Arizona Native

Oh I am so sorry! Too many thoughts, and not enough time: Ib Anderson and Ballet Arizona continue to demonstrate versatility, high-level artistry and wit. In this production of Midsummer Night’s Dream, Artistic Director Ib Anderson creates casts with contrasts and pairings in mind. While another AD may have a specific type of body or dancer in mind for a particular role, casting quite similar dancers for alternate casts, Anderson revels in the contrasts. At times, he casts quite different dancers altogether, while at other times, he chooses dancers who share some qualities, but who are sufficiently different that the cast choice, in itself, proves inherently interesting. This, and the depth of talent the company now has, provides ample reason to attend multiple performances. For instance, both newcomer Chelsea Wilcox and established principal Natalia Magnicaballi were cast as Tatania. Ms. Magnicaballi, who always delivers an emotionally-satisfying, rich performance, completely immersed herself – and her audience -- in the fairy realm. With her elongated limbs and enormous, intelligent dark eyes, Ms. Magnicaballi often seems otherworldly. Here, even the quite hideous curly blonde wig she was forced to wear could not detract from her ethereal, effortless beauty. Her lightness of movement and phrasing, accentuated by deft balances, contributed to her creation of a fantasy world. In contrast, Ms. Wilcox’s Tatania was more an earthly woman, more obviously athletic, more girl-next-door, present in this world. Both were strong, legitimate interpretations. Another, equally interesting set of cast choices were Roman Zavarov and Daniel Marshalsay, each as Puck or Bottom. Mr. Zavarov is a greyhound – lean and long, with something both noble and elusive about him – while Mr. Marshalsay is a Jack Russell Terrier – compact, muscular, direct, with a bit of swagger. Both demonstrated comedic skill, providing many laugh-out-loud moments. As a dancer, Zavarov was stunning, with flying grandes jetes in perfect form accentuating his long lines. Although he has extreme flexibility, it is used to enhance, rather than distort. He played Puck as a creature other than a man, crouching at the feet of Astrit Zejnati’s Oberon and, catlike, swiping at Oberon’s gold cape as it swirled by. Feline, but more mountain lion than house cat, he leaped up from the rock outcropping upstage, giving himself a fall of 7 or 8 feet, landing crouched and silently, as if weightless. While onstage almost the entire production, Zavarov was always interesting, his face continually changing, reflecting the character’s thoughts as plainly as if he had spoken aloud. At the end of the “play,” he swept away the dream, then leaned on his broom, showing us, this time, a man, well-satisfied. The audience was wild about him, exclaiming while he danced, talking about him during intermission, then shouting and leaping to their feet for him at the conclusion. I hope that Mr. Anderson will agree that Mr. Zavarov hints at great depth, and will not pigeonhole him as a novelty dance, soley. The athletic Marshalsay was also a pleasure to watch, as well as a crowd-pleaser. His Puck, like Ms. Wilcox’s Tatania, was more mortal than fairy or other creature. In contrast, as Bottom, once the donkey head went on he was transformed into an animal, moving in a jerky manner, bent arms and legs in great imitation of a newly-formed ass. In both interpretations, Bottom was more comic than tragic, preferring the carrots she dangled to Tatania’s proffered charms. As already noted, the play-within-the-play was hilarious. In less skilled hands, it would have bombed, as the skit was not inherently interesting. The cooing, then tragic, “lovers” (Marshalsay/Zavarov) and Joseph Cavanaugh, had the audience rolling with laughter. We were primed at the sight of Mr. Cavanaugh, who is solidly and roundly muscled, ridiculous in his women’s wig and toga “dress,” beginning his part of the skit with simpering bourees and swan lake arms. Ginger Smith and Russell Clarke were a pretty, well-matched couple as Hermia and Lysander. Ib Anderson often puts together couples who look somewhat alike. In this case, Ms. Smith and Mr. Clarke have similar coloring (both have lovely medium-brown hair), long limbs, and a certain attractive roundness. Mr. Clarke was all Young Passion, and Ms. Smith, Young Beauty. In one of their early pas de deux, he cradled her in his arms, while she was in arabesque. The Man behind me sighed and said “How gorgeous…,” and I couldn’t agree more. Mr. Clarke seems an unusually considerate partner for someone so young (19 or so). At the conclusion of this pas, they each lie down to sleep, on opposite sides of the stage. Ms. Smith’s smile to him, just before she put her head down, was so genuine, in addition, it made me think there could be a great future in this pairing. This is now a good-sized company of 36 dancers, with nearly all of them used in large-group active dance scenes. In these, Mr. Anderson used the classical conventions I associate with Russian ballets – formal rows and columns, filling the stage, couples in synch or alternately performing the same steps. The choreography had less of the kaleidoscopic patterning I associate with Anderson. The choreography of the men’s parts was tinged with a bit of Russian bravura, demanding repeated, punishing and giant leaps. There was a time when some of the men in this company were mediocre – certainly not at the level of the women. With this performance, any whispers to that effect must be completely silenced, as the choreography required *every* man dance at A-list level. While all the men had lovely technique, Mr. Zavarov is a stand-out for the combination of lightness, height and form. A new addition to the company, Slawomir Wozniak, similarly demonstrated a lovely and unusual ballon, seemingly effortlessly, suspended while his peers were subject to the usual laws of gravity. It will be interesting watching the young Mr. Wozniak, who is just out of SAB, having previously received his training at the Polish State Ballet School, and, one assumes, his dancer parents. Nathan Vanderstoep, with his blonde hair, open smile and natural stage presence always catches my eye. I would enjoy seeing him create a bit more character, beyond his natural presence. The audience loved the use of children in this production. They were prominently featured, both opening and closing the performances. The curtain opened to fairy circles formed by their prone and overlapping forms, seemingly sleeping, one circle downstage left, the other upstage right, bathed in blue light. One lone fairy woke and stretched, woke a friend with her breath, and soon they were all up, with lovely pas de chat, sissones, and other well-executed basics. They closed the show, running in two opposing circles around the lone Puck as little hand-held lights glowed in their hands. All students were from the School of Ballet Arizona, auguring well for its future.

