DeborahB

You are right, Kathleen (I was there too), Brittany Pollack was Butterfly. She's been given quite a few choice plum demi and soloist roles this season and has always been delightful.

You do not speak for me, Beatrice, and you are indeed wrong when you say that I'm speaking out of affection for Ms. Kistler. But I'm not going to argue this point with you as I have clearly stated my opinion. And while we old folks (I'm 52, and have been devoted to NYCB since I was 19), appreciate "new" and/or younger patrons, that does not discount the value of people like me who attend multiple performances (and not just performances of NYCB) a week. Oh, and did I mention that both of my sons (one in his 4th year of med. school, and one about to be a freshman in college) practically grew up in various theatres (both ballet, broadway and off-broadway, as well as the London stage)? They too will help to ensure that companies like NYCB carry on (passing the torch, so to speak).

As I'm sure you know, Balanchine cast some dancers in roles when they were long past their prime (I saw some of them). What might be "lousy" to you, might be "lovely" to someone else. Finally, NYCB has a fairly liberal policy (even though the tickets say "no refunds or exchanges") of exchanging tickets (ABT does as well. I had to suddenly exchange a ticket this year, and the ABT box office was great about it). Also, the casting for NYCB, is always up well in advance. Save for sudden injuries or illness (which, surprisingly, doesn't happen that often at NYCB), you can almost always choose your performance (and dancers). If you don't like a particular dancer in a particular performance, and there's no way you can adjust your own schedule, that's the just way the cookie crumbles.

As someone who has loved and watched Ms. Kistler from her first week of performing (I was a college student) -- in her brief time in the corps (how exquisite she was) -- until now, I can understand the frustration of watching this once magnificent dancer (who has been riddled by injuries, as well) not live up to her own legacy. However, there's still usually some glimpse of the "past" Ms. Kistler -- the last true Balanchine ballerina -- in almost every performance. Surely, Ms. Kistler is not being cast against her will, which means that for whatever reason she wants to revisit some of her best roles (and to have missed Ms. Kistler, in her day, as the "strip-tease" girl in "Slaughter on 10th Ave," was to miss a a landmark performance). I will be going to Saratoga again this year for a couple of performances, albeit not for Ms. Kistler's "Slaughter.." (I bought the tickets, and booked the hotel before the casting). That said, I am sure that the SPAC audiences will be thrilled to have her perform this role, and will overlook (at least those who remember her back in the day) what she can no longer do. Surely, this is Ms. Kistler's last SPAC visit (at least as a ballerina), and if she wants to dance this role, it's okay with me. She has earned this right.

