're "black box" or "semi-staged". My local station has done several operas this way. 3) Only ONE station, ONE program, and practically ONE production team in the entire PBS system is producing dance programming on a regular basis: WNET's "Dance in America". "Live from Lincoln Center" is a separate program, which has confused the issue about what is or is not available on dvd now. And what DiA/WNET decide is what you see. Cutbacks in funding has also affected how far afield they travel to cover something. In the past, several smaller companies appeared regularly in addition to the 'big three' NYCB, ABT, SFB, but not lately. Instead, the choice was made to broaden the audience by including other forms of dance or shorter/smaller mixed reps rather than full-lengths. The big productions, again, require lots of planning and lots of $ to produce, and so are infrequent. (Case in point...ABT's "Corsair" was filmed c.1998, "Swan Lake" 2005) ABT's "Swan Lake" was well-filmed, but I had to laugh at its "Special Class" Emmy win, and the fact that there wasn't much competition (I certainly didn't see any other ballets in contention but instead, orchestral or B'way variety type programming, all of which are easier to do.) So what can you/we/us do? Make your voice (and $) heard--esp. at your local stations. Contact them to inform them that interest exists in fine arts programming, do a program proposal if necessary (and make sure you find out how first), or try to see if co-productions (and so a sharing of costs) could be done with other area arts organizations or venues. And try to convince the New York - centric station that other works, by good choreographers, and renowned companies with excellent dancers exist outside the metro area. (Personally, I am always amazed that WGBH has never bothered to film anything Boston Ballet has done, despite having numerous long-running series on the Pops, BSO, or Arts in general?!) Thats all for now folks. These days, I'm enjoying the live performances I see, while wishing they could have been filmed for someone/somewhere other than the NYPerf.Arts Library archives.

Since Ferri has twice substituted for Xiomara this week (in Manon), maybe the same will happen next week for R&J. Does anyone know if Xiomara is injured? Yes, Xiomara is injured (ankle?) and it was noted so in the program insert.

