DeborahB

As someone who has worked as a publicist for decades(and with major national media), I can tell you that Ms. Kent did just fine. Charlie Rose's show is taped, and does not have an audience. Ms. Kent and/or her publicist, were given an idea of what the questions would be beforehand. In fact, Ms. Kent was probably asked if she wanted to cover anything in particular. It is also likely that a pre-interview (by phone) was conducted well in advance of the taping. However, Mr. Rose, like all good interviewers, may veer off the written questions/outline as the conversations dictates. That said, he and his producers are especially thorough, professional, and courteous. Being interviewed on tv -- whether live or taped -- is very difficult. Even when you think you are prepared, you may not be. I have seen the most articulate people crumble when the red light on the camera suddenly appears (most distressing when it's a live interview).

The past weekend in Saratoga has been reviewed (links on this site) so I'll keep my comments brief. The highlight of the weekend, without a doubt, was seeing Rita Moreno at the Gala on Sat. night (she was the honorary chairperson). Ms. Moreno not only looks decades younger (truly) than she is, but she told a very charming story about her auditions (she had to audition for acting, singing and dancing separately ) for West Side Story. The other Gala standout was Opus 19/The Dreamer, danced to perfection by Wendy Whelan and Gonzalo Garcia.

Mr. Macauley is English. As I only attend a few performances (mostly at City Center) of ABT each year (as opposed to going to NYCB 2-4 times a week in season), I can't comment on his ABT piece. I can say that he was a very well respected theatre and dance critic in London.

Now here was a magical moment that could only happen at SPAC. Most of you know "The Concert," (it's a crowd pleaser, and this afternoon's audience was, in general, more enthusiastic than last night's ). During the part in the ballet when the dancers come on stage with umbrellas, and then put them up because it feels like rain (and they put their hand out to test for rain), it actually started raining -- pouring!! -- here in Saratoga Springs (the theatre is covered but the sides are open). Brilliant! It was perfect timing. We all laughed and cheered, and I swear that I thought I saw a few smiles on the dancer's faces too (even though that part of the ballet is more serious). Tonight is the gala performance which I'll report on when I'm back home (tomorrow). I'll try to elaborate on this afternoon's then too.

I'm in Saratoga for the weekend seeing our dancers perform. It's a quick 2 hr. 45 minute drive up here from the city. I'm staying at the Saratoga Arms which is pricey but worth it (I am typing this on my terrace looking out on the main street) for a treat. Despite the heat and humidity here (same weather at home) our dancers almost had me convinced that we were in the coolness (so welcome!) of the NYS Theatre. Program: 1)Divermento From "Le Baiser De La Fee" 2) Moves 3) Four Seasons Standouts by ballet: 1) Faye Arthurs and Alina Dronova in the demi roles. Megan Fairchild and Joaquin De Luz did a fine job. 2) Everyone was great (check the casting list) but Adrian Dancig-Waring (a favorite of mine), Sean Suozzi, and Amar Ramasar were all excellent. Rebecca Krohn and Jared Angle did their usual stellar work in this ballet. A special shoutout to the unannounced Gretchen Smith, in for Rachel Rutherford. 3) Sara Means and Philip Neal were terrific in "Spring"; Tyler Angle (fantastic!) and Rebecca Krohn (subbing for Rachel) were nicely, well, summery in "Summer" and Sterling Hyltin, Adam Henrickson, Antonio Carmena were fun in "Winter" (although the audience didn't seem to get the jokes"). And then there was Ashley Bouder, Benjamin Millepied (100% again) and Daniel Ulbricht. People went nuts -- rock star icon nuts (it was too much, to be honest but if it turns people onto ballet..) -- for Danny. That said, Ashley owns "Fall" (at least for me) and Benjamin was also excellent. I haven't been up here for years, and it's a tough venue (in a lot of ways) - ballet in the sunlight (at least for the first hour), lots of bugs (and a bat on stage last night. The dancer didn't even blink or take any notice, of course, audience not as enthusiastic as we're used to. Still, so far so good!

