mimsyb
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Posts posted by mimsyb
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I don't like that she spots to the audience in her chaine turns. I've never seen another dancer do such a thing. It's tacky and turns it into a show about her Copeland not the story or character the choreography is trying to convey.
NYCB dancers (Balanchine style trained) frequently spot to the audience on pique turns, soutenues, and chaines. He felt it opened the dancer to the audience. It's not an easy thing to do. Some like it, some don't. When done correctly, it can be very exciting, very refreshing. That said, I've also seen City Ballet dancers spot the corner.
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I ran into samples from Jamie Narushchen's 3 CDs here, and thought this might be of interest to some. Perhaps this belongs on the Ballet Talk for Dancers forum...but I'm not a part of that.
Click on the CD cover thumbnails to get to the track demo lists:
Great site. Many thanks for this.
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Lane keeps getting the same roles she has been doing for years (T&V, Sleeping Beauty). They have not tested her out in any additional important lead roles. I seriously doubt that she will be promoted, although I hope I'm wrong. The departure of 3 principal ballerinas does not mean that three ballerinas will be promoted. The promotions will likely be Hammoudi and Copeland for sure. They may be saving up for a Gorak promotion in 2016.
Correct me if I'm wrong, but don't dancers get promoted out of the corps to soloist positions to "see how they do" in this next level? Some "do" better or faster than others. Sometimes the current rep is not one that can typically use a newly promoted dancer. Sometimes dancers are promoted because there is a need for excellence in the soloist ranks also. Some are never intentioned for further promotion to principle rank.( Craig) Sometimes there is simply no room at the top. And sometimes dancers feel the push of the years at their backs and either leave for other companies (Yuriko, Jared), retire completely (Kristi Boone), or in some cases, self promote (Misty). IMO, Sara was one of the very best corps dancers I had ever seen at ABT. She always stood out, especially when she got solos to dance. Yet, when she was promoted she had difficulties establishing herself as a dancer of real distinction. She had problems She continued to be given many of the same roles she had danced while in the corps. Only now the expectation for her was greater. The pressure to succeed and the constant push for her further promotion from sites like Ballet Alert must make for a not so happy time of it. Sara may be the Stella of her generation. Hopefully not, but only time will tell if Kevin feels he can give her more. Another reason to have ABT dance more rep outside of the four or five biggies that take up so much space and money, offer not as much to the soloist rank and keep the outside "guests" coming and coming.
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I just read that An American In Paris will be embarking upon a national tour starting in the fall of 2016. No further details are available yet. I doubt that Robbie Fairchild will be part of the tour.
By the way, as a matter of strategy shows tend to announce that they are going on a national tour shortly before the Tony Awards. (Finding Neverland, which got panned in the press but is helmed by big film producer Harvey Weinstein), also recently announced a national tour for 2016.) A lot of Tony voters are theater producers throughout the US. The thinking is that they are more likely to vote for a show that is going on a national tour because it is to their economic advantage to present a Tony winning Best Show in their regional theaters.
Which may mean that voters vote not necessarily for quality, but for the dollar value of a show. That's too bad. A show like "Fun Home" will find a place in some regional theaters, but I doubt if it will take home any of the major Tony Awards, despite it's glowing reviews both on and off-Broadway. While it is a thrilling and exquisite theatrical experience, it probably won't make for a rousing TV showing at the Awards presentation.
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Imagine the money they could raise by selling the signed ones.
How about jerseys actually worn by the dancers! No extra charge for the sweat!
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Here are the nominations for the Drama Desk Awards, second in prestige only to the Tonys. American in Paris has a total of 12 nominations, including Best Musical, Best Director (Wheeldon), Best Choreography (Wheeldon), and best lead actor and actress in a musical (R. Fairchild and L. Cope). Only one show (Hamilton) had more noms. (Hamilton is moving from off Broadway to Broadway in July. Brilliant show.)
http://www.playbill.com/news/article/drama-desk-nominations-announced-hamilton-tops-the-list-347557
Great day for American in Paris.
Yes, great for AIP. However, judging from reviews of recently opened shows (and the several I've been able to see so far), there really isn't much competition out there. None come up to "Hamilton". Superb!
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Boylston has been cast with Simkin a number of times.
