mimsyb

I for one have never thought that Giselle needs to be a totally shy, innocent girl. There are so many moments when she is in fact head strong, opinionated. She teases and flirts with confidence, and certainly makes the bold decision to turn away Hilarion in favor of Albrecht. While she is ultimately betrayed, still in Act II she has the courage and again the confidence to stand up to Myrta in her attempt to save Albrecht. While she shows deference to Myrta, she understands that if ever there was a time to be bold, this would be it. I thought Gillian's portrayal had all of those elements of strength and courage. It's what made it stand out for me. Her layering of the smallest details only added to her character. Not since Ananishivili and Cojocuru have I felt such complete commitment to the role. All three are very different in their portrayals, but that's what makes this role so much fun to watch. And with the strength of Gillian's technique, I never once had to worry "would she make it"? I could simply enjoy an immerse myself in her performance. Bravo to all from last night!

Unity had been paired with Cameron Dieck (her off stage squeeze) in "Symphony in C", but Cameron suffered an injury during the first movement, and while he finished the movement, he was replaced for the Finale. Hope this new injury is both minor and short lived. I love him, both as a partner and when he's just dancing on his own. Such elegance and style! He deserves a promotion.

I would also advise bringing opera glasses, as it can be fun to observe not just the dancing, but any interplay between the dancers and whoever is holding the rehearsal. At times, several coaches can be interacting with various dancers at different places on the stage, and while you probably can't hear what's being said, it can be illuminating to see the dancers react, etc. to their coaches. Enjoy!

No information on Misty's "Don Q". But her performances in the past have always sold very well.

Perhaps you are right. Going a day or so later also means one doesn't have to stand in line. I walked right up and was done in less than ten minutes. I think there may be some "hype" as to tickets selling out, etc. I have never found that to be true. Sometimes it's better to wait because then those tickets that are "exchanged" become available. I'm sure someone was thrilled to get my exchanged ticket for Misty Copeland's "Don Q".

I went on Tuesday to BO for exchange. No problems whatsoever. Even got improved seating from my usual subscription location. AND was also able to buy additional seats. AND the lady at the box office window was extremely nice and helpful What are people talking about.?

I would have thought perhaps Cameron Dieck would have also been put forward. Maybe soon.

I too felt the movie to be highly over rated. Gosling OK, but Stone just a non starter for me. Little if any rapport with Gosling. Choreography sort of ho hum and low key. Even the opening sequence seemed so contrived with little oomph! Mostly though, I found it to be a cynical take on relationships and the way "things are" today. If this was supposed to be a "valentine" to the old movie musicals of years ago, it just didn't make it. Most of the old musicals had "happy endings" or at least something up lifting about them. Without doing a "spoiler alert", this film just ended in such an unhappy way that I felt cheated at the end. Both characters had invested so much in each other and to have them end up the way they did made the entire film a total downer. I'm not saying that everything needs to be "happy, happy". It's just I felt let down and left dangling emotionally at the end. It lacked the elegance of "Umbrellas of Cherbourg" in that respect. Luckily, I caught "American in Paris" on Turner classics a few days after seeing "LaLa Land" and was grateful that the old magic of that film still held true. The "oldies" are still the standard to meet.

OK. Apologies to all. It's about 110 degrees here in NYC and I'm just very cranky. I'll make it work. And thanks to all.

Well, perhaps I didn't see the "first casts" in any of these ballets, but if a company is going to present themselves as an "authority" on Ashton's works, then it is my feeling that ALL casts should be equally as capable in all regards. Poor partnering, lack of musical response, ill fitting costumes in some instances, on and on. I stand by my response to this company as a huge disappointment.

What a mess! Exactly why did we need an up grade in the first place.? I am not a great expert when it comes to computers and this all seems to be more complicated than ever. As I said a real mess!