TWO VIEWS, TWO VIEWPOINTS How to explain differences in interpretation, technique, phrasing, acting nuances to someone who last saw a live full-length ballet almost 30 years ago? That was my duty and joy this past weekend when a friend, who couldn't attend last year due to illness, was able to come this past weekend. First seen were Hallberg & Murphy in Act1 at the ABT full-dress/tech rehearsal Monday. All of which was most helpful for my friend as she learned how Macmillan's choreography illustrates both the music AND Shakespeare's text in easily understood detail. (And after attending a "Spotlight Seminar" with Hallberg on Saturday, it was good to see the words put into action.) As usual, Hallberg's legs and feet reminded me strongly of Ethan Stiefel's, though of course David Hallberg is longer and taller, and uses his upper body very differently. This was the first time I observed Gillian Murphy's Juliet, since I missed her Chicago debut. She was shy and sweet, and very much in control technically, which did a little to negate that affect. Of course most of the acting nuances between her and Romeo were still rather tentative, without the depth of emotion expressed by more seasoned performers such as Gomes & Herrera who next tried out the Balcony pdd; she in her Juliet costume, he in his t-shirt and sweats, which may explain why he also didn't bother dancing it full-out, but marked much. Still, it was more impassioned than the earlier pair, and Paloma used her more flexible back and pdb's to greater effect. But watching both pairs, I still noticed, moves unfinished (all), phrasing that was way too early, and too fast for the diligently practiced orchestra (as usual, Paloma), and some careful partnering. Both Murphy and Herrera did jump BACKWARDS into Romeo's arms (as they should) for those last catch & lifts (unlike some who don't turn until the very last moment, when they are already caught.) But what I missed in the above, was not just passion, which any good actor can inject, but a fluid sustained passion expressed THROUGH/in TANDEM with the choreography, and the detail and nuance that Ferri, Vishneva, and Corella do innately. So I was left to explain... How those three do the same moves, but differently: Utilizing a lift of a head or subtly rotated hand, epaulement that extends and reaches out to corners OR towards someone, a strong attention to line, and hitting those iconic poses to express the choreographer's intent, not just a choice of steps. And then my friend and I saw Monday's performance by Corella & Vishneva, and I didn't have to explain any more because those differences were suddenly manifest and virtuosity in a role visible. Diana Vishneva excells in practically all her roles, and as Juliet is fascinating to watch both as an actress--where details are as important to her as they are to Ferri--and in her superlative technique. She is never subtle there, but always uses it with full command. And this time (yes, I agree 6th time with Corella) more in tune with Corella than last year. Macaulay may have forgotten the detail inherent in the choreography, but Vishneva hasn't and uses that and her own strong emotive powers to create the reality of Juliet's life and interactions with parents, nurse, and suitor. Soaring extensions, long arms used to reach to her lover or her father, caress her lover or hug her nurse, enclose her despair into herself with her shawl, or hang limply or 'scream' in anguish heavenwards in bedroom and tomb pdd's. And when she met & danced with her Romeo, one could see that they were both on an entirely different emotional (and virtuosic) plane than the others. There are probably many reasons Angel Corella usually graces the promotional posters for this ballet. Yes, looks and popularity probably sell some tickets. But I really am beginning to believe he 'owns' this role; a true synergy of temperament and technique. ABT's men do have excellent technique (and Cornejo's always improves Corella's), and there are several good actors besides Angel Corella on the roster. But (as it is for Juliet), acting and dancing are not the sole reasons Corella (Ferri, Vishneva) is/are great in this role. It's in the details... the finished moves, the speed and fluidity--(yes, unlike some previous performances, more controlled without compromising technique), and the constant observation & interaction between the partners throughout each step so that line is extended, mirrorred moves timed perfectly (I saw him come to a dead stop for a half-beat just so Juliet could catch up and move IN TANDEM with him on the phrase), and TENSION of action/SUSPENSION of time in each emotional high & low expressed. I'm still analysing (sorry AC) and still can't explain it; but like Ferri, it's a gift I hope he passes on. (Off-Topic, but related) Watching Ferri & Bolle reprise their "Manon" pairing Saturday, after viewing Ferri's & Corella's gutsy, courageous, full-out performance at the Wednesday matinee, was like watching steps without a soul. It was perfectly danced, and Bolle's greater height allowed Ferri more freedom in movement so her turns were surer and technique more secure, but after Wednesday's performance, it was as if (with the exception of Ferri of course) everyone was told, "Go stand there, then act there, then do this..." and they did it: perfect, beautiful, and totally missing the full-blown passionate momentum of the matinee. If anyone other than Ferri & Corella had danced that matinee like that, I would have said "histrionic/over-the-top" but they both just went for it, and it showed...Not perfect (too fast, too blurred, not always secure, some iconic poses rushed through--and problems still with Des Grieux's adagio solo in Act 1) but with a true emotional punch in the gut, heart, and mind.

I never blub(ber), just get that little lump in back of throat, and have to blink... 1) The oboe(?)'s first notes of Swan Lake's Overture. All the emotions poured into those first 8-10 notes. And the Act IV finale when the key changes to major(?) as the sun comes up, our lovers are united in some nice afterlife (in the traditional versions anyways) , and the swans can be women again. 2) The Nutcracker Pdd. (not the variations or coda) Again, music in a "minor" key after all the fluff before and after. (And snowflakes too--though I'm usually smiling too in remembrance). 3) The final C-major chord of Prokofiev's Romeo & Juliet. (Best final chord of any ballet; Firebird is runner-up.) 4) The opening of Round of Angels and then the dance itself. 5) Arvo Part's "Fratres" (sorry it's so overused now); Wheeldon's "Liturgy" . 6) And my anonymous entry...Last November watching a certain dancer perform a certain work (to music by one of my favorite composers) specifically choreographed on them. In a weekend that could have been all tears, it was the one thing that made me smile--and to this day, sustains me.

This whole topic just makes me smile at the irony. I remember being rather affronted last year by former NYTimes critic John Rockwell's lament that there were no longer any "glamourous" ballerinas?! And now here on BalletTalk we have two topics discussing looks! ALL dancers are beautiful to me. They are in shape physically, disciplined and determined mentally, and move like nobody else with a very self-contained poise and grace, even when 'playing hard' in the real world, or many years after they have left the studio or stage. Yes, there are dancers who make me sigh because they are beautiful or handsome in the more conventional sense, but it will always be those other abilities that attract me most. And as one dancer so astutuely observed, "No matter who you are, it's the person first, and then the dancer." So, if a person, dancer or not, has an inner beauty (ie. kindness, honesty, generosity of spirit), then who says the exterior has to match? Or do we want Dorian Gray? PS. I loved those memories/descriptions of Christopher Gable, what a lovely epitaph to have.