I'm going this weekend (for three performances). It's a fairly easy drive from NYC (3 hours). Looking forward to it. Saratoga Springs is a lovely place to visit too.

Bravo to Mr. Koch for being so incredibly generous; I do think that this part of the story is what matters. That said, I agree with PhiladelphiaOrchestra that it would have been nice (years ago, in fact) to rename the NYST after Mr. B. Of course the NYC Opera might not have liked that. For over 32 years I always say I'm going to the NYCB - I rarely mention the venue (since everyone knows where they are). I also don't think I've ever actually said, "Avenue of the Americas" (and don't know any other New Yorker who calls 6th Ave anything other than 6th Ave). However -- they are just names. Does it really matter? But just let them try to rename "Yankee Stadium" (I'm a season weekend ticket holder) anything other than "Yankee Stadium" -- then I would sing a different tune:; Mr. Koch, I tip my NYCB and Yankee cap in honor of your outstanding gift. Thank you!

Thank you so much for posting this video, rnl. It's such a treat to watch! We can only hope that Damian will come back to NYCB in some capacity (at some point). His farewell performance (well, every performance he ever gave, in fact) will always be cherished by this Damian fan.

Then again, Mr. B. did edit, didn't he? Of course, he edited himself.

Oh no! I would never even suggest editing this, or any other masterwork, after the fact. I just think it should have been done at the time. As for the rest of your questions, I'd prefer not to get into this as it's would be time consuming to explain in the details it would deserve (and I have a demanding full time job, and it's my busy season). However, I'd just like to respectfully disagree with you (if that's okay). I do enjoy your posts a lot though! They always give me something to think about.

With all due respect, Klavier, of course Goldberg could have been shortened (and I've read Amanda's and all the other Jerry bios). There are always ways to edit music/dance. I am not only a pianist (of over 35 years) but have an advanced degree in music (although it's not my profession now). I am quite familiar with most of the great composers (and some not so great. I am, however, sorely lacking in information about most jazz composers since jazz is not my thing) so I do feel like I have a bit of a leg to stand on here. I also thought that Cameron Grant played the piece beautifully. But again, to each his own -- that's what makes art so wonderful to watch and discuss. And other notes: I thought Wendy Whelan was lovely and beautiful in Mozartiana (not my favorite ballet though). Yvonne Borree broke my heart as the Sleepwalker. I don't think she could have been better. She almost made me forget about Wendy (and Nicolaj) and all the other great ballerinas in that role. Brahms-Handel -- it was fun seeing it (as I hadn't seen it since it's premier) the first time. The second time it was "when is this going to be over?" But I confess that I am not a Tharp fan (at all) so it may be that I can't see what's "good" about the ballet.

Mazel tov, Ms. Mearns! I'm so thrilled about this promotion.

I'm so glad that you liked Kyle Froman's book, Klavier. I did too! I do think that he was going for something different (i.e. not about the personalities/individuals per se) with these photos. That said, I do think it's wonderful -- and good for his potential career after he retires someday (although I hope they bring back "Slaughter" soon so that we can see Kyle tap dance again. He's such a good hoofer. Also, think of all the new "striptease" girls that might fit the bill now. I think there are quite a few in the company) -- that his work has elicited so much discussion.

It's no secret that I loved the Dancer's Emergency Fund Evening (warts and all) but I found Joel Lobenthal's review wrong (in many ways), overly harsh, and filled with a whole lot of silly whining (sorry, SZ. No disrespect intended). I do feel that Alistair Macaulay got it right though. It was also a very well written review.

I found the photos to be incredibly inventive (especially the one with the girl's hair flowing down outside of the State Theatre on the cover. Also I love the photo that shows the girls leaping in the first and second ring lobbies), creative (enjoyed the variety in tutus in the audience spot, itself quite spectacular), beautiful, interesting and all and all a wonderful piece of work. I didn't find them dehumanizing, or disturbing in the least. And as for pornographic - except for the fact that our NYCB men have bodies that are works of art (as do many of the women), I see nothing racy about showing them off (don't they do they in each ballet anyway)? Still, what's special about art (and I do include Kyle's photos as art) is that it starts conversations, and often differences of opinion. I'm not sure if we're allowed to put links to other blogs here but there is one in particular that has Kyle's photos (he gave permission. He's a very nice guy in person) on it. If you are interested, please ask the moderators for my email address and I'll send you the link.