Rock, so glad you enjoyed this delectable performance, and recognized that this company is underappreciated among national balletomanes. I promise to write in detail about this production sometime in the next couple days -- just been too busy -- I saw all 4 performances. As for the "Arizona Republic" *review* -- we unfortunately have a critic who is knowledgeable about music but knows next to nothing about dance. It is better than nothing at all in the state's largest paper, but never what the dancers deserve.

If there are those among you who have thought about coming to this performance, but haven't made plans, yet -- delay no more! I've been lucky enough to have a sneak peak, so can tell you this is a luscious production, beautifully danced. Natalia Magnicaballi is more beautiful than ever, Paula Hartley and Ginger Smith more dramatic, Chelsea Wilcox a wonderful addition to the company ... and the men -- THE MEN!!!!! Ooh la la -- the best looking, best dancing group yet, including Roman Zavarov, Russell Clarke, Nathan Vander Stoep and Ross Clarke The costumes are Boston Ballet and Ballet Arizona costume shop. There are too few performances -- just over Halloween weekend. The pairings of each of the principal couples are exquisite and offerenjoyable contrast, so be sure and see alternate casts.

Oh -- and I forgot to mention -- at the end of Sunday's performance, we got the surprise announcement that James Russell "Rusty" Toth and Lisbet Camponioni are retiring. Mr. Toth is going to teach yoga and dance, while Ms. Camponioni will continue to work with Arizona Ballet as a rehearsal mistress.