Posted this in "Heads Up" too, but just in case... I have ONE ticket available for the June 9th evening SB performance (Vishneva, Hallberg, Kirkland, Abrera, Reyes, Cornejo.) Am willing to overnight mail if necessary. Believe seat in GT (or maybe DC) center. I would have to leave by 9:30--so isn't worth travel expense to/from NYC, though I am VERY sorry to miss above cast. Email, PM whatever works.

According to an interview I read (don't remember if it was NYTimes or Playbill) with the designer, yes it is indeed supposed to be a hippogriff--hence another BTer's reference to Harry Potter--and yes, as an exemplar of... (light over dark? good over evil?) it had some mythological/allegorical reference to the designer's overall theme progression, something supposedly inherent in the set design as well as boats.

PAST & PRESENT In the past I have seen dancers create a "conversation" with the audience through the way they projected while performing, or phrased while dancing. Projecting both an inner emotional truth or that inner 'freedom' within the movement, beyond simply smiling joyously or allowing the audience to see the hurt/bewilderment during Giselle's mad scene, by being fully invested in the choreography or dramatic action and so giving that truth to the audience. Sometimes it is direct, sometimes not. More often, though, I've seen dancers "play" with an audience's expectations--like an actual give & take conversation--through the phrasing. In a way asking... "So, you want to see me balance/leap/turn? Ok, but I'm going to make you wait till I do, or extend it longer than you think, or cut it short so I don't bore you and me!" And then both the audience, and the dancer can smile in satisfaction (and hopefully not smugness.) So yes, I've seen those thoughts or action-reactions flicker across the faces/movements of many past greats, and a few more current dancers too, and it does make the audience fill like a participant in an "inter-active" performance. Have they received a gift from a generous dancer? Or just a playful pastime of a bored performer? Once, I went to see a performance very haphazardly, not thinking too hard, simply to see a dance, and nearly jumped out of my seat when a dancer did a port de bras almost directly at me--or should I say TO me? I was in rear center Mezz at City Center, so was closer to the stage (and almost same level of course) than at Met, but still it was probably the oddest moment I have ever experienced. And offstage, while many dancers have been polite and thoughtful and so patient, there is only one I can think of who has been 'generous to a fault'. Something that is still shocking, unbelieveable, and very much appreciated. Yes, such people (dancers or not) do exist. Amazing as it is. PS. Thanks to Andrei for making me smile as I envisioned us thousands rushing the stage to help Hamlet by committee--or trying to revive Ophelia.