Speaking of Simkin. Is he out for some reason? I don't see his name except for the one "Fancy Free" and the one "Swan Lake". Did I miss something? Also, I think we can look to see Skylar Brandt moved up soon as she is a very capable dancer and small enough to dance with either Simkin or Gorak. Shevchenko also looks small to my eye. Personally, I also love Nicole Graniero, but don't know if she will move any time soon.
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NYCB rep makes it acceptable to the public to buy tixs in advance without knowing the casting. ON any given night at NYCB you can see numerous different principals. ABT full length ballets are an entirely different matter. You see two, maybe three, principals during an entire evening. Personally, I would never buy advance tixs for any ABT full length ballet without knowing the casting.
But would you buy an advance ticket if Vishneva were dancing "Pillar of Fire", or Cojocaru dancing "Lilac Garden"? I think sometimes I wonder if the full lengths can only be sustained by bringing in guest stars. If so, that's sad. Some of us acknowledge, for instance, that ABT's current "Swan Lake" is less than wonderful. But we go any way because it's the only way we can perhaps see some of these dancers we wouldn't otherwise get to see. And ,of course, there is a substantial portion of the audience who goes to see "SL" because it is "SL", or it's Wednesday and is a convenient day to attend. Many sit down in their seats not even knowing who is dancing until they open their programs. Perhaps if some of the productions themselves were better, we wouldn't turn somersaults trying to exchange our seats when the "Star" can't dance, but instead go to see a production because it is excellent in of itself. And perhaps we would allow ourselves to be surprised by the emergence of a "new star". I know, with ticket prices what they are, it's hard to experiment, still I wish it could be so at times.
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Hi Amour, I saw this early on in the previews. Cope sings "The Man I Love" while writing a letter. Can't remember what other numbers she actually sings. Think she warbles something in "Liza." But have they cut down on the Henri is gay jokes? Because that was one of my major annoyances -- in Act One every single punch line seemed to be about Henri being gay, and in the second act that's all dropped over the way more serious backstory.
I also felt that the romance fell flat. I didn't really swoon at the final ballet. I was glad there was finally some real substantial dancing, but it didn't make up for the previous 2 hours and 30 minutes.
Also, I understand the orchestral re-arrangements have been redone since previews.
And I'm still seeing so many holes in the script that got my attention. In placing the action in 1945, immediately at war's end, it seems inconceivable to me that the "Milo" character would emerge full blown in a fancy apartment with a rather large art collection. How did she manage to do this during the war years, or was she, in fact, a collaborator of either the Vichy govt. or the Nazis? If either is so, then it really makes her character a tad odious, and the fact that Jerry could "fall" for that even more so. Many Americans didn't find there way back to Europe for several more years, which always made the time frame of the film more believable. Also, does Lise really work in that fancy department store? Were there such places right after the war? First we see the Parisians fighting over bread and the next thing we see them buying fancy perfume! Suspicious. Also, can Jerry legally just tear up his ticket home without first being mustered out of the Army somewhere back in the States.? Isn't he AWOL staying in Paris? OK, I know it must have happened, but still it all seems a bit glib. And can someone tell me what ballet company was in Paris at this time? Lifar was out at the Paris Opera Ballet by '44. Balanchine came in in '46 when he did his "Crystal Palace", Lifar came back in '47. What was the dance esthetic at the time? Lifar's influence or Balanchine's? If Balanchine's, I doubt we would have seen the sort of ballet that Wheeldon puts up on the stage. And that's another aspect of the film that got it right by going with the fifties. That "Dream Ballet" had the time frame down correctly, in choreographic tone, costume, etc. One more small thing. Surely the Adam Hochberg character (A wonderful Brandon Uranowitz) would have heard of George Gershwin by 1945. Why does he claim authorship of "I Got Rhythm" as something he just wrote? Woo, woo. I didn't of itself object to actually using Gershwin music for the show, but to claim "I Got Rhythm" was written by a character not named Gershwin seemed a bit of a stretch. Again, as I stated in an earlier post, a good show doctor or dramaturge would catch this sort of thing. It just seems that some simply didn't do their homework on this one. Or didn't care. And that's worse.
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It's a pity that the current ABT management has forgotten the power of the "42nd Street" mythology, You're going out there a youngster, but you've got to come back a STAR.
I wasn't able to see ABT performances at the time, but I remember Susan Jaffe and Paloma Herrera came blazing through very quickly. They should be able to create excitement around their own dancers, or at least not squander the interest audiences display early in a dancer's career.