One of the highlights of "Dancer's Choice" is always the casting. Corps members are front and center in major roles, and the few principals who danced (the evening is designed that way) are featured in unexpected ways. For example, who knew that Jared Angle, the consummate partner -- billed in the program as Damian Jared Angle, probably to honor Damian Woetzel, who practically owned this role for decades -- could lead the "Royal Navy" section with verve, humor, and sparkle, while always keeping his impeccable technique? I immediately wanted to see Jared as "The Hoofer" in "Slaughter on Tenth Avenue" to show off more of this side of him (Philip Neal was his usual terrific "Hoofer" in yesterday afternoon's performance. And what new adjectives can be used to describe Maria Kowroski's well-reviewed "Striptease Girl?" The only word that qualifies is "perfect."). It was also wonderful to see some of the talented NYCB corp --especially the often unheralded men -- in big parts. In an except from "The Waltz Project", Russell Janzen (partnering Savannah Lowery), Andrew Scordato (partnering the always delightful Georgina Pazcoguin), and Justin Peck (a future principal) with Abi Stafford were all terrific. But the night partly belonged to the gorgeous (her extension alone is worth seeing) Faye Arthurs, who should immediately be cast as: The Siren (in "Prodigal Son") and "The Striptease Girl". In any other company Faye would surely be a principal; besides her obvious skills as a dancer, she also holds the stage (it's impossible not to look at her) even when it's crowded with other brilliant dancers. Later in the evening, Faye was also a delightful Wren in "Union Jack." Christian Tworzyanksi (a personal favorite) danced beautifully with Tiler Peck in "Valse-Fantaisie." The fact that Christian can be noticed at all while on stage with the spectacular Tiler (every other dancer shines a little less brightly in her presence. Tiler is just that great) is saying something! Adrian Danchig-Waring (another -- hopefully! -- future principal, personal favorite, and a joy to watch) and Rebecca Krohn (who has had an excellent season) were stunning in an excerpt from "In G Major." And if you missed David Prottas, with Stephanie Zungre, in an excerpt from "Dances at a Gathering," please do keep an eye on David P. from now on (if you haven't already). He is a truly an amazing dancer, and hopefully will have a huge career at NYCB. Kudos also go to Daniel Applebaum (he's had a very nice season too), the always glowing and cheerful Gwyneth Muller (who danced with soloist Ask laCour. I'd like to see a lot more of Ask too), and Troy Schumacher (so good!), all of whom did a very nice job in Richard Tanner's "Episodes & Sarcasms." Ashley Bouder's ballet, "Give Me Fever," was accomplished, sexy, good humored, fun and danced all out by the marvelous quartet of Amar Ramasar (movie star handsome), Sean Suozzi (an outstanding and grossly underused soloist), Brittany Pollack and Kaitlyn Gilliland (another principal in the making). Janie Taylor's costumes were adorable as well. Bravo Janie and Ashley! The show stopper wasn't the "11pm number" (which was actually at 10pm last night. The performance started at 7:30pm), but instead a few ballets before the close (which was "Union Jack). Kathryn (Katie) Morgan and Tyler Angle performed "The Sleeping Beauty Pas De Deux" (from Act III). From the curtain rising, to the bows and bravos just a few short minutes later, we knew that we were seeing something truly exceptional. Katie, a favorite of NYCB balletomanes from her years at SAB on, has often been compared to just about every Balanchine ballerina (high compliments indeed) in her short career. Still a corps member (but not for long), she has it all: technique, beauty, musicality, phrasing, jumps, star-quality and more. Last night she was simply breathtaking. And Tyler Angle -- too often stuck in roles (like his brother, he's an excellent partner) that don't allow him to show off his own formidable technique, excellent line, musicality, and stage presence -- was just as breathtaking as his beautiful partner. Special mention here to the very clever, and informative film, "Pas de Deux -- The Dancers' Perspective, " produced by Jeni Ringer and Kristin Sloan, and directed by Galen Summer. Megan Fairchild and Andrew Veyette danced and discussed what a pas de deux was like from both the "boy's" and "girl's" perspective. What a charming couple! (Andy was especially funny). The camera angles were quite creative as well (Megan and Andy seemed to have cameras attached to their bodies/heads so that you could really feel the whirling around effect of the spins etc.). And finally a word for the woman who put this most enjoyable evening together -- Jeni Ringer. Jeni was a most charming, beautiful, and articulate host, and will be a hard act to follow at next year's "Dancers" Choice." This program will be very hard to match -- it really was that wonderful. Thank you, Jeni!

I only attend a half dozen ABT performances a year (half of them at City Center), so I'm not as familiar with the dancers as I am with NYCB's (which I go to 2 or 3 times a week). That said, I was besotted by Hee Seo's performance in "Desir" last night (although I was not a fan of the ballet itself). She is simply gorgeous -- a star in the making for sure. I was also very impressed with Eric Tamm in "On the Dnieper."

Although I've gone to dozens of NYCB seminars (usually in the NY State, now Koch, theatre), I've never attended a "Chat" before. But when I read (on NYCB website) that Ashley Bouder was to be the speaker, I reserved a place. The chat was run by the Managing Director of Volunteer and Programmatic Services, Joan Quatrano. Ms. Quantro is a smart, interesting, delightful woman, who put both the small audience (maybe 30 people) and Ms. Bouder at ease immediately. Not that Ms. Bouder looked nervous -- this young woman is as charming off-stage as she is on. She's also quick, bright and funny. The program took place in the Rose Building at Lincoln Center (home of SAB). If you've never attended one of these sessions before , please keep an eye out for one in the future. It's really a chance to get to know the dancer, and more about, not only NYCB, but ballet in general. Ms. Quatrano started the ball rolling by asking Ms. Bouder questions that we'd all like to know (and yes, Ms. Bouder is rehearsing again! She'll be dancing this season. She's also choreographing for the "Dancers Emergency Fund." I wont' reveal anything else but it sounds like it'll be a terrific evening!). She then opened the floor to questions. Most people there seemed to either be NYCB volunteers, or parents of SAB students. There were a few other "civilians" like me there, too. It was a free program, and was, alas, not particularly well attended (considering how popular Ms. Bouder is). But it was surely a thrill to have this opportunity. I asked Ms. Bouder what she liked to do away from ballet. She's a big reader, loves movies, and has a great dog. She also loves the outdoors, and seems to love NYC. We also heard about the famed Central Pennsylvania Ballet school -- where Ms. Bouder, and many other NYCB got their early training.