I CAME, I SAW, AND NO, IT DIDN'T CONQUER "Sleeping Beauty" Saturday, June 2 matinee PH/AC/MW/CC/S.Lane, C.Lopez (A. Hamoudi filled in for J.Pastor) Why? Because there was no tension...it just got flatter and flatter, and longer and longer, (not counting the 35minute delay of start because of set difficulties) with no movement forward of plot or motivation through the choreography (beyond a well-known story outline). STAGING: There were some nice visual effects: shimmering water, rainbows and sunlight, whizzing sizzling rockets exploding in smoke for Carabosse's entrance which dissappate to reveal a spider quite effectively, a castle that looks like Sully's ramparts, dank dark spiderholes with webs. And a few technical glitches: "travelers" that hitched (that's usual), confused light gels (or cues?) that took a few tries to hit "lilac" (not so usual), minor delays in the entre-acts set changes. I liked the exterior castle set, the painted river drop, and forest wings, and the darkness of Carabosse's lair. I tolerated (and resisted the urge to run away from) the costuming... Yes, the time period definately jumps 200-300 years; glossed over in the program by the words "100 years OR MORE". And yes, I TOTALLY agree, with at least one principal dancer that the costumes are definately something Disney would be proud of. I loved the sparkles, but not the colors: Super-saturated, 'crayola' bright, and the poor unfortunate 4 princes--well the less said the better because my stomach is having difficulties today. Bluebird's & Princess Florine's costumes, however, were perfect--finally matching the colors of the real bird. The principal's final act wedding finery was already commented on during Gala thread, were appropriately sparkling, and luckily less saturated. Princess Aurora still wears pink with small roses etc. as accents in birthday scenes. Vision scene, however, and corps tutus etc were too pale under lights so, if pink never showed well, and if white (as my mother thought) than they only made all that repetitive Petipa look like it escaped from Swan Lake. High wire acts I suppose wow the general audience who are probably used to such things now and expect them. And I think historically, they were used in early SB productions? But unfortunately, for me it is simply excessive theatrics when I want dancing, and the dramatic tension is quickly transformed into "will she/or won't she get stuck up there and be left to 'swing in the breeze'"? DANCERS? First I will generically say that the principals were professional, the soloists generally--and in some cases (Sarah Lane's Princess F.) outstandingly accomplished, and the corps busy and better than earlier in the season. Paloma's first variation was not on phrase, but then she usually isn't (to my resigned annoyance these days), and otherwise she did the moves ok. No problems with the Rose Adagio balances, but leg in attitude kept drooping lower and lower until I knew that ankle, and those lovely arched feet, were taking it all and not her back. Her 4 princes behaved and partnered well. Other variations, she picked up the pace, and danced closer to phrase so I was happier if not exactly excited. Paloma made a sweet Princess but a somewhat self-centered one, who only reacted to her Prince (and princes) generically. (But then this is NOT Swan Lake, and definately not Macmillan, so maybe that's all that's required.) Angel Corella is a fine dancer who was given approximately two times, within an hour+ of interminable action to actually show he could dance: the opening sequence in the Hunt scene, and the Grand Pas in the final act. I had no major complaints re his dancing or partnering, but all that virtuosic ability and expressive acting were so truncated by the choreography, I felt very sorry for all Prince Desires in this production. There is action and choreography supposedly to show that Desire is not a "cardboard Prince" but, more often than not, they were lost in a fog and almost totally without dramatic tension. (Since Corella is usually good at conveying drama, I knew it was the steps not the dancer-actor at fault.) Michele Wiles was regal, perfect technically, and rather opaque as Lilac. Not heartless like Myrta, but similarly aloof from her human charges and their pleas. Her costume was also saturated but more bearable--not sure why it is accessorized with a scarf without purpose. I'm glad Carabosse has more to do, and mime, and act/react. But when the tension is absent in the plot, it is hard not to look for a twirling mustache. Carmen Corella was good as Carabosse--sassy rather than evil, and I had fun watching her; definately something to scare the smaller members of the audience, who seemed entranced by the whole production (a la Disney?). Not so this adult viewer. Apologies to Gelsey. (I may edit later).

May 29th - Symphonie Concertante & The Dream SYMPHONIE CONCERTANTE Not mentioned above, but Maria Riccetto danced viola in "Symphonie Concertante" to Stella Abrera's violin, who I believe was filling in for...Irina? (Sorry don't have program in front of me.) Jennifer Alexander consequently subbed for Abrera in "The Dream". Riccetto danced surely and exquisitely, and was well matched with Abrera. Consequently, I actually stayed awake and started to really pay attention to small details in "soloists"and "corps"performances. I didn't know that Mr. Savaliev was injured, but that may explain the slackness and missing sharp "attack" in some sequences. Balanchine always means 'details' to me, and attention to technique (without having dramatic storytelling abilities to fall back on), and in the women--esp. Abrera and Riccetto--I saw it, but Savaliev was somewhat on/off that night. He's doing many performances though because of the cast shuffling, (and if injured too?) he deserves credit for otherwise dancing/partnering well. THE DREAM Vishneva came through with a lovely performance. Oh her back and arms, and so concentrated use of those legs. She was expressive and generous, and never fussy or prissy in all that tight/fast Ashton choreography. With Bottom, she was teasing and so affectionate with her newfound amour. And with her Oberon, actually showed an arc to the story and their relationship from affronted refusal to hand over the changeling, to an amenitive gift of the child later, to a true relationship in the final pas de deux. Corella was concerned about continuity through the performance, and it did take a little time for him to actually settle into it. This may explain my initial reaction, which was to notice something a little "je ne sais quoi" first, then consequently to pay closer attention to the execution of certain key phrases and choregraphic sequences later, and finally to smile when he 'nailed' them. Speed, elevation, epaulement, turns of course, and graceful attentive partnering as always; extension yes, but not always, and sometimes speed affecting perfection in execution--but still skillfully done. His dramatic abilities fully complemented Diana, and a not always obsequious Puck; in those interactions with Puck you always knew who was boss. Salstein had some really nice sissones, and whizzed through most of Puck's contortions skillfully, while projecting Puck's exuberance and purposeful ineptitude. Marion Butler owns that role, such a perfect blend of histrionic pathos with comic timing. Sascha, too has no problem showing anger, angst, or astonishment, and danced well too. I missed Stella Abrera's Hermia, but Jennifer Alexandre, was proper, forlorn, and determined as required. Jarred Matthews, too, was a competent and elegant (Lysander?) if not an overly effusive one. There may have been no onstage rehearsal time to perfect 'blocking' with sets, fog, and swiftly moving corps crowds and soloists, (or accustome oneself to a complex (and borrowed) costume), but still something to be proud of just the same. I am sure Thurday night's performance will be even more secure, and superb.