Maybe a few of the up and coming dancers at ABT should go elsewhere, to some other company (preferably a Russian company), become a star and THEN come back to ABT as a "guest artist". Hahahaha! Well, that's not going to happen. And besides, while we complain about the use of stars at the Met, who supports this policy and buys the tickets? We do, the public. I doubt seriously many would boycott Osipova's performances or refuse to buy a ticket to see Obratsova. It is what it is. Sad, but true. I still love the policy at NYCB, where, while they do announce casting, it's usually a week or so prior to performance. We go to City Ballet to see the work offered, the choreographers, and also the dancers, of course. But we seldom rush to get our money back if Tiler Peck or Sara Mearns can't dance that day. And in my experience, the totality of the performance is usually wonderful. Sometimes the need for a "star" performer on the bill to sell the show undermines the larger intent of the art form. If it were me, I'd cast Vishneva in "Pillar of Fire", or Osipova in "Rodeo", McRae in "Fancy Free", Cojocaru in "Lilac Garden". Or all of them in "Les Sylphides". Like the old days, when Alonso might dance the lead in "Les Sylphides", but all the other ballerinas also performed. Now there's some casting that would guarantee the Classic ABT bills would sell better, the dancers would get an opportunity to expand their "same old, same old" reps. and we, the audience, would benefit from not having to sit through another full length. Plus, the "guest stars" would truly be performing along side all the other dancers on stage. Too often they come in, dance their Nikiya and go home. It's just a thought.......
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I think most of the audience was happily entertained, but like Amour I was disappointed. From the point of view of a balletomane, this is some seriously dumbed down choreography. Clearly Cope and Fairchild have to do this 8 times per week, so there is no possible way that could occur if Wheeldon made the choreography more difficult or strenuous. I can accept that this ain't NYCB or ABT. To me, what was more disappointing was that this is supposed to be a romance, but I didn't feel any romance. It just felt flat in so many ways.
Yeah, me too. I really, really wanted Cope to spurn Fairchild and go with the Max von Essen character. He had it in spades over anyone else. And that choice would have made more dramatic sense and given the story a real back bone. Disappointing to some, but more satisfying in the end. Spur of the moment love affairs don't always pan out in real life. I couldn't help but wonder how a meeting between the mother of the Fairchild character (if there was one in a back story) and Lise would have fared. Better to go with the mother -in-law that one knows!
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That was my point. I do not agree that the ABT audiences think too little of her. She is amazing. Perhaps there are a few on this board, but it's definitely a minority. I also agree with you, vipa, that this opening presents a good opportunity for someone inside the company.
But who else is prepared to step into this role within the ranks? Seo could have been given it, as her only performance on Wed. matinee would give her time to recover. Not so much the others surrounding the Friday date that Smirnova had. Has anyone else danced it from the company? I can see the reasoning behind the Cojocaru hiring. For me, this was, I think, the very first role I saw Cojocaru dance way back when and I was totally blown away by her. Over the years she has become the most amazing artist. I will gladly not trade in my ticket so I get another chance to see Cojocaru. She can still produce and astound.
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Would love to get more reports from people who have seen it.
I saw the show just before opening. Much to love here, yet I too felt a small tinge of disappointment in the final product. They were wise to not make Fairchild imitate Kelly. but while he has a wonderful personality on stage, he has little "persona". He can , at times, disappear into the work. This may be because the book of the show was weaker than it could have been. Both Fairchild and Cope are at times ciphers for what should be more rounded characters. Both dance with a great elan and style. Both sing OK. Fairchild at times seemed a bit forced with his choreography. But then I felt as if the show was a tad "over choreographed". Almost too much. I think one of the reviewers thought he was at times at a Dance Concert and not at a B'way show. Mostly, Wheeldon's choreography is excellent. There's just an awful lot of it. (and I'm a Wheeldon fan). The contrast between the performances of "the dancers" in the show and the more traditional B'way performers is at times glaring. Dancers and actors "sell" differently when on stage. Veeane Cox and Max von Essen almost walk off with the show. They are that good! More real, less "card boardy". Funnier, for sure. And just more at home in the idiom. Some of the book seemed superfluous; not needed, while at the same time the two leads were woefully under written. I was rooting for the von Essen character to win the girl (Cope). He was simply a more approachable character in the end. And his "10:15 number" of "Stairway To Paradise" was a knockout! Which I guess means Wheeldon can do that type of B'way dancing also! Bravo for that! The scenery and sets were the big winners here. Almost "painterly" in tone, they moved and became the streets of Paris to wonderful effect. Show was a bit overly long. Night I saw it began at 8PM and didn't end until almost 10:50! As I said, much to love. Glad it's here and hopefully will be around for awhile. Some smart editing could improve it. I longed to have a "show doctor's eye" (Neil Simon or Hal Prince) in on the action. I sat in front row of the first Mezzanine which was a great place to be, especially for the dancing. Lady next to me fell asleep somewhere in the second act. Audience was slow to stand for the applause at the end. I had a good time, but wished for more. And anyone hoping for the delicious version of "I Got Rhythm" from the film (the one with Kelly and the kids) won't find it here. Ot it's magical charm.