I'm guessing that part of the reason that Jon Stafford was asked to choose from the NYCB rep -- besides the major cost of paying for the rights to use an "outside" ballet, was because practice time was limited. Most of our dancers have some familiarity with the NYCB ballets, and so they could jump right in (pun intended). But it's a good point, Klavier, about the idea of a dancer wishing to do an another ballet outside of NYCB's. It would be fun to find out what non-NYCB dances are are most coveted by our company.

I found out today from Lourdes Lopez that tickets for Morphoses will go on sale July 14th (for their donors) and to the public on July 21. The performances are October 1-5 at City Center. Morphoses will also be at Vail in August, and at Sadler Well's this fall too. Morphoses also has a great new website: http://www.Morphoses.org Chris is doing a new piece to Stravinsky's, Pulcinella, and there will be a new commissioned work by a young, female choreographer. It's all very exciting for the company, and for Chris Wheeldon's fans (I count myself amongst this group). This info may have been reported already, but just in case it hadn't been, I thought I'd send along.

Continuing on a high from Friday night's performance (I enjoyed the speeches. I felt they were heartfelt and made everyone seem excited, honest and a little overwhelmed with the audience's excellent response. How nice!), and then the Sat. mat. (also very good), yesterday's closing performance was one for the books. Not so much for the ballets themselves (Brahms/Handel is not a personal favorite, and I think that Goldberg --- which I love - could be shortening by a good 15 minutes. I thought that when I first saw it decades ago too) but for how the NYCB takes a problem -- in this case either an "illness or an injury" -- the dreaded white piece of paper in the program -- of Gonzolo Garcia in Goldberg Variations-- and literally made lemonade out of lemons. Instead of Wendy Whelan just having one partner (she was to dance with Garcia), she had two of them! Benjamin Millepied (who has, sadly, been out much of this season) was her primary partner -- they were gorgeous together. But when it came time, near the end, when the guys show off their stuff, Robbie Fairchild came out and substituted for Ben. He did the incredible jumps, spins and turns required for that part. After this, Wendy came back on stage with Ben, in the same costume as Robbie, and they finished the ballet. At the curtain, both men came out to bow with the wonderous Wendy. It was delightful and well received throughout the theatre. Just a little two weeks until Saratoga! (I'm going for 4 performances).

I was there, applauding wildly (even though I'm in my early 50's) to each ballet. Sure, some were better than others. But who cares, really? It was one of the most enjoyable and entertaining evenings at NYCB (ever). I sat right near Darci (clapping so hard that I was afraid her hands were going to fall off:;) and Peter, Nikolaj Hubbe, Chris Wheeldon and a bunch of current and former and current NYCB dancers. How fun! I'm not one to speak to the dancers (I don't want to intrude) but it was hard not to compliment them (and I did). Kyle Froman must be one of the nicest guys on earth. And I send special kudos to Peter Martins. I know that's he gets some flack on the boards and in the press, but I think he's done an incredible job with the company all of these years. I really liked Adam H's and Aaron S. ballet (gorgeous music) -- it was especially rewarding to see Sean Suozzi (a favorite) in a major role and dancing beautifully. Other standouts: Janie Tayor, Jared and Tyler Angle, Ashley Bouder (when isn't she a standout?), Tess Reichlen, Sara Mearns and Stephen Hanna, Abi Stafford, Megan Fairchild, Andrew Veyette, Ask la Cour, Amar Ramasar (another favorite), Tiler Peck, Adrian W-D (this man needs to be promoted to a soloist!), Austin Laurent, Amanda Hankes, Craig Hall (a stunning dancer), Danny Ulbricht, Ellen Bar, Robbie Fairchild, Allen Pfeiffer, David Prottas, Antonio Carmena, Georgoina Pazcoquin (she too needs a promotion!), Christian Tworzyanksi, Troy Schumcaher, Giaovanni Villalabos, Justin Peck (for his always joyful dancing), Henry Seth (who should have been a NYCB "star"). Savannah Lowery (in "my" Wendy's part in Union Jack), and the entire corp (who knew that Gretchen Smith was so great? I didn't until last night). Kudos also to Maurice Kaplow, Kurt Nikkanen, Steven Back and Stephen Gosling (the outstanding pianists in "The Monarch"), Richard Moredock (wonderful!), , and Kristin Sloan for the films. Also, if you haven't seen Kyle Froman's special photos from last night (in a program but also in a book) it's a "must" to get it. He is a truly talented photographer (his "other" book -- published earlier this year is also excellent). Another note: "Beethoven's Romance" (Martins); "Purple" (also Martins) and Mercurial Manoeuvres (Wheeldon) were especially welcome: I can't recall the last time these ballets were presented in either an excerpt or a full scale rivial. I think it's time! I don't know Ms. Arlene C. Cooper -- the extraordinary patron at NYC -- but thanks to her generousity, we have the opportunity to attend this, and other NYCB programs. In fact, thanks to all the Benefactors and Contributors for last night. I head back to the State Theatre for the last three performances this season (until Saratoga). Please excuse whatever typos are in this post! I'm too tired (every being on such a NYBC) high to do more than spell-check.