Yes, the Orpheum is luscious -- love that Spanish Baroque Revival style. Built in 1929, it is the only remaining example of theater palace architecture in Phoenix and has been lovingly and respectfully restored. For those who haven't been -- in addition to the gilt and elaborate details, it has a "changing sky" ceiling. In addition to its other attributes, the Orpheum is the only place in town with sufficient women's bathroom facilities. As a sign of commitment to the theater, the City of Phoenix built its newish City Hall so that it shares a common wall. Yes, Helene, hope your travels bring you to Phoenix for the 2008-09 season.

Great! I do hope you will be able to come. Here is next year's schedule: http://www.balletaz.org/eoffice/taf/_balle...smid=1205315941. If the link doesn't work, just go to the Ballet Arizona website, and you'll be able to take it from there. I notice that "Midsummer" is over Halloween weekend, when the weather is finally pretty consistantly nice (read: not sweltering). As you see, the performances are spread out over the year, with each programme lasting only a weekend. "Midsummer" is to be Ib Anderson choreography, which might also be of interest.

One more thing -- at the end of the week, we're going to be at the Gettysburg Festival gala performance of the Suzanne Farrell Ballet, where we hope to see Natalia Magnicaballi again, perhaps with Michael Cook, with whom she is so well-paired. Will we see you there?

Also - regarding more performances -- next year's schedule is quite ambitious, and will be adding a programme. The company does do something called "Ballet Under the Stars," which are performances in various city parks, which adds a few additional opportunities. I have heard rumblings about some other things in the works, but then I'd be violating the Board's anti-rumor policy, as nothing is official. There's no question that this is a fabulous company, and that these dancers deserve more performances. Heck, I wish everybody in town had seen them, both in The All Balanchine and in the earlier Mixed Repertory. What are there, 5 million or so in the Valley of the Sun?

