Patricia

'Thought provoking?' Try wishful thinking. While it's encouraging that the Mariinsky is gradually adding Balanchine to its repertory, any serious challenge of being 'the house of Balanchine' must includes his 'leotard' ballets. The training and available coaching is in place, but will it ever be taken advantage of? A ballet that would be perfect for this company is LIEBESLIEDER WALTZER because they could employ any of their singers. For now, that road leading to the 'house' still has to go through New York/Harlem, Seattle, San Francisco, and Miami. I'm not saying it can't happen in St. Petersburg, but it's going to take time and an attitude adjustment on the Mariinsky's part. It's amusing that PRODIGAL is included within this thread for 'young choreographers.'

Suzanne Farrell was always be my favorite ballerina. She retired some time ago but made a lasting impression. I remember everything she did in LA VALSE, DIAMONDS, APOLLO and VIENNA WALTZES. It is hard to watch others dance her parts, which can be painful with NYCB's inappropriate casting practices. With Suzanne it went beyond her incredible techinque, for she knew how to phrase the choreography. Making ballet look spontaneus is not easy, but she did. It is for these reasons that she is such a valuable teacher and caretaker of the Balanchine repertory. That her former partner (and they were perfect together) doesn't recognize this is infuriating.

On Friday I attended this very special performance at the Joyce Theatre, with all proceeds going to the NY Police & Fire Widows' & Children's Benefit Fund. Members of neighborhood Engine Company 3, Battalion 7, Ladder 12 and the 10th Police Precinct were in attendance and received a long standing ovation. Rather than review this performance, I want to say how wonderful it was just being there. The evening began with the great Peggy Lyman performing Graham's LAMENTATION and ended with the final section of Taylor's ESPLANADE. In between were duets and solos, plus generous excerpts from Limon's THERE IS A TIME and Feld's PACIFIC DANCES. I liked that there was a mixture of the sad with the joyful and hopeful. 'Special' performances can end up being empty experiences. Not this one.

It was a 1973 special on PBS entitled 3 BY BALANCHINE. The three ballets were SERENADE, TARANTELLA, and DUO CONCERTANT. I watched every repeat. Following that, I borrowed Lincoln Kirstein's lavishly illustrated history of New York City Ballet from the library so many times that my Mom eventually bought my own copy! That December I saw NYCB's NUTCRACKER for the first time. After JEWELS I knew this was for real. Ballet lessons soon followed... and continue!

Eddie J. Shellman's career continues as a DTH Board member - and my teacher! Eddie has a school in Teaneck, NJ. His adult classes are wonderful and within the school there are a number of young, very talented and promising students.

I grew up and still live in the NYC tri-state area. My introduction to NYCB occurred at an early age and its impact remains. How could it not be when Balanchine, Robbins, and Kirstein were all still alive and active? Outside of taking class, watching NYCB was an invaluable arts education. Though I tend to judge other choreographers against Balanchine and Robbins that does not stop me from loving the works of Ashton, Tudor, Graham, Taylor, and, most of all, Morris. I look forward to seeing Christopher Wheeldon’s future work; I’m really impressed with what I’ve seen so far! My “company loyalty” has wavered some. I think Peter Martins is a disastrous artistic director. His ballets are amateurishly derivative of others (BESIDES Balanchine) and anti-female. This particular ballet company never needed to add SLEEPING BEAUTY or SWAN LAKE to its repertory. That Suzanne Farrell is “banished” is infuriating. However, I am sure he will remain because the socialites forever see him as their prince. As for the Kirov dancing Balanchine...Almost every major American ballet company is directed by a former NYCB dancer. It is entirely possible to see a Balanchine ballet brilliantly danced in Miami rather than at Lincoln Center. To me that’s not just okay, it’s welcome. The rest of the ballet world doesn’t have this luxury of comparison. British dance critics are notorious for treating Balanchine with coldness (rather ironic being that Ms. Bussell is an exceptional Balanchine dancer) – and for believing that the Kirov dances better than anyone else. Everyone has their favorites, just that some are more vocal than others. Yes, the Kirov has been dancing Balanchine for quite some time, but I doubt that any of the “black and white” ballets will ever make it into their repertory. Despite the myriad of upheavals at the Mariinsky Theatre, and Russia, some perceptions may never change. Based on what I have read in articles or heard in interviews - NOT backstage gossip - Balanchine may well be forever regarded as one who “left;” i.e., a “betrayer.” Even Maestro Valery Gergiev, a musician I admire above all others, has difficulty comprehending Balanchine’s impact on ballet simply because he came west. Finally, the entire Kirov organization is in a state of constant transition. Finances are better, yet remain precarious; last-minute schedule changes the norm; touring non-stop. I hope the ballet company is able to adjust to “western influences” in repertory as well as the opera and orchestra have. It will take time. Just as ballet training, whether it be as a dancer or audience member, does.

I will always want to dance 4Ts "3rd Theme," lead the Finale of EPISODES and anything in ANTIQUE EPIGRAPHS, SYMPHONIC VARIATIONS, or DRINK TO ME WITH ONLY THINE EYES!

The current (June 21-28) TIME OUT NEW YORK features an interview with Amanda McKerrow, who mentions that she and her husband John Gardner are leaving ABT. She is NOT retiring but does not mention definite future plans either. Maybe ABT doesn't think this is a terrible loss - not with their other married couple on the roster - but I do.

I feel like I'm the only one who liked this ballet. I saw it last Saturday night with De Luz as the Piper. He was wonderful and should be a prime candidate for promotion. It's a difficult role and he danced it well. The corps and children were also wonderful. Okay, it doesn't look like a "real" ballet but David Parsons gave it stylized, rustic choreography. The ABT orchestra sounded like a major symphony orchestra. They clearly enjoy the challenge of Corigliano's score, even if the audience and critics don't. Why is hype all of a sudden considered a bad thing for dance? It's tiring reading and/or hearing about sequels to medicore films, reality television and untalented celebrities who achieve fame for their personal lives rather than talent. I like seeing Angel Corolla's picture plastered all over NYC. (Even if he's not in the same PIPER costume.) In the long run the publicity should be a good thing for both ABT and the Parsons Dance Company. And what if arts organizations like ABT stopped taking chances? Even as much as we cherish certain ballets, must it always be the same thing?

Greetings and Hello! This is my first posting... In response to A.M.'s question, I did see the Kirov perform IN THE NIGHT and THE LEAVES ARE FADING when they performed at the Met in the summer of 1992. Also on the same program was the original APOLLO with Prologue, Epilogue and staircase.