vipa

In order:

Gelsey Kirkland

Alessandra Ferri

Julie Kent

Allegra Kent

Amanda McKerrow

Boy, do I feel old...!!

Would it be too complicated or silly to add a "favorite soloist" catagory? I mean those dancers that we've looked forward to seeing but who haven't reach the level of "star" or in some cases "principal" or been cast in the traditional major roles.

Suki Shurer and Chirstine Sarry come to my mind (I feel old too).

I'd like to add a few comments after seeing tonight's performance in which Murphy replaced Kent. The Gottlieb review covers the problems with the production well. The shower curtain, the cramped look of the stage, etc.

On the positive side - It's great to have Steifel back. Murphy was much better than I expected. I've liked her in Sylvia and some other things but didn't expect to like her as Aurora. I thought she glowed in a fiesty Irish princess sort of way (I enjoyed it). She and Steifel had some moments that actually brought me to tears. Lane was terrific in Bluebird, althought her partner, Lopez, seemed quite nervous. Wiles was good in some sections but seemed almost small in some ways. I wish Part had been cast as Lilac. It seems almost perverse not to have her do it at least once.

What a terrible production. Others have gone into more details that I don't need to reiterate.

Question - Do you think that Murphy's performances were affected by the fact that she expected to do one Aurora and be first cast for Lilac, but instead will do 3 Aurora's and no Lilacs? Was she the "just in case there is an injury" Aurora?

Thank you everyone - I love your posts!!

Kent has been replaced on the 5th by Murphy.

Does that mean no Lilac Fairy performances from Murphy?

Oh, I completely forgot to mention the single reason I decided to go and see 2/3 of the Saturday matinee (after Kyra's soulful last Mozartiana). Sarah Lane was stunningly beautiful as Princess Florine. Shimmering epaulment, breathtaking balances (lingering beautifully but never excessive) perfect purity of line – an unforgettable performance.

NYSusan,

"Shimmering epaulment, breathtaking balances, perpect purity of line", it sounds like you're describing a memorable Aurora!

Lane was the reason I bought my June 5 ticket. I look forward to her promotion to soloist as much as Part fans look forward to her promotion to principal.

Interesting that the only performance that is close to sold out is the Murphy afternoon performance on June 9.

In response to jilaney and MJ: the plot synopsis in the program says that the King and Queen are told by Lilac Fairy that they must leave the kingdom and leave Aurora to her destiny, and the Queen cries a river of tears that Prince Desire will drink from. It was sad to not include their presence at the wedding.

Boy is that overthinking nonsense. I hope that lot of time was not spent miming that. It makes me fell like "just dance."

Thank you all so much. I wish I could have been there. I'm going on Tuesday.

Any opinions on Princess Florine?

Well, Murphy now will be doing two SBs. She replaces Kent June 2, evening with Stiefel. And Wiles will be Lilac opening night.

I have a ticket for Kent on June 5. Anyone know why Kent is out?

Sarah Lane was one of the six demis, and my binocs where so occupied throughout. If one must show this Balanchine, then why not cast such young corpsters in the leads, so that these roles will really be life and death matters to the dancers?

This has always been a differance between ABT & NYCB. NYCB has a tradition of corps dancers being thrown into lead roles. The rep lends itself to it. ABT with it's big ballets relies so called "bankable" stars.

Never the less, I have my ticket to see Lane in Blue Bird PPD. I wish ABT would release fuller casting.

Brice, thank you for explaining more about Twinkliana.

I found a clip from the New York Times (Jack Anderson) that has a bit about a production of that piece at Barnard 16 1/2 years ago.

"Sean Lavery, a former principal dancer with the New York City Ballet who has become the assistant to the company's director, contributed a charming piece called ''Twinkliana.'' That title pays homage to George Balanchine, the New York City Ballet's founding choreographer, who created works called ''Ivesiana,'' ''Mozartiana'' and ''Glinkaiana.''