I was so excited about seeing “La Sonnombula,” having been enchanted as teenager by photographs of Allegra Kent as the Sleepwalker. Different from anything I’ve seen before, it had a more Felliniesque quality than I expected. Kanoko Imayoshi was a passionate, head-over-heals woman, who gave the lie to the appellation “Coquette.” No tease, she. She and her Poet, Russell Clarke, had a strong chemistry, which they managed to maintain during what must be a tedious purgatory for dancers – the extended tete-a-tete maintained in the background. Rightfully enchanted by the Sleepwalker, Natalia Magnicaballi, Clarke’s Poet seemed to have met his muse – she intrigues him, amuses him, bewilders him – ultimately, his worldliness falls away, as she causes him to envision a new world: he has not, after all, seen it all. The Poet gives a her a little push, but it is the very air she is a part of, seeming to float, with bourees so fast and soft as to be invisible. It is not at all clear that she is a flesh-and-blood human being. Who or what is she? Perhaps she is Art – passion itself, elusive, existing on another plane, incorruptible. When he finally does kiss her, it is as though he seeks to unite their disparate worlds. Friday night I sat in the balcony, which allowed full view of the Sleepwalker taking the Poet in her arms. Russell Clark is dancer-athlete lean, but he is a relatively big guy, mesomorphic and 5’11” or so. In contrast, while tall, Ms. Magnicaballi is tiny, an ectomorph with bones of a bird. Curled into a tight ball, the group of men placed the Poet in her arms. He seemed to take on her lighter-than-air attributes as she stepped backwards – 1, 2, 3 steps into the entrance of the mansion. I gasped, unbelieving. In the Sunday matinee, the two of them repeated this bit of magic. However, from my vantage point in the orchestra, the achievement could not be so easily appreciated. Mr. Clarke is so large, relative to Ms. Magnicaballi, that she could hardly be seen! This production followed the custom of having the light progress up the stair of the mansion, even into the heavens. For those interested in interpretation – people around me thought the Coquette was The Baron’s daughter. Ms. Magnicaballi did not appear in Arizona Ballet’s last programe, so we were happy to welcome her back, not only in “La Sonnombula,” but the more technically demanding “Four Temperments.” She appeared with Ross Clarke in Sanguinic for the evening performance, and in the Sunday matinee, stepped in to also dance the part with Astrit Zejnati. Both times, she was entrancing, completely inhabiting the role’s demands. Has she always been so fast? I had a voice teacher who insisted that every piece have a backstory. “You must know the kind of silver that is on the table. You must know the very underwear of this character.” No matter what she is dancing, Ms. Magnicaballi has that backstory, giving her a delicious depth. Mr. Zejnati is a wonderful partner. Although definitely a star in his own right, he also displays his partner to advantage, with partnering so adept that his own skill is concealed. This was the case, as when paired with Ms. Magnicaballi, who stepped in for Paula Hartley in the Sunday matinee. At one point, I suddenly realized that she had been supported for an extended time, but the illusion was that she was completely free. Ballet Arizona’s Rubies is exceptional, in part because of its very tall women. When the curtain raised, and we saw the full cast lined up en releve with arms raised and holding hands, the audience spontaneously applauded. Kenna Draxton, blonde and pale, a curvaceous 6-foot-tall dream, is majestic as she holds center stage. It was two seasons ago, I think, that I complained that the corps was insufficiently involved. The then newly-arrived Russell Clarke showed them up by remaining in character while the others moved in and out, mostly depending upon whether they were dancing. Those days now seem long behind! In this company, every member is engaged, all the time. Similarly, the utterly beautiful Joseph Cavanaugh, all muscles and round shapes, has in the last two progammes demonstrated a lovely bit of personality, as well. I actually heard an audience member commenting on his charming smile. There are beginning to be a number of interesting and attractive pairings in this company, Mr. Cavanagh and Ginger Smith, who danced together in “Four Temperments,” among them. As for the audience – the 65+ year old woman sitting next to me Friday night was accompanied by two 25ish men and wearing a tiara. Need I say more? The best audience comment I’ve heard, yet, was actually made at last month’s progamme, after Paula Hartley and Mr. Zejnati brought the house down with Tharp’s “Sinatra Suites.” (Wish you could have seen it) A young couple, who had been sitting in the third row, hurried up the aisle during intermission, heads together, in deep discussion. “Yes, they absolutely should,” he said. “Yes, they would win. I mean, they are amazing. "But would they be allowed?” she asked. He insisted, “In the professional division of ‘So You Think You Can Dance,’ yes, they would.” Many young children were in attendance at Sunday’s matinee. I was somewhat trepidatious, anticipating lots of squawking, as I adjudged them too young for Balanchine. But, hey, what do I know … they were completely quiet through all three pieces. This was a great tribute to the quality of the performance. It came into my mind – what would Balanchine think of this? As recounted in Barbara Milberg Fischer’s memoir, "In Balanchine’s Company," City Ballet’s tour extended to a dusty, dirt-road, cowboy outpost called Phoenix. I can’t help but think he would have been delighted by this company and this programme of his works.

Yes, I saw the Friday night and the Sunday matinee performances. Friday was great, but Sunday was FABULOUS. And yes -- the Phoenix audience is sooo much fun. I'm off to carpool duty, but will write more this afternoon! PS couldn't resist taking a quick look at the Dance View Times review. Helene, thank you, thank you, thank you, for providing the review these wonderful dancers deserve!

The "businessman" business sounds very Cirque-de-Soleil. How did the audience receive it? Did many go onstage? Did those who did not seem nonetheless enthusiastic?

Yes, in fact it *was* a fabulous performance, eliciting exclamations of delight and *whooping* from the audience. Our cape-wielder got his groove back the next night, and Helene gave him a much-deserved glowing review. The cape was obviously so big and heavy that it required quite a bit of strength, as well as coordination, to keep it moving. Hmmmm... at the time, I thought it would have been wise to use a lighter fabric, but reading your comment, I'm thinking Ib Anderson and Olga Evreinoff may, too, have seen their share of timid torreodors!