And I too was at the May 20th matinee (with mom). Yes, Lorna Feijoo was near perfect as Giselle. Her pointes were quite hard in Act 1, but when I saw that technique in action I understood why: sure, solid, detailed and controlled. Dramatic without being histrionic when first feeling the effects of her "bad heart" and later in the mad scene. And in Act 2... very tight very fast en dehors pirouette en attitude when 'released from the grave' and superb elevation/ballon afterwards. And while that Romantic soft-roundness wasn't always emphasized, it was still visible. But what I was overjoyed to see was that FINALLY, she (and Yanovsky) timed the pique arabesque lifts in the Grand Pas like Gelsey and Baryshnikov did twenty years ago--on the LONG note reaching out and stretching the line. Mischa & Gelsey also did a low/long lift on that note, but Feijoo's glorious extension was almost the same effect. Myrta--always a strong character and dancer was danced/portrayed that way effectively...BUT needs to work on Romantic technique which was really missing; it was a much too Classical style: all up & out, not down/round/in. I greatly preferred the sets, costumes, lighting in BB's Act 1 versus ABT's. It looked like an amber lit woodland village during harvest time even without German castles in background. And I liked all that pumpkin/burnt orange vs. what I call the "popsickle/creamsickle pink-oranges" that somehow got mixed into ABT's pale green/blues--noticed same color-blind costuming errors appeared in ABT's S.L. but hopefully won't in S.B.. BB's Act 2 was more murkily lit, but yes, the wilis flitting across the stage behind the scrim did create an effect of ghosts appearing/disappearing. Also having them RISE from their graves through the fog upstage, and Giselle (by elevator?) in the hollow tree behind the gravestone--rather then just entering from the wings--again, really gave the effect of the "undead", not just some country girls in white. I heard one little girl in the next row ask "Are they good ghosts?" Not sure what answer she received, but overall they were good dancers. The costumes were also those beautiful LONG Romantic skirts, not the shorter ones ABT uses (saving the longer length ones for Les (and La?) Sylphides.) However, I still think ABT's Act2 Albrecht costume is THE best ever created: correct for time period, and rich without being overdone--and of course silver (vs. gold) thread is always better in moonlight. Yes, I am VERY glad I saw BB's "Giselle" again, and finally saw Lorna dance. I saw Larissa last time they did "Giselle" some years ago. How did Erica Cornejo do?