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Thanks. This was so splendid. And Spring has finally arrived in NYC!
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Murphy will not disappoint!
Great cast! Murphy will dance Gamzatti.
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The thing about balance is that if you have a knack for finding your balance/finding your center I think the arms in 5th is not necessarily better than simply passing the arm to the next cavalier without putting the arms up in 5th (many Russians do not put the arms in 5th, although some do). I know yoga is not the same as ballet, but as a yoga practitioner I have better than average balance and can go into tree pose and often hold it forever and even sway arms and torso back and forth (swaying tree pose). It is hard to explain, but if you find your center of gravity you can move the arms almost anyway and all over the place and not fall out. So just putting the arms above your head does not make it more difficult unless you let moving the arms up distract you or make you worry about your balance.
Now, in contrast, the way the ballerinas in Cuba hop backwards and throw their arms above and behind them in the black swan coda......now THAT is, in my opinion, a truly exciting balancing act, b/c moving backwards and throwing your arms back forcefully could easily make someone fall out or lose balance, in my opinion (too many distractions to your balance). But simply raising arms above your head is not really more difficult than keeping them in a handshake position. If a person has good balance I do not believe raising arms in 5th makes it more difficult.
I suppose any little thing could potentially cause a person to lose his/her balance, but the simple act of raising arms into 5th should not really cause a ballerina to fall out. I think the arms in 5th is probably more impressive to the audience as a "show" b/c it gives the illusion of being more difficult, but I can't imagine it being more difficult from my experience of body movement.
But ask me to hop backwards on one leg and fling my arms back......I would probably fall out......raising arms in 5th, in contrast, is no big deal at all.....
Agreed. Also, when a dancer is "on her leg" and is centered, she should be able to move her arms to fifth without any distortion or unease. The upper back will help her in this and support the move. Some dancers seem also to have an "inner gyroscope" that allows them to retain balance with ease.
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Initial casts.
Shostakovich Trilogy
Choreography: Alexei Ratmansky
Music: Dmitri Shostakovich
Wednesday, April 08, 2015 - 7:30pm
Conductor: Martin West
Symphony #9
Sarah Van Patten, Carlos Quenedit
Vanessa Zahorian*, James Sofranko
Taras Domitro
INTERMISSION
Chamber Symphony
Davit Karapetyan
Dores Andre, Mathilde Froustey, Sarah Van Patten
INTERMISSION
Piano Concerto #1
Sofiane Sylve, Tiit Helimets
Frances Chung, Joan Boada
Thursday, April 09, 2015 - 8pm
Conductor: Martin West
Symphony #9
Sarah Van Patten, Carlos Quenedit
Vanessa Zahorian, James Sofranko
Taras Domitro
INTERMISSION
Chamber Symphony
Davit Karapetyan
Dores Andre, Mathilde Froustey, Sarah Van Patten
INTERMISSION
Piano Concerto #1
Sofiane Sylve, Tiit Helimets
Frances Chung, Joan Boada
Great casts! I saw them perform this when it was first premiered at SFB. So exciting! How wonderful that SFB is doing the entire Trilogy! I doubt that ABT will do it in it's entirety again.
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It can be hard to disentangle "I was there" from "this is meaningful to me." Copeland's debut will be understandably meaningful to a lot of people who aren't even big ballet fans. I'm reminded of Obama's inauguration, which I considered going to, but didn't because the press predicted long traffic jams just getting into the city that morning. I see those jams as the equivalent of $300 tickets.
