Peg

I was there on Tuesday night. The  dancers were in great form, the live music by the Knights was great, and it was a treat to be so close to the performers. I particularly liked the opening piece, Natural History. 

I thought the new works were interesting departures, and they showed the strength and versatility of NYCB dancers (Taylor Stanley and Sara Mearns in particular).  It was great to see them on a program with Western Symphony, showing off the range of this company. I don’t put much stock in what Gia Kourlas has to say about ballet, wish the NYT had a dance critic with more depth. 

This was proposed by a NYTimes reporter (Jason Zinoman, if I remember correctly) in a big article in Sunday’s paper. 

14 hours ago, vipa said:

Interesting production born of these difficult times. Amazing and totally committed performers. It's being streamed on demand 12/23 through 12/26, in case you missed it https://www.nutcrackeratwethersfield.com. I believe the concept has legs for post pandemic. Bravo to everyone on the creative, performing, productive, money raising teams for delivering this Nutcracker in such a beautiful yet challenging setting.

Has anyone else been able to stream a replay of BalletCollective’s Nutcracker at Wethersfield since yesterday’s livestream?  I had some issues with Twitch and would like to see it again. But the link just brings me back to a 20-second promo.  It is supposed to be available through Saturday. 

I was very glad to see this too but puzzled that I couldn’t find NYCB or ABT on the list of groups receiving $47.1MM in grants, although other dance companies(Ailey, Mark Morris etc) are there. The list includes some of the larger arts organizations such as the NY Philharmonic and most of the museums. What am I missing?

The main reason Harrison Coll was absent the past year is that he was cast in the Spielberg film remake of West Side Story.  It was to be released in December but I believe that has been postponed. 

There is a great discussion of the history and Saratoga premiere The Steadfast Tin Soldier with Patricia McBride and Peter Schaufuss, moderated by Silas Farley, part of NYCB’s excellent podcast series.  Schaufuss discusses his ballet development in Denmark, how he came to City Ballet, and how Balanchine reacted to his news that he was leaving to dance at ABT. 
https://podcasts.apple.com/us/podcast/city-ballet-the-podcast/id1479330738?i=1000495254526

Sara is keeping very busy!  Also this:

Joyce Theater  

She rehearsed with Hallberg at the City Center studio for the Fall for Dance program and posted lots of photos from that on her Instagram. I’m assuming that the rehearsal at NYCB was for what is coming up at the Empire Hotel. 
NYCB’s virtual season is great but I wish they would offer extra benefits to supporters/members/subscribers, or simply for those of us who would be willing to pay a fee for access. Something as simple as extended access to the virtual programs would be terrific.  Perhaps union rules are the reason that’s not been offered. 

This afternoon in an Instagram post Tiler Peck announced her latest venture, A New Stage, curated by Tiler Peck.  In her post, she says the program premiering Oct. 16 will be the first in a series. 

www.clistudios.com/anew stage/

In past years, there were five Fall for Dance programs rather than two.

Sara Mearns had posts on social media this week that she has been in the NYCB rehearsal studio working on something that she can’t give details on yet. She showed a photo of clasped hands, indicating it wouldn’t be a solo performance. 

In last week’s interview with Peter Boal on the Conversations on Dance podcast, Boal outlined the very careful steps PNB has taken to allow dancers to return to the studio for rehearsing for the Sun Valley Ballet Festival, which streamed last night. It was a fascinating conversation, and can be  found here:  https://podcasts.apple.com/us/podcast/conversations-on-dance/id1128237763

I’m not sure whether it’s still possible to view the festival, over 90 minutes of beautiful performances, some archival but a couple recorded just last week for the festival, including Leta Biasucci dancing the bracelet solo from Emeralds. 

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.

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. 

1 minute ago, canbelto said:

Sounds like Ramasar is leaving:

 

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.