OK, I was at the Gala too. And I agreed with most of Hagland's comments. Galas also serve two purposes: To present the forthcoming season in excerpt, and to impress the audience/donors into supporting (monetarily or not) the presenting company. If you fail in either effort, than the bottom line becomes that much more critical in calculating success or futures. And when pdd's, Gpdd's, etc. are taken out of context (and further distractions) then it is even more important that they are done to perfection. In a 2-3hr production there are always other chances to surpass expectations and make the audience forget an anomoly; not so when there is only ONE chance to do it right. So... Bayadere Shades: No, it was NOT perfect yet, but had improved somewhat from the atrocious performance I saw in London. But if jetlag was not an excuse now, that still leaves not enough or not conscientious enough coaching. And I am really getting upset that ABT can tout itself as "America's national company" and still can't perform this correctly or cleanly. (I also saw the performance the next night, and there were a few wobbles, but not full bobbles.) Sleeping Beauty: VP: I also thought that Part's problems were attributable to nerves and young/inexperienced partners. Her princes were more Corps than Soloist--VERY surprising to me--and certainly NOT principals. But nerves are a fact of life for most performers (and athletes) and can disrupt a performance or provide that rush of adrenaline needed to propel it. Nerves are also something that must be acknowledged and dealt with EARLY; so it was shocking that it was still a problem this late in VP's career. Wiles: Tempo was slow, she danced smoothly, and it was all a little flat. Vishneva: Again, surprisingly slow tempo, and yes, it looked kind of tentative somehow. ID & MB: Redeemed a heretofore tepid, disappointing SB sequence with a fine solid rendition, whose new costumes indeed shone with a lovely sparkle--as did ID & MB's smiles: the first of the night. R&J: Herman Cornejo flew through Romeo's variation, and performed all else...That is the steps were there, performed cleanly or neatly, but somehow the emphasis wasn't; I missed the joyous abandon of others in the role. Maybe with the context and continuity of a full-length performance, and continuing experience, that freedom of expression will be present too. But it's not there yet. Xiomara, of course, is a perfect Juliet both physically, emotionally, and technically; but again, with other partners her expressive freedom is more apparant. Othello: I've only seen the SFB video of this, but that was enough to make me glad it was the Act III pdd shown at the Gala; the whole plot is manifest in that one dance, and the music is more accomodating than earlier acts'. Ferri, of course, was amazing in her flexiblity and dramatic abandonment in the role, while Gomes was more solid. I know how they do the strangulation, but it is still interesting to watch and watch the audience reaction afterwards. Black Swan: The audience finally woke up for this one. I hadn't seen Nina live in over ten years, what a treat it was to see her again. And I was SO happy to finally see someone remember that Odile is supposed to be an imitation of Odette and so capable of "swan arms" too. The audiance gasped at the liquidity of those arms; I just smiled, and remembered the exact same ability demonstrated many times by Cynthia Gregory. Angel Corella was in fine form: He partnered effectively, ( tho' I too caught a few compensatory adjustments between them), soared when he should, and didn't force the turns. They both got a grand ovation afterwards. Manon: Totally agree about Julie Kent. She dances beautifully, but always with emotional restraint. And that is what is missing, and detracts from her in this role: full emotional investment, so it's not just steps but story. Afterwards I wanted to break out the tea cups, not indulge in some hot spirits. We all know Macmillan knew how to portray lust as well as love, and the former was never quite visible here. They also ended the pdd stage left (and almost under the desk), and I always remember it ending more stage rt. or center? Bayadere excerpts: Yes, Paloma is beautiful as Nikiya and uses her back and pdb's very effectively. The contrast between her pliancy and Hallberg's so strong carriage was very interesting and enjoyable to watch. (Except for a slight wobble in scarf dance the following night, she again danced Nikiya very well.) Hooray, Ethan is back. The elevation is slightly attenuated from previous times, though not the ballon, and otherwise, even in such a quick excerpt, it was good to see him recovered. Gillian had no problems with her excerpts that I saw. (And was so impressed by her Gamzatti the following night--if more in the first act than the third.) RE: Fashions...Yes, I saw 'the dress' and glad the NYTimes video explained what one lady next me called "A lot of nerve". I just struggled between wondering if one of Odette's siblings was missing, or Bjork's.

That weekend is extremely difficult, but after A LOT of research, I found the Pod Hotel in midtown East offering rooms for as low as $150/nt and with some more research, I found it listed on a discount site for $120/nt. That was the best that I could do for an actual hotel (not a hostel) that I wasn't too worried about telling my mother about. Most of the places I stay in Manhattan (usually in the $100/nt range) have been booked for months apparently. Just a thought, but I've also stayed at the West Side YMCA on 63rd (2blocks from LCtr) for short stays--and instead of using the bathroom down the hall, used the health club facilities on the lower floors (including better showers, saunas, amenities.) Single private rooms were under $100/night at the time. I also got free use of the health facilities--including classes--because I teach Pilates (what else do former dancers do?!) for the Y back in MA.

Not having been in NYC at the time, I don't remember any projections, but I DO remember the PBS broadcast of the Mischa and Gelsey "Theme & Variations". So, when I did eventually come to NYC some years ago, I sought it out at the Lincoln Center Perf. Arts Library and watched it back-to-back with the (Balanchine Foundation?) film/video of Alicia Alonso coaching a young Paloma Herrera and Angel Corella in "Theme & Variations". Alonso's comments were SO amazingly accurate and informative--a wonderful film, and very very helpful when comparing it with my memories, and then viewing Mischa's & Gelsey's performance from 20 years earlier.