I was on the Barnard dance faculty at that time and remember Sean being nervous about selecting music and choreographing and then coming up with delightful stuff. I don't know if what's being done by SAB is exactly the same or a rework, but what he did at Banard was truly charming.

When Makarova first mounted the Shades Act on ABT, the Third Shade was Martine vanHamel, then a principal dancer. If ABT's ranking system were like that of the Royal, the role would generally be assigned to first soloists. The woman who danced it last night, if she was supposed to show her ballerina mettle, did not rise to the occasion. Then again, neither (quite) did the Nikiya.

It is my belief that a principal dancer should shine not only in prima roles, but in any role.

In the McKenzie era, it seems that a dancer becomes a principal when they have passed muster in two or three full-length leads. Part has done Odette-Odile, Raymonda, Myrtha, and by season's end Nikiya and Aurora. Yes, her promotion is overdue, but since she is still a soloist, soloist roles are not entirely inappropriate.

Also, given that VP sometime shows obvious nerves when faced with technical challenges, maybe it is good for her to be out there when the stakes are not so high. Onstage time in smaller roles can really help a person develop. This might be something VP wants.

I'd cast Hee Seo and Sarah Lane as Auroras immediately.....

Wouldn't it be fun (or not - you tell me) if Kevin Mc took Peter Martins' idea and drummed up some business with "young playing young." Of course Aurora is much more demanding in terms of technique than Juliet but an interesting idea. I've seen Lane in Theme & Variations and she has a lot going for her. Do we have to wait until she is 29 or 30 so see her do Aurora because she has to stand in line? Casting in ABT has never been as fluid as in NYCB - but what if?

I forgot to mention Sarah Lane's performance as a Shade. It was superb. One thing I really like about her, aside from her swift, crystaline technique and beautiful demeanor, is her courage. She approaches everything without the least bit of hesitation and manages to make it work even when it might not.

I hope that as Part is promoted to principal Lane is promoted to soloist.

Ted Kivitt danced with D'Antuono quite a bit. I think he went on to run the Milwakee Ballet.

Michel Denard and Jonas Kage were among the tall men brought in to partner Cynthia Gregory, I believe.

Suzanne Farrell in Mozartiana

Fonteyn & Nureyev in one remarkale matinee of Romeo and Juliet.

Has anyone stopped to think about the odds against which Part has come to be where she is today? Or considered that perhaps internal politics inside ABT are not entirely fair to ALL talented dancers? Has anyone considered that the support that Ira D. and Vishneva receive, not only from the likes of Kolpakova in the first case, and countless benefactors in the second, are not present in the same degree for Veronica Part? Who is Veronika's coach? Who are her partners? It is a well known fact that even the best ballerina can be pushed offbalance by inadequate partners. Were the four suitors well matched to her height and line? Are they in the same proportion to her size as the suitors who will be cast against other Auroras? If not, then we cannot judge Veronica for the inequities. That responsibility falls to Kevin MacKenzie for casting and for company contracts.

I don't think that audiences should have to take all this into consideration. When I pay for a ticket I should be able to go to the ballet without thinking about who got the most coaching or who has a stomach ache.

If Part (as I hope she does) presents a wonderful Aurora I will give her credit for being wonderful. I won't say - well she got the best partners, coaching, benefits etc. so it isn't really her doing.

ABT is a tough place. Self relience is demanded and expected of all.

Sorry I don't really know where to put this. There is a photo at State Theater that I'm confused about. It is Coppelia in rehearsal. The caption lists Helgi Tomasson, Sean O'Brien & Patricia McBride (sorry for any spelling errors). Then there is a line that lists others in the photo. I found most of the others My problem is the main subjects of the photo (2 couples in rehersal). No one looks like Helgi to me. I can't tell whether or not one of the women is perhaps Patty McBride. Who would the other woman be? Does anyone know?

I'm glad you liked Kistler. It was harder for me. I've been watching her dance about 20 years and she was my ballerina for so many of them. I was in row K of the orchestra. I don't even want to say what I thought she looked like. I'm kind of sorry/glad you never saw her back when; at least you don't have to look at what she looks like now and compare it to what she was.

