Peg

Note that the Dance Rewind programs (second Wed of the month at 1 pm) are unreserved and held in the third floor screening room, which has a seating capacity of 60. The other programs require advance registration online, up to 30 days in advance. Registration is free. If space permits, individuals who have not signed up are admitted from a standby line a few minutes before the start of the programs. Conversations programs are held in the Bruno Walter Auditorium, inside the Amsterdam Avenue entrance, and approximately 200 can be accommodated. The Dance Historian Is In programs are generally in the smaller third floor screening room described above.

The latest NYCB podcast is an interview of Nico Muhly by Wendy Whelan about this. Muhly says that the piece has multiple short movements but the ballet wasn’t yet completed at the time of the interview. Given what I’ve heard (I haven’t yet finished listening to it), I don’t think it will be too short. It’s great that Peck is working with a new composer. I like some of Sufjan Stevens’s music but I think he and Peck are too comfortable together and consequently he doesn’t challenge Peck enough.

Speaking of Sterling Hyltin, I don’t think she’s been cast at all this season. Is she injured, I wonder?

If you admire the incredible virtuosity of the NYCB dancers, you shouldn’t miss Voices. Yes, the music is a challenge and it’s difficult to hear/understand the spoken text over the piano, but the way Ratmansky creates ways to showcase these dancers is not to be missed. I found it exhilarating. Marina Harss’s review, just posted on DanceTabs is worth reading. I'm already looking forward to seeing the second cast next weekend.

I would love to see it again too. Russell Jantzen had a recent fellowship (last year I believe) from NYU’s Center for Ballet and the Arts, and his topic was Davidsbündlertänze. It raised my hopes that it would come back to the repertory. Separately, I heard Wendy Whelan and Jonathan Stafford in conversation with Edward Villella earlier this week at Symphony Space. When questioned by Villella about how she’s been spending her time, Wendy said she had just finished the programming for 2020-21, and that it would now be reviewed and discussed before being finalized. I hope she doesn’t forget the gems of the Balanchine rep but must admit I’m wary.

Did you see the Houston Ballet perform Morris’ “The Letter V” at City Center this week? It was gorgeous, with inventive partnering and many little surprises. And at the first Fall for Dance program his own company performed a long excerpt from “V”, the beautiful work he did for them in 2011.

But this production of WSS has Anne Teresa de Keersmaeker as the choreographer. It could be very strange to say the least . But I’m assuming the Robbins Trust had to approve it.

He’s cast as Bernardo in the Broadway production of West Side Story which begins previews in December. This was announced some time ago. He could conceivably return after the run.

Both wear toupees while performing.

Alastair Macaulay had some harsh words on Knight’s pompadour in his Instagram post tonight. From the photos I’ve seen, I agree. Unfortunate. Perhaps he’ll learn from experience that this isn’t the way to stand out.

Seeing the Costermonger pdd performed with so well by Megan Fairchild and Andrew Veyette and knowing that they went through a painful divorce—and have obviously come out on the other side—certainly added subtext and humor, and a bit of pathos! Fairchild has terrific comic flair. I loved seeing this cast in Union Jack. Reichlin, Hyltin, Mearns and Tyler Angle were standouts this afternoon.

Here is Program A: Curated by Kevin O'Hare August 6-9 Dance of the Blessed Spirits by Sir Frederick Ashton Five Brahms Waltzes in the Manner of Isadora Duncan by Sir Frederick Ashton Soda Pop by Charlotte Edmonds Concerto Pas de Deux by Kenneth MacMillan Obsidian Tear by Wayne McGregor Qualia by Wayne McGregor Asphodel Meadows Pas de Deux by Liam Scarlett Within the Golden Hour Pas de Deux by Christopher Wheeldon

Joseph Gordon had an enigmatic post on Instagram the other day, saying that he and David Hallberg would be performing some Bejart at The Joyce in August. I assume it must be part of Ballet Festival (there are no additional engagements at the Joyce in August) but there is no mention of Bejart in what the Joyce has posted.

I attended on June 4 as well. I wondered why Maria Kowrowski and Tyler Angle weren’t presented with flowers and didn’t join in the bows after the Agon pdd, as the other stagers did after their ballets were danced. Kowrowski was definitely there although I didn’t see Tyler Angle.

Both books are quick reads but worthwhile. Sills’ isn’t the most informative about working with Balanchine but she was only with the company a short while. It was troubling to read of her struggles with her weight (never more than 5-10 pounds more than what she and Balanchine considered ‘ideal’) and his approach wasn’t perfect, but she admits to an eating disorder—and describes her habits in some detail—and she maintained a friendly relationship with Balanchine until the end of his life and considers herself privileged to teach his ballets. The University of Florida has published quite a few books about dance, including Allegra Kent’s memoir and Nancy Goldner’s excellent books on Balanchine works. Let’s hope it continues.