I find it fascinating that you equate Obama's inauguration to Misty's debut in "Swan Lake". Wow! Right about now she must be thinking that her Under Armor commercials really did their job. But I get it. First kiss, first job, first African American President, first African American Swan Queen. As Natalie points out, "this whole thing is crazy fun". I'm sure she will be thrillingly good. and happily we will have many years of seeing her dance this role. I have to ask: does her ticket price go down the longer she dances the role?
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Isn't that the whole reason she's a star, that she's an African-American ballerina - a point of pride for some and satisfaction for others, just as Obama was in 2008? I don't see any cause for shame.
Don't mis-understand me. I agree Misty is a "star". But I believe anyone given the role of Swan Queen should be able to do the work, regardless the color of their skin. Misty is more than capable. A wonderful dancer! I only meant that there may be people out there buying these tickets (and perhaps willing to pay inflated prices) only because she is African American. Not because she is a gifted dancer. There is still a certain portion of any audience willing to pay high prices for the sake of saying "I was there".
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In fairness, Misty likely has no say or imput into the prices charged by WB. It is ironic, as you stated. I have every expectation that ABT will raise the "dynamic price" of her SL and RJ performance soon enough.
Yes, I also doubt she has any input into any of the pricing. What is charged to see any of the other dancers in the company for "Swan Lake"?
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Woo hoo! I've just nabbed a ticket to the opening night with Misty & Brooklyn. I consider myself lucky to have paid 'only' $300. Bargain basement. The sad thing about the price hike: how many inner-city kids will be able to afford a ticket? Maybe the WB will have a dress rehearsal that DC school kids may be able to attend for free?
You've sort of hit an interesting nail on it's head, Natalie. This type of "dynamic pricing" for Misty's performances sort of flies in the face of her stated desire to bring ballet and role modeling to a new audience. How many inner city kids (of any race or ethnicity) can afford these prices? Are the people who can afford to pay those prices now doing so because she(Misty) is some sort of curiosity? African American woman dances "White Swan" Shame on us if that's the case. And shouldn't these same inner city children be allowed to see a full performance and not a rehearsal.? This type of "elitism" seems out of character somehow. I truly wish Misty well in her climb upwards. A dancer's life is never easy. But I also wish all of this were not being made into some PR person's dream. A role model should touch all levels of the spectrum, not just the ones with deep pockets and the check book to pay.
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Congratulations to her. But keeping in mind Abrera's own experiences with ABT, I hope she isn't depriving a deserving Australian Ballet dancer of an opportunity.
Like "Cinderella", if the shoe fits..........In this case , said shoe is on the other foot. I, too, would love to see her as "Giselle".
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I arrived at 2:45 PM yesterday and there was no line at all. Was in and out within minutes.
Also got there about 1:30. It moved really quickly and I was able to get everything I asked for. (and better seats in most cases than my subscription. Go figure). Talked with friends for a bit and by the time I left around 2:30 there was no line at all. They even closed a few windows.
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I agree about Gray Davis. Totally under used at ABT. He should follow the lead of others (Bo Busby, Roddie Doble, Jos. Philips, Luis Ribagorda, etc. ) and go elsewhere. Also Daniel Mantei needs either to be used more often or think about moving on. ABT isn't the end of the line, unless it is.
Spring 2015
in New York City Ballet
Posted
The downstairs entry lobby of the State Theater has always been a design disaster. Far too crowded, bad lighting, the roster boards with the dancers pictures can barely be seen (especially when everyone crowds in front of them). It's simply not a very inviting atmosphere. I always feel I'm at the bus terminal or Penn Station (and I don't mean the glorious old one, now demolished!). Even the lobbies for the Orchestra Level aren't all that wonderful. It isn't until one gets up to the main lobby level (First ring) that the space opens up and seems like an inviting place to be. Then after that up in the other rings it's back to feeling cramped and decidedly second rate. One can look out over the Main Space and be a spectator to the scene, but it really isn't much of a thrill. The Met isn't much better until one ascends the Grand Staircase and arrives on the Grand Tier Level. Poor entry way in the Front and I always feel like I'm descending into a dungeon when I go into the Orchestra Level. I'm hopeful the new renovation of Avery Fisher will be an improvement over in that house.