I agree, I was in row Q this evening and I was very uncomfortable watching Kistler. On the other hand Ana Sophia Scheller is becoming one of my favorites.

I am hoping to see Part promoted to principal, and I think she will be if she has a good season. I am not her greatest fan, but I appreciate her great attributes. For me the catch has always been the fear that I sense when she approaches technique that she finds problematic. I feel her fear and then more often than not see the flub. That said, I was hoping that this season would be her moment. I still hope she can be a total Aurora, but for better or for worse a gracious Rose Adagio is part of that. She is approaching the age of 30 (correct me if I'm wrong) so it seems that it is now or never.

T Next came Veronika Part in the Rose Adagio who managed to turn this into an endless train wreck. Despite her fine lyrical qualities, I think McKenzie should fire her after tonight's performance or else his Board should fire him if he insists on entrusting her with the premiere. She missed every balance. She fell off pointe while desperately clutching one of the cavalier's arms. She was way off balance on most all of her supported pirouettes. No question she was pretty. She was very pretty and smiled and walked and developeed with great grace. But plain and simply, she can't do the job, and hopefully she will be replaced by June 1st. If she isn't, I'm exchanging my ticket.

Has a big premier replacement ever happened?

And it's worth remembering that although he works for the Gray Lady now, the journalistic world from which Macaulay comes is much less restrictive than ours. I, for one, hope he can influence ours before it drums the spunk out of him.

I agree. Let's have reviews that are llive, controvertial and generators of discussion.

Might be the wrong place for this post. NYCB just made some major promotions mid-season. Will ABT do the same? I believe there are only 4 soloist women. Of the 4 Part is sure to be promoted to principal. Anyone have a crystal ball?

I haven't seen either Aesha Ash or Alicia Graf perform, so I ask of those who have seen them: was Ash talented enough to get a promotion?

I just saw Ash dance a few days ago with Lines at the Joyce. She's really lovely, and maturity has added to that. But, the brutal, honest answer is no. I remember thinking the same thing at the time. I may not have agreed always with who Martins promoted, but there was always someone there who seemed to come first. Ash was talented, but there were just too many talented girls in front of her. To me, it was bad luck and the competition.

I too saw Ash with Lines and have to agree. She is beautiful in so many ways, but probably would not have been promoted in NYCB. As stated in the NY Times article, most women remain in the corps.

Having been in a few companies in my time I can say that knowing what a director thinks of you can valuble information. You can decide to stay and fight, stay and do what ever, stay and try to guest elsewhere or move to a company that will offer you more opportunities.

Christine Sarry was terrific in BB Pas but I don't remember who she danced with!

Anyone know who ABT has cast in BB Pas for the coming season?

I could certainly get used to these All Balanchine evenings!! I was there both Tuesday and Wednesday, and the company looks terrific. Random highlights for me:

Well rehearsed Barocco, Square Dance and Symphone in Three Movements on Tuesday. Abi Stafford and Jaret Ange were terrific in the central pas in the Three Movements.

I particularly liked Rutherford in Barocco - her generosity of movement. I saw Fairchild in Square Dance last season and thought it wimpy until the end. Not so in this Wednesday's performance. She was a delight. I agree that Stafford & Angle were terrific in Symphony in 3, but the performance as a whole was pretty terrific.

In my opinion NYCB hasn't looked this good doing Balanchine in a while. The company seems happy to be dancing these ballets. I'm happy.

Busy Bouder. Every NYCB performance, the two PdD's Sunday in Toronto's Gala and one in NYC's YAGP Gala Monday.

Yes, but she gets two weeks off once R&J starts

Interesting to note. A problem (I quess depending on how you look at it) with productions like R & J is that there are many people who will not get to dance. This happens in some of the ABT "big ballets." This is part of the reason I tend to prefer rep programs. There are exceptions of course. There are full length ballets that offer may opportunities for dancing such as Sleeping Beauty.