Lesley Stahl, a highly respected, award-winning journalist, made a mistake (she seemed a bit nervous which I found charming) with a "big" name. Mr. Martins corrected her (politely and with good humor, I might add). End of story. Oh, but I should add that Ms. Stahl is also a member of the Board of Directors at NYCB, and volunteers a lot of her time at various events (including the "Live From Lincoln Center" event) to help promote NYCB. I'd also like to clear up something about PBS shows (as I do work with various PBS stations). Each local affiliate has the option to not only pick up an individual show, including "R&J", but can choose what day, and time of day to put the show on the local station. Whether shows are produced by a big PBS affiliate like WNET in NYC, WGBH in Boston, or KQED in SF, or by a syndicator (for public television shows) like "American Public Television, " it is rare that a public television show runs from coast-to-coast at the same time (anymore, at least). These stations try to figure out what their viewers want, and what programs will bring in the best ratings -- also good for donations (the shows themselves are offered for free, as part of an local affiliate program). For example, most public television stations do have a two hour "cooking" block of shows on either a Sat. or Sunday afternoon because they do well in the ratings. But it's the individual stations' choice --they don't have to run the shows at all, and they can choose certain shows and leave out others. Anyone who wanted to see "R&J" at 8pm EST on Thursday but couldn't (because it wasn't offered), should write/email their local public television station to express their concern. I do have to say the public television folks are really terrific; they try to offer up fine programs for their local viewship, on minimal funding. And they do like feedback. Again, they were very hard hit by the recession, and have had big staff cuts -- that includes crew members to shoot live tv shows.

Sorry, I don't agree at all with the telegenic comments by Natalia or Jack Reed. This isn't a beauty contest, despite what various reviewers may or may not write about movie stars or dancers. And surely a ballet dancer can't be compared to a movie star -- who is often, but not always, (partly) popular because of their good looks (as well as their acting talents). I don't agree -- at all -- that a ballet dancer's "looks" can hurt/kill a performance. But maybe that's just me. As for discussing camera angles, I think we should just be thankful that PBS was able to find the funding to put this ballet -- or any ballet -- on national television (with reduced crews because of budget cuts etc.). As for me, I'm heading back to NYCB tonight (and all weekend). Have a good holiday weekend everyone!

I'm not going to debate the merits of R&J. Honestly, I'm not high on any story ballets at all (which is why I'm a NYCB fan). That said, this particular R&J is packing people into the Koch theatre. Anything that helps bring NYCB (or any ballet company) revenue works for me. As for the comments about people being photogenic or not. That's just a little too personal a discussion for me. And it has little, if anything, to do with the merits of this or any ballet. Beauty is in the eye of the beholder, afterall. For the record, I thought Robbie and Sterling both looked young and beautiful (as they do in real-life as well).

I've seen this production live several times (from the first performance, in fact). However, whether or not we are personal fans of Martins' ballet, the fact that public television is able to offer this live performance from Lincoln Center is to be applauded, and commended. What a wonderful opportunity for people all over the country -- especially those that don't live in ballet-rich cities and towns -- to see one of the best companies in the world perform. What is sad though, is that this program was broadcast on the same day that WNET and WLIW (local PBS in NYC and Long Island) announced a huge reduction of staff. Why? Lack of viewer contributions, as well as big business donations, in this tough economic climate. This program prompted me to finally make the annual donation that I've been remiss about making this year. As for the merits of this particular cast -- they were delightful within the confines of the ballet. And that music is simply stunning (no matter how many times I've heard it). The NYCB orchestra, under the direction of the excellent Facyal Kroui, never sounded better. Finally, any chance to see Jock Soto (I'm still not over his retirement) on stage again is reason enough to go to this ballet (as I did last week), or watch it on PBS (as long as they are able to fund such programming).

Wheeldon and Ratmansky will both be choreographing pieces for NYCB in the future. You don't have to be an in-house choreographer for such an assignment. Also, I've been attending three times a week (and will continue to all season) as always. The company looks better than ever.

