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Everything posted by rkoretzky

  1. I’m old too, but this program makes everyone feel young and in love with NYCB!
  2. No it was Erica in square Dance and Megan L in 4Ts choleric. Just got home from round 2. Tonight Baily Jones led 3rd mvt Bizet and also rocked it. I agree. The depth of talent in this company is breathtaking. BTW the tempi in 3rd and 4th movements bordered on ridiculous but our amazing dancers handled it beautifully, Unfortunately we have now seen all the Balanchine we’re going to see. We now go to three Romeo’s, a night of new choreography (Peck, Lovette and riesen) and a mostly unimpressive gala program on Saturday night.
  3. It was a full out bravura performance from both of them. Indiana Woodward kicked the third movement to the curb. It was heaven.
  4. I saw opening night and thought the children were well rehearsed and did an excellent job. But I agree that the childrens' dances were too long and I wonder if the purpose was to stretch the ballet into an evening's worth. As presented it's too long to pair with another piece, yet I found it too short to be a full length ballet. NYCB offers Harlequinade with another short ballet ion the program. Maybe shorten the kids part and follow suit?
  5. You're correct, Sandik. I'm actually referring to social media coverage--Facebook and email blasts, which is in the presenter's control. I wish Ballet Naccional a successful three performance run of Giselle and will certainly attend. But NYCB is the cornerstone of our SPAC season, and everytime it is diminished this way, it hurts more and becomes protested less.
  6. I've heard it will be recorded music. A shame. SPAC is begging people to buy tickets. "Limited time only" discounts keep reappearing. Meanwhile NYCB is cut to one week. And no press whatsoever.
  7. Re Warren Carlyle. This is more about him than NYCB spring season, so mods move if appropriate. I saw the program with the Robbins mashup yesterday afternoon. Today I saw City Center Encores superb "Me and My Girl". Wow. You would have no idea this is the same choreographer. I admit that seeing a larger than life photo of Jerome Robbins broadly grinning while 50 dancers, who never worked with him but clearly recognize genius when they dance it, stood in tribute to him brought tears to my eyes. But even as I was brushing the tears away I was aware that my emotions had been manipulated. "Something Wonderful" is my absolute favorite R and H song and I get the subtext, it's a description of Robbins' well known difficult personality, but without presuming to speak for Robbins I don't think he would have liked this at all. IMO the piece is a mess. Choreographically you can see the Robbins style and influence, but since Robbins did it all about a million times better why would you want to watch this? Why would it even have been commissioned? Theatrically it makes no sense. The vignettes are out of context and unless you are familiar with the shows it doesn't hold together. Doesn't the three glorious weeks of programming including seldom performed gems provide the appropriate tribute? I think so. Maybe a revival of Jerome Robbins' Broadway could have been mounted in a Broadway theater? So with pre purchased ticket in hand, I approached City Center this afternoon with a little trepidation. Wow. I laughed through the entire show and left humming The Lambeth Walk. The choreography is smashing. The note perfect Christian Borle and Laura Michelle Kelly led a gifted cast of musical theater veterans and it was a rip roaring old fashioned real good time. It helps that Stephen Fry revised the book and it is hilarious. It also helps that these are musical theater dancers who can tap, kick and shuffle. Having also seen recently the splendid "My Fair Lady" I loved the sly (and not so sly) references. This production deserves more than a five day run.
  8. I agree with Helene. Damian has given colleagues from across the dance world the opportunity to stretch in ways they might never have attempted. True crossover programming. I think he would kick a** as AD at nycb. Everything could have lined up perfectly: administrative experience, artistic experience, age, temperament, keen intelligence, insututional knowledge. But what about this commitment to lead another major arts organization across the plaza? i would also be thrilled with Lourdes Lopez as a choice because she also seems to have that combination of qualities in spades, with the additional benefit that women are sorely needed in the top positions. My third choice will unfortunately not be in contention. My gut feeling is that there's a dark horse somewhere. Whoever is chosen, I hope it happens very soon.
  9. We're currently on a Royal Caribbean cruise and have just come from the evening production show. Shout out to the singers and dancers who were all wearing orange ribbons.