I once read an interview article with a dancer who had experienced very different audience reactions in different countries. Paraphrasing: Some applauded at the entrance of the principals, some didn't. Some were mostly silent for the entire performance, and then applauded continuously at the end through numerous curtain calls (behind and before the curtain), finally waiting in "thousands" at the stage door afterwards. In short, national temperament/culture and experience with the art form itself were all factors. For example, NYC audiences applauded at entrances because they recognized and appreciated a dancer, whereas in Japan they were more restrained. The surprise was that a European audience which did not have that much experience with classical dance was as vociferous and enthusiastic as an American audience. And yes, the Russians were notorious for mid-performance stops to bow--whether they deserved it or not, and I have seen in the past, shameless attempts to "milk" the audience's applause. Not having seen the Kirov or Bolshoi recently I don't know if this is still the case.

In my experience, it wasn't just money--though that was a factor, but also, opportunity and distance. When my family moved back to the States, my ballet career went into a 'holding pattern' because the closest professional companies with schools were over 2hrs each way from my home. So commuting back & forth six+ days a week, and going to high-school (this in the days when there were NO gifted or performing arts charter/magnet schools in the State nevermind my region) was not a possibility. No one had money for boarding schools, summer intensives were unheard of, and scholarships limited. My parents would have dropped dead from shock if I'd said I wanted to train in NYC. Boston already was too far for them. Tutoring at home was never considered, and GED's weren't invented yet. It wasn't until one of those two companies finally opened an "adjunct" school in my area (only one hour each way from home) that I was able to continue my professional career. And when they left after 3+ yrs, so did my dance career again--just when I'd finally reached soloist. Probably one of the worst years of my life. So then I had to figure out what other career would allow me to use the experience and knowledge I had attained all those years as a dancer--(again, before "Transition for Dancers" was even an idea)--and here we are.

The Boston Ballet is actually doing that next year (with Cranko's R&J). Yup, I know. I live in Massachusetts and usually attend BB in addition to the NY companies. And...it has taken over 10 years of observing their choice of rep & dates for them to finally figure out that it would be a good thing to do the expected perf during the expected month/season--ie. R&J in Feb. Glad they've finally settled on Cranko's version--it will be great to see it again. (I haven't seen it since Joffrey did it in Calif. way back when.) And considering Boston's (and Salem's) love of Halloween etc., BB could probably make some 'big bucks' doing Dracula. (Not that that will EVER be a favorite of mine, but then again, I haven't seen a Nut in years and we all know how much that contributes to the bottom line.)

Last summer, I seem to remember an exhibit of ABT's costumes in the 5th Ave windows of Saks, which is also a sponsor of it's costume fund, if memory serves. Unfortunately, I do not know how much cross-promotion Saks did to entice its customers to also take a chance by attending a ballet. I also remember an article in one of ABT's brochures (Playbill?) on designers who have created costumes for them--another sure tie-in with the retail/fashion industry. There are of many many ways to cross-promote if people/companies would only work together.

Shock, sadness, and many many memories. And not so many of live performances, but rather all those PBS Dance in America performances, which still remain to refresh our memories; if only, if only... Deepest condolences to all those touched by his creativity and generosity.

Yes, yes, yes! You have no idea how many times I've written, spoken too producers, and tried to myself get arts organizations, n.p.o's, and media outlets to work together to cross-promote or co-produce projects/performances. (My favorite instance was a WGBH "Masterpiece Theatre" with Helen Mirren about Caravaggio and a CONCURRENT Caravaggio exhibit in Hartford (v.rare) that was never cross-promoted.) Or even doing something as obvious as scheduling a "Dracula" performance in late October, (VERY easy to cross-promote: hey everyone tired of the 'trick-or-treating', spooky houses & hayrides--why not try something really different?! etc.etc.) or "R&J" mid-February. Trite, obvious, a 'dumbing down' maybe, but also quick money (a la Nutcrackers in Dec.) that enables more adventurous fare later. RE:Handel: I remember Taylor's "Airs" fondly and have no problem imagining choreography to some of Handel's music--yes, usually the less boisterous compositions--but do agree with carbro(?) about J.S.Bach.