As you all know, in Don Q there are all manner of props -- fans and ribbons and capes, among others. In a recent Ballet Arizona production, the virile torreodor swirled his cape manfully -- down, then up and over, arching beautifully as the cape swirled over his head. Excitement built as he repeated this feat over and over, travelling downstage, the heavy cape swirling and swirling, his sultry lady looking on in admiration. The Torreodor reached his lady, the turn of his body and the climax of the music told us this was the last swirl, with the next move he was to triumphantly throw it to the floor at his lady's feet. As he made his last loop on releve, his upper body arched, the huge, weighty cape caught on his face and collapsed over him like a floppy tortilla. To his credit, his smile after he extricated himself (there was a moment where he looked as if he might have been suffocating, and then he yanked it off and tossed it down) was not so *much* rueful as entertained, which allowed the audience to laugh with him.

Thanks, Bart and Helene! The lack of a real ballet critic in The Republic is making me crrrrazzzy ... with ticket sales soaring and the enthusiasm of the audiences, there's a feeling in the air that this could be a real ballet town. If we could get regular and appropriate reviews, it would certainly help. And then there are the various other dance performances in town that many of us would like to read about. Grrrrrrr!

There was so much good dancing (and acting) in this production that it wasn't possible to comment on it all. Did want to get something logged on Ballet Talk, however humble a "review," both because there are so many interested in this company, and also because the dancers deserve something more than the non-review by the local paper. Regarding the beat reviewer -- well, at least he appreciates the fine playing by the Phoenix Symphony. ; P