  10. Well thank you! Between this and Olympic figure skating I'm a happy camper.
  11. It's possible (even likely) that I'm not remembering correctly, but I was at a lecture/dem in Lake Placid quite a few years ago where Megan LeCrone danced the Agon PDD beautifully. I don't remember who her partner was, but I was struck by how well suited she is to Balanchine leotard roles. At the same program, a young Kathryn Morgan danced the La Sylphide PDDwith Joaquin DeLuz. Quite a while ago.
  12. Patricia McBride asked to coach one of her signature roles! What a positive change. This bodes well for the future of our beloved NYCB.
  13. Agreed and I'd be the last person to apply additional pressure to the four interim administrators who are, from all appearances, doing yeoman's work to keep things together under these most trying circumstances. All the more reason that it's essential to get someone in place to right the ship and move the company forward. Hopefully that will happen quickly. I made an assumption that the SPAC leadership could and should have initiated a change.
  14. Possibly so, but the season was just made public on February 4. There was plenty of time to make a change after the shit hit the fan. Programming changes happen often, for all sorts of reasons. I maintain that if the powers that be wanted a story ballet West Side Story ticks the boxes: Its Robbins/Bernstein. Its good. It brings in crowds. And it opens two slots in the program for additional quality Robbins (that would be a tribute!) or more Balanchine (heaven). SPAC should be back pedaling from Martins as quickly as they can.
  15. More of a stinker than you know. We get one wonderful Balanchine program. 4Ts, Square Dance and Bizet on two consecutive nights, Tuesday and Wednesday. That is IT. By Thursday we're done with Balanchine. We have the three Romeos and one night of new ballets. Our Saturday night gala features Robbins, sort of. It's the only Robbins we get in this extraordinary year. We have Four Seasons and Other Dances. We also have the new Peck and Carlyle tributes. That's it, done, game over. Nothing of the Bernstein/Robbins collaboration. The Philadelphia Orchestra is doing West Side Story later in the season. None of the Robbins ballets that look perfect on our outdoor stage and that haven't been here for years, but are in spring season: G Major, Interplay, DAAG, In the Night, Opus 19. Not even Circus Polka to bring in local ballet kids, who bring in scads of paying family members. I don't care much for Circus, but I was looking forward to seeing JR spelled out on the stage. None of the beautiful Balanchine masterpieces that I've seen in the last week, works that feed and soothe our souls in these trying and troubled times. No Apollo, Mozartiana, Chaconne, Divert. We "need" a story ballet. Midsummer opened SPAC in 1966, Coppelia premiered here in 1974, WSS honors Jerry and Lenny in such a perfect way. Any would be so appropriate now. But we have Romeo, three times, at this time and under this cloud.
  16. Marta, Juliet and I are talking about SPAC, the summer home of NYCB since 1966. From four weeks, to three, to two and now to one week. 7 performances. Three are Romeo + Juliet, including both matinees. Coppelia had its premiere (Mr. B's version of course) at SPAC in 1974, so naturally we feel a bond.
  17. I hope it's archived and can be accessed.
  18. Well that was incredibly frustrating. Saw about four minutes. Pherank, thanks for the link. It eventually opened, but only in the Facebook app, not on the web
  19. Link won't open for me. My daughter just got it and says it's been on for 20 mins. Disaster.
  20. Balm for the soul indeed. I've seen three programs this winter season. Apollo. Mozartiana. Divert. Chaconne. None of which are coming to Saratoga. In these turbulent times we need beauty, solace, soothing. We do however get three perfs of the Martins Romeo and Juliet. Out of six total shows for us "regular folks". The gala, which has the only Robbins in the week, and at that the only Robbins works are Four Seasons and Other Dances , is double pricing, no discounts or season passes accepted.
  21. In Saturday evening's Chaconne, can anyone identify the ravishingly beautiful tall blonde who was center and bourred forward at the very beginning ?
  22. It's also visually quite beautiful. The costuming and sets are just lovely, and the palette is very pleasing. (Unlike, say, Martins' R and J or SL). And I LOVE the absence of fussy wigs. I didn't care for Ratmansky's SB at all. I know he was striving for historical accuracy, but the Demi point and low arabesque and attitude just didn't work for me. Like you Amanda, I'm at Balanchine pace.
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