I also meant to add that I think that Adam Hendrickson (spelling?) has also been very good this season. And yes, Stephen Hanna too! (as another poster said). Kyle Froman did a nice job last night (along with Antonio) as one of the Prodigal's pals. Hopefully "Slaughter" will be revived for the winter season so we can see Kyle tap dance again! And just think of the possibilities for the "striptease girl!" Gina P. would be my first choice (maybe she'll actually be promoted by then). I do have some less than stellar opinions about some of our dancers, but why waste the time with that? By and large they are a superb group. And it's fun to see real life couples (I know we can't mention names on this board but there are many) dance together. I forgot to mention Sterling H -- she was quite good in "The Concert." She hasn't danced that much this season but she's been dancing more in the last week or two. How many of you are going to "Dancers Choice" on Friday night? I can't wait to go! It should be so much fun!

I haven't posted since the fall. That said, I'm a little surprised at how few folks have posted about the NYCB. I attend 3-4 times a week. I even saw them 4 times in London (I have a British client). Here are my thoughts in general: ** Sara Mearns and Rachel Rutherford need to be promoted right away. So does Tess Reichlen. ** I also thing Amar R. has been excellent this season and should be made a principal. ** Andrew Veyette has been wonderful in almost everything. ** Janie, Janie, Janie. Thank goodness she's back! So glad that Craig Hall is back too. ** Yvonne has been lovely this week (Andrew really has been able to show her off, as he did last night). ** Sean Suozzi needs more parts! He's an outstanding dancer and a former student of Peter Boal's. I'd hate to lose him to PNB. ** Adrian W-D -- not only needs more parts but he should be made a soloist now. He has it all. ** How wonderful to see Ellen Bar dancing again! ** Joaquin was truly brilliant last night. Kaitlyn G-- so great technically - will grow into the dramatic part needed for "The Siren." ** I think that Antonio Carmona would also be a terrific "Prodigal." ** Kudos to Ask La Cour for making "the father" his own (and he's a young, hunky guy in real life!). ** Rebecca Krohn has also been wonderful this season. ** Hopefully Maria K. will be back in full force for the winter season. How wonderful that was Damian's Siren. ** Ashley Bouder -- what can I say about her? She is simple in a league of her own!! ** Jared Angle, Tyler Angle, Philip Neal (who never gets the credit he deserves) all had a great year. Love them all. ** Gonzolo Garcia has grown on me a lot. Kudos to him for all of his improvements! ** Jonathan Stafford -- thank you! What a partner (and nice dancer too). ** I have also enjoyed Abi Stafford this season. ** Megan Fairchild's technical abilities continue to shine. ** A special shout out to our orchestra (and conductors. I don't think Faycal is too fast). I also enjoy Tiler Peck, Gina P (she also needs to be promoted to soloist), and the entire corps. Sure - -they aren't always in a straight line, but they weren't in Balanchine's day either (he didn't care about that). Two final things, I cried so hard at Damian's retirement that my eyes are still puffy (I'm still not over Jock retiring! He was my favorite male dancer of the past 20 years). And Wendy (Whelan) -- I've been attending the NYCB since college (1977) and she is, without a doubt, my favorite dancer ever (and yes, I saw Suzanne, and Merrill, and Patty etc.). I even named one of my dogs after her. She may be 41 but she still looks like a young girl. I hope that she has a very long career (like Kyra). Wendy is uniquely American in her dance. Oh yes, I'm a true fan -- I recognize that NYCB isn't always perfect, but I'll take their "non-perfection" any day. And a comment about Peter Martins -- there are times (many) that I've disagreed with some of his choices, but I truly think he'd done a wonderful job with NYCB over the years (I sit right in front of him at the ballet. It's fun to listen to what he's saying).