Ballet Arizona with the Phoenix Symphony Artistic Director: Ib Anderson Choreography: Olga Evreinoff after Petipa Scenery and Costumes: Louisville Ballet Lighting: Michael Korsch February 15-17 The demands of a full-length Don Quixote on its principals are superhuman – for Kitri, the challenges include repeated 1-footed pointework, including diagonal hops from stage left followed stage right, grande allegro exemplified by the signature "Spanish" grande jete, and merciless Act III fouette turns; for Basilio, there are huge leaps and multiple turns. For both, there are the virtuoso timing and connection demanded of the partnering, the stage presence required to fill these outsize roles as well as hold our attention through three acts, and the physical skill, acting, musical, and endurance tests presented over the course of 2 1/2 hours. The Arizona Ballet’s Paula Hartley and Astrit Zenjati, performing with the company at Phoenix Symphony Hall February 15th and 16th, fully inhabited these iconic roles, and doing so, charmed, delighted, astonished, and had the audience at their feet. In this production, by Olga Evreinoff, Ms. Hartley was a strong-willed, darling prankster. A pretty woman in a village filled with pretty women, Ms. Hartley’s Kitri is the flirt whom all the men love because she is more fun, more clever, and more generous of heart than anyone else. Both women and men rally to her, as she instigates games, pranks, and issues challenges. The bravura demands, which she met and conquered, were the natural extention of an exuberant, outsized personality, whose joie de vivre exploded in dance. Always a strong, speedy, and clean dancer, Ms. Hartley never flagged. Indeed, in Act III she came out as though newly energized, excited, as the plot demanded, by her romance – although, as the dancer she is, no doubt she was in truth justifiably energized by the prospect of sharing with us one of the most the famous ballerina solos. With her comedic timing and acting skills, her skillful use of the fan and her eyes, her athleticism, start to finish, there was nothing wanting in her interpretation of this ballet icon. Mr. Zejnati similarly shone, with his signature soft landings and effortless turns, as well as stage craft and acting suitable to the role. Stopping just short of cad, he flirted and showed off, just as Basilio should. Mr. Zejnati and Ms. Hartley continue to be one another’s most attractive, best-matched partners. Their classic proportions are enhanced by similar and affectationless technique. In addition, they demonstrated a pleasing congruence of characterization, with their good-natured flirtations and high spirits leaving us with no question that these two belong together. The Company, individually and collectively, continues to impress. Kanako Inayoshi, showed a new side of herself as Mercedes. A statuesque woman, Ms. Inayoshi has an inherently gracious, regal presentation with a gorgeous line. Always pretty, she has become frankly beautiful. In this role, in addition, she showed us a sparkly, sexy side, with a nice edge – one that suggests she has in her a wonderful Black Swan. The duo of Tzu-Chia Huang and Michelle Mahowald was also particularly enjoyable, with the two looking almost like sisters. We had several views of them together, paired as Kitri’s friends and bridesmaids. There is just enough similarity in their general build, as well as timing, musicality and attack, to create a pleasing symmetry, with enough differences, in port de bras, for instance, to keep it interesting. Michelle Mahowald, who was recently at the University of Indiana, is a newer, most welcome addition to the company. She has a beautiful port de bras and a lighter-than-air quality to her jumps, as well as stage presence to spare. Dancing the next day in these roles was the duo of Lisbet Campanioni and Heather Haar. Perhaps seeing Heather Haar in the same part as Ms. Mahowald over-emphasized in my mind the similarity of their technique, particularly their use of the arms; be that as it may, I look forward to an opportunity to see the two of them together. Ms. Haar is emerging as a real performer, as well as a wonderful technician. I can still recall in my mind’s eye seeing her in this season’s Nutcracker, where, as Chinese Tea, she rested her chin in her hand, then turned to the audience and flashed us an unexpectedly dazzling smile that left us wanting more. Another dancer we can look forward to seeing more of is newcomer Sasha Edelman. Ms. Edelman, who trained at Central Pennsylvania Youth Ballet, has the secure placement and refined technique one expects in a more seasoned dancer. Throughout the season, she has commanded attention when on stage, even when buried in the corps, as in Nut’s "Snow." Among the men, standouts included Roman Zararov and Joeseph Cavanaugh. Mr. Zararov, another new addition, was a convincing Gypsy Leader. Still very young, he shows dramatic promise, as well as beautifully articulated feet and legs and effortless leaps and turns. Mr. Cavanaugh, as a matador, demonstrated a fluid movement quality not often seen. However, he also danced a bit too much for himself, not reaching out to and connecting with his audience. The combination of Ross Clarke and Ginger Smith, Kitri and Basilio in the matinees could also have offered more in the area of dramatic expression. The physical aspects seemed to consume them. While Ms. Smith displayed her deeply arched cambre back, jackknife arabesques, and commanding balances, her Kitri was merely sweet. The ensemble work of the company has become so strong that we might almost take it for granted. As a whole, the ensemble is more and more technically adept, while also revealing a higher level of artistic and dramatic expression. Thanks in no small part to the dancing and acting of the corps, I heard a number of people exclaiming this was "the best thing I have ever seen!" For the evening performance, it was great fun to be in the balcony, where the audience was unrestrained, gasping for the one-armed overhead lifts, exclaiming when Ms. Harley launched herself like a gymnast across the stage and into Mr. Zejnati’s arms, and spontaneously exclaiming, "What a beautiful dancer!" following Ms. Inayoshi's solo. Congratulations are in order to all for this tour de force production.

Dance is a Contact Sport, Joseph Mazo -- daily life in the NYCB and labor issues, up close and personal.

Another Balanchine romp is "Stars and Stripes." Not often done, "Dances at a Gathering" is full of whimsy and charm, as is the little piece called "Circus," or something like it (it includes children, but is not necessarily *for* children). While not sweet and light, "Green Table" is certainly accessible and moving. In a completely different vein, though admittedly not cheery and lacking a traditional story, I recall "Strange Lands" done by the Stuttgart as particularly moving -- it would satisfy the "not stiff" requirement. Have you tried film? "Seven Brides for Seven Brothers" is big fun, and a great dance film.