I attended Opening Night and Friday night; the house was packed for each performance. Friday night's performance (reviewed in today's NYT) was simply outstanding. "Divertimento No. 15" was danced beautifully; I especially loved Tiler Peck, but everyone from Megan Fairchild and Andrew Veyette, to Sterling Hyltin and the (wonderful)Tyler Angle and Amar Ramasar were excellent. If you haven't seen "Firebird" with Maria Kowroski, please check casting and try to get a ticket immediately. Yes, she's that terrific in this role. A special shout out goes to Dena Abergel, a longtime corps member (and a personal favorite), who is the very essence of the warm and welcoming princess/queen in this role. The middle ballet in this program, "After the Rain" was the highlight of the evening. Let me get my biases out in the open straight away: I am a huge Wendy Whelan fan, and have been since I first spotted her in the corps so many years ago. I also love Arvo Part (the music in this ballet) and Christopher Wheeldon (the choreographer). Chris just knows Wendy and you can clearly see this in the ballet. The pas de deux in this ballet was originally made on Wendy and the irreplaceable Jock Soto. Friday night it was danced by Wendy and Craig Hall (although it was a debut for Craig at NYCB, he danced this with Wendy for "Morphoses" -- Chris's company). As a special treat NYCB is (finally) showing the entire "After the Rain" -- not just the pas de deux. In part one, Teresa Reichlen (another favorite) and Jason Fowler, as well as Savannah Lowery (subbing for Kaitlyn Gilliland) and the stellar Adrian Danchig-Waring were all terrific. Part two is the pas de deux, and although I've seen this dozens of times, it never fails to leave me choked up. Friday night Wendy was simply superb. Craig -- an excellent, and underused dancer who deserves more roles -- made it look easy despite the tricky holds, steps and lifts. They were a lovely couple, and a memorable one.

Forgot to add this review by the excellent Clement Crisp (it includes RB review of SL): http://www.ft.com/cms/s/2/72ea93c0-1d42-11...144feabdc0.html

Alastair Macaulay's review (in today's Times): http://www.nytimes.com/2009/03/31/arts/dan...1&ref=dance I didn't realize this was already linked in another section of BT. Please excuse...

Simon G., Please do not call me, "Debs." (that seems kind of rude to me. But if you'd like, you may call me "Deb" which is my actual nickname). I love London critics, as I love American critics -- they do the paying public a great service. As for the rest of your last post, I'll pass on the rest of the discussion (i.e. publishing in general). And getting back to the point -- I do hope the second ABT program is well received (by critics and the public). Although I'm a NYCB fan (first and foremost), I do go to many ABT performances each year (both at City Center, and the Met) Cheers, Deborah Broide

One more thing, Simon G. -- being an author doesn't necessary make you an expert. I've worked in publishing (doing publicity/pr) since 1979 (my first job out of college). I can't even begin to tell you the number of "authors" who are supposed to be experts (and have great credentials on paper), and yet a lot of their work, research and writing is done by researchers/ghostwriters etc. I am NOT, however, accusing the London critics mentioned in your post as being less than the "true" authors. I'm just pointing out the reality of the situation (as I've worked with some huge, big-named authors who didn't actually write their books!). I realize this has gotten off-topic but I felt this was an important point.

Simon G, Sorry, but this is my opinion. I follow the London dance/theatre scene, and have for more than 25 years. If you don't agree with what I wrote, that is your right. Also, I work for someone (he's a client) who writes for the Evening Standard, so I know the pluses and minuses of said newspaper. And whatever you may say (and you certainly are defending London critics), they simply don't agree on a lot of things. I actually find that refreshing (as they can't close a show the way that a former NYT's theatre critic once could, and did). I don't champion Alastair Macaulay's reviews -- I know him (and like him. Plus he's a terrific writer; he actually does his homework) And I didn't say I enjoyed "Isadora" (please reread what I wrote) -- I said I enjoyed "Dances at a Gathering." Although, to be fair, I LOVED Tamara Rojo in "Isadora" (although the ballet wasn't exactly great). And being in the Royal Opera House is always a thrill. Finally, I did say that there were exceptions to London dance critics experience (Crisp being one of the exceptions). It doesn't seem to me like you actually read what I wrote before you accused me of being "unfair."