So sorry about not putting last names! I'll be sure to do this in the future. Here are some of the folk I mentioned in Jewels: Sara Mearns Philip Neal Stephen Hanna Jonathan Stafford Wendy Whelan Tess (Theresa) Reichlen Ashley Bouder Megan Fairchild Benjamin Millepied Dena Abergel (a long time corps member and one of the best. She's a most joyful dancer).

I don't agree with your criticism of the performance. Sara (her name is not spelled, "Sarah") was excellent. Sure -- she has a way to go (as she's new to it) but I didn't see tension at all (maybe a bit of caution). Warming up being the theme (and dress rehearsal?)? Wow! How harsh (and not true in my opinion). Mr. Karoui did set a fast pace but I've seen other conductors (at NYCB) do the same (and faster!). I feel that he's energized the orchestra. It's great to appreciate wonderful dancers (I too LOVED Stephanie Saland, Merrill, Lourdes, Maria C, and so many more) but we have new dancers now. Many are exceptional -- others will grow into their roles. There's a bit too much negatively (lately) about the current NYCB (on this board at least). They aren't perfect but who is (I'm certainly not!). Again, I'm no novice here. I've been going to the NYCB for 30 years so I do have some frame of reference. These comments are with all due respect, by the way.

Sorry, I disagree. The black and white photograph on the website is gorgeous. It's even more beautiful (stunning really) at the NY State Theatre. But to each his own (of course!).

I just returned from the performance. I'm not going to get very technical here but I will say that I was pleasantly surprised this evening! The dancers, whom I thought would be worn out from Nutcracker, were on fire (and that's a good thing!). Ashley did Emeralds and was, as always, excellent. Sara was the other lead and she was gorgeous! The women were partnered by Stephen Hanna and Jonathan Stafford -- both very good. Megan did Rubies, and really seemed to come into her own with this performance. She was partnered by the exceptional Benjamin Millipied (I loved his ballet for ABT too). But it was Tess who was the standout. This woman has it all! I sit a row in front of Peter Martins (and have for nearly 30 years) and I wanted to say, "why isn't this woman a principal already!!" I think I will say it when I next go on Sunday. (FYI -- he's always very friendly to all of us who sit near him). And Diamonds! -- Wendy was truly breathtaking. I saw Suzanne do this (I'm 50. Of course I loved her, who didn't?) but Wendy is, in my opinion, in the same league (so was Darci and Kyra). Her upper body was exceptional tonight. And she was exceptional joyful in her performance. And Philip! He's never danced better! He was truly wonderful (I think he's a bit unappreciated at NYCB). One pet peeve -- the woman (three of them) behind me never stayed to applaud (during both intermissions) and ran out before the curtain call after the performance. Not only that but they put their coats on (loudly) before the curtain came down. This is beyond rude: not only to the performers but to the rest of the audience. To be fair, most of the folks in my section (and I'm sure everywhere in the NYSTheatre ) in the first ring are pretty good about staying during the curtain calls (as they should be). But occasionally you get someone who seems intent on getting out of the theatre before anyone else. All and all a wonderful evening.