Sorry to be adding to this so late in the game ... someone just forwarded me Helene Kaplan's review and this thread ... perhaps Ms. Kaplan could post a link to her review on the Ballet Arizona portion of the board? I saw both productions and was intrigued and fascinated by the differences in the approaches of the casts, mostly noted by Ms. Kaplan. I would add that I found Natalia Magnicaballi utterly convincing, which took me by surprise: how this dead sexy, mature woman transformed herself into a mere slip of a girl is beyond me. She was fabulous. In the other cast, Astrit Zenjati was on fire, like I've never seen him. This was a beautifully-acted and danced production. It would have been nice to have had a review of the kind suggested by Alexandra. Unfortunately, the Republic reviewer hates ballet. Truly. Always has, always will. He finds it tolerable *if* it has some novelty value for him. Just as one example, last season he called a beautifully-done performance of Coppelia a "warhorse," and as more perfunctorily done in this instance, noted that there was nothing wrong with the dancing. In the future, I for one would really, truly appreciate it if all this commentary could be instead used to generate letters of outrage to the Arizona Republic. We deserve better!!

Thanks Major Mel! Very interesting, as usual.

Can't claim to know -- but, Ginger Smith, one of his students at Arizona Ballet, won the Prix de Lausanne, I believe. Of course, David Hallberg was his student, too, but I've not heard of him entering competitions.

Back to David Hallberg -- he began as a tap dancer and was pursuaded to take ballet. In addition to lovely basic anatomy, the tap very likely helped with the flexibility. In fact, the reason given for not wanting serious ballet students to continue with tap is that it makes the ankles "too flexible." There used to be a photo of Mr. Hallberg on the website of this high school, Arizona School for the Arts: in it, one foot is gloriously pointed. It is not clear from looking at the photo whether he was still a student, at that point, or whether the photo was from his early professional days.

In April, the costumers said they had just a few weeks to create 100 new costumes ... living on the edge, here. Yes, the postcard is lovely. Perhaps this will entice you members of BT to come! The days are hot, but the pools are just right, and the evenings are cool.

Oh -- and, Helene -- any chance we could somehow draft you to review for "The Arizona Republic"?

Speaking of misidentifying standouts in the corps -- today I realized that I previously mistook Ross Clarke for Michael Cook, when singling out a particularly involved and appropriately-animated member in Coppelia. Seeing the two dance next to each other today in Tharp's "Golden Section," I see why I confused them, but am now unlikely to make that mistake again -- sorry, guys. Regarding Flower Festival and Konservatoriet, I was similarly struck by the extreme physical demands of the Bournonville: in addition to all that noted previously, the choreography follows up the adagio with the petite allegro, as if as a matter of course a dancer should be expected at any moment to just toss them off equally well, with the switch of the proverbial switch. We were sorry that Ginger Smith did not perform today, and hope she is not injured. While I dislike "The Golden Section," particularly the beginning, I thought the piece was too short. It seemed to end just as we were beginning to delve into it. Like Helene, I don't much like the dance itself, but sure liked the dancers, who were tremendous in this extemely athletic contemporary piece. It required of them, among other things, a kind of teamwork and inter-relationship that is absent from classical ballets. It was interesting to watch different aspects of their personalities begin to emerge, as they necessarily attended to relating to each other physically -- turning one another end-over-end, throwing and catching or stepping onto each other -- so that the audience would see the dancers, at times, without their performance "faces" on. I have often wondered whether there has yet evolved a contemporary movement vocabulary to accompany contemporary pieces such as this: a lack of vocabulary would make these particularly hard pieces to learn. This company just gets better and better. In that context, it has been especially nice to see Kenna Draxton blooming. She has done a great deal with her technique, which now shows her lovely, chorus-girl body to advantage, so that she will now have more freedom to come forward with her personality. Thanks to all members of the company for this performance, and we look forward to seeing you again in June!