I have no idea if ABT's "Swan Lake" is good or not (I like Balanchine's one act version), however as someone who spends many weeks a year in London (just came back on Sunday), I can say that dance reviewers in London: a) Rarely agree on anything. b) Seem to pop up without any track record (for example the woman who did the Times review on ABT is unknown to me, and I read that paper regularly). c) Do not -- as a whole (and with a few exceptions) -- have the background or knowledge that London theatre critics possess (I see a lot of theatre here and there). d) Newspapers don't devote a lot of space to reviewing dance (especially in The Evening Standard, which is a tabloid: think NY Post/Daily News). It's easy to be a little more dismissive of a particular ballet/dancer/company when you don't have the luxury of space to explain your opinions. My guess is that ABT was well received at the Coliseum by the audience -- just as NYCBallet was hailed (by the audience, not by the critics. I went to 4 performances in March 08) last year. The Royal Ballet is also doing "Swan Lake" now (I saw their "Isadora/"Dancers at a Gathering" last Sat. night. I loved the latter), so there might be a bit of hometown bias (or maybe not). That said, Alastair Macaulay has been in London for the past two weeks and will (probably) be reviewing ABT's (and also the RB's) performance. Full disclose: I do know Mr. Macaulay (as some of you know). It will be interesting to read what he thinks of ABT's "Swan." His review of RB's "Isadora/"Dancers at a Gathering" was spot-on.

I just returned from London where I saw the Royal Ballet perform "Isadora" and "Dancers at a Gathering." Ben Huys and Susan Hendl (former NYCB soloists, and members of the Robbins Trust) were credited with the staging.

I was at the Today Show this am (with a client) and saw the segment. Here's a link: http://today.msnbc.msn.com/id/26184891/vp/29615306#29615306

As a woman in her early 50's, and devote NYCB fan, I adore Sara Mearns. Why? Because she's an exceptionally talented ballerina. The fact that she's a gorgeous, sexy young woman is just a bonus. Do I wish I was Sara -- even for a few moments? Of course! In fact, I also wish I was Wendy, Maria, Tess, Tiler, Ashley, Megan, Katie, Lydia.... how wonderful to have that kind of talent!

Allow me to correct the subtitle of this thread. The public relations department of an arts organizations rarely (if ever) writes catalog copy for brochures, newsletters or anything else geared towards the public. Their function is usually media based -- writing press releases, pitching stories, etc. Catalog/brochure writing is the responsibility of the marketing team (pr is usually a part of marketing), and specifically a copywriter. To illustrate this point, please look at the difference between NYCB's spring brochure, and compare it to the press releases on their website. The press releases are written in a journalistic style, and not in an advertising/promotional style (as seen in brochures etc.). Finally poor grammar, spelling and phrasing is the responsibility of a copyeditor, not the marketing/copywriter. Most company marketing departments , as well as all newspapers and magazines (even those decimated by layoffs) have copyeditors (many are freelancers). As a public relations and publicity professional for more than 30 years (with both English and Journalism degrees), I find the distinction between copywriting and public relations/publicity writing worth mentioning. One caveat -- this post was not copyedited.

I continue to attend NYCB at least three times a week. I was there last night for Sara Mearns debut in "Swan Lake." I can only sum it up in one word: breathtaking.

Deborah, it's fine to have a positive attitude and all, but I don't agree with your assessment of the "harsh" and "mean" and "oot" criticism of NYCB and some of it's dancers. I think it's legitimate to criticize. And you oversimplify on the casting. Trust me, I advoid Borree like the PLAGUE. I know there is no point in my going to any of her performances. Other posters have commented on the trickiness of avoiding individual dancers in mixed rep performances. Let me point out too the dreaded cast changes. I went to a Nutcracker and was very unpleasantly suprised to have the program list Borree instead of Bouder as SPF. I understand dancers need to be replaced and all but I did my best to avoid Borree and got to see her anyway. And sorry for the negativity but she was awful. Not just the shaking and wobbling but she was unable to complete many of the trickier steps. And I've seen many of these same mistakes in the SAME role before. She simply doesn't belong on that stage. Not to gang up on you or anything...... No worries here. I'm not made of glass. Also, we are all entitlted to our own opinion (and as a NYCB goer of 30 years I have a pretty good frame of reference. Plus I'm connected to the media, and am a bit of a NYCB insider, so I'm no novice). That said, I often find there's too much negativity about certain dancers (and the company) on this board, and I'm just not as interested in reading these opinions as I once was (thus my bowing out, at least for now). Happy New Year all!