Was there on Wednesday. I had so looked forward to this, so I have to report is was a bit of a let down. That said, I was glad to see this company and also the works they presented. If only for an archival purpose. Evening got off with" Valses Nobles and Sentimentales," which for me looked a bit fussy and cramped. The costumes were overpowering to the work and denied us the ability to see some of the details of the choreography. Perhaps if performed on a larger stage than that of the Joyce the dancers could have moved out a bit more. But in the end, it all looked a tad stuffy and certainly old fashioned. Hard to tell about the technical ability of the dancers, as much was obscured by the fussiness of the decor and costumes. Next up was a foursome of short works from different eras in Ashton's career. "Tweedledum and Tweedledee" was cute and blessedly short. " Walk to the Paradise Garden" was a bit of a stretch for passionate dancing, and seemed to be a bit of a "take" on both Macmillan's "R&J" and "Manon". "Jazz Calendar" seemed also to be dated in most respects. Some of the so called jazzy moves of early jazz classes I attended in NYC in the 60s were just weird. I cannot imagine Sibley and Nureyev who originated these roles bringing much to this work. Last in this group was Sinfonietta/Second Movement. With clear echoes of his more interesting "Monotones" Ashton made floating in space seem a bit of a chore. For me the best and most interesting work of the evening was the final, "Facade". Originally done in 1931 for the Camargo Society, it at least had a bit of fun and humor in it. Dancers all looked fine in this work. Bright and interesting choreography brought the evening to a close. All in all, as I said, glad to see the company, but also disappointed that what we saw was not better presented and danced. Few, if any, of the dancers stood out in any regard. Most, especially the men, seemed competent, but that's all. I guess looking back at our dance history has it's place. I was startled to see how ordinary these works all seemed, especially as we are more used to seeing Ashton at his best with "The Dream", "Cinderella", "La Fille", "Symphonic Variations", etc. As my seat mate said at one of the intervals, "well, it saved me a trip to Florida".

Yes, he's listed, but until casting comes out, I'll hold my breath.

Any word on Semionova? Or Lendorf?

I too was there on Friday. Sat in the Second Ring, center. My take on the ballet was a bit different than sz or canbelto's. From my perspective this was perhaps one of the most startling and innovative ballets I've seen in a long while. From start to finish, and with every element of stage craft, music and choreography, this ballet succeeded on every level. I loved the score. It was fresh and at times lush ; at others boisterous and fun. The on stage Banda in Act II was superb. Wheeldon's response to this score was spot on and only made it sound more wondrous. Some of his best choreography ever, especially when it came to story telling. For me, he seemed to have invented an entirely new language of dance. I mention first the corps dancing because there was a lot of it. Real dancing. So unlike many full lengths we see where the corps does little more than dress the stage. Act II was a non stop display of bravura from everyone. At times he had one group dancing stage right doing one thing while those on stage left were counter balancing and doing something else. Then two soloists would come out and bring all the threads together. Two of the most delicious love pas de deux were also performed here. I don't recall the music stopping ever. One element blended into the next, much like textural lines being spoken. There was never a point when the dancing stopped for applause and extra bows. Anyone who has ever visited a fair in Southern Italy, Spain or Portugal will understand what was on that stage. The corps dancers were superb, I might add. Fresh and gorgeous, they all looked happy to be there. Lobsanova and Gabriele-Frola as Perdita and Forizel had elements of the young Antoinette Sibley and Anthony Dowell. She also had much of the beauty and specialness of Cojocuru. Just splendid together. And that magical tree in the center of the stage! Worth the price of admission alone!!. Act I is at the start very stark and linear. But as in the play, things turn very sinister. Here's where I think Wheeldon found a way into the text of the play. Jurgita Dronina as Hermione and the amazing Evan McKie as Leontes were both most splendid in their dancing and acting here. The violence of Act I, while, terrifying and brusque, was true to the plot and later in Act III where the two are finally re-united in a pas de deux of love and forgiveness was astonishing to watch. It had much of the ecstasy I feel when I watch the "balcony scene" in "R&J". And now we come to Lunkina as Paulina, the head of Hermione's household. No words. Simply no words. True artistry. The ability to completely embody a role was there, every inch of the way. Beyond technique, beyond her acting. Just a completeness rarely seen on stage, anywhere. All the dancing from everyone was simply wonderful, filled with details, small and large. One viewing could hardly give us the time to see it all. And of course, the production values here were beyond superlative. Bob Crowley and Natasha Katz outdid them selves on every level. And the visuals combined with Basil Twists miraculous silk effects were some of the best I've ever seen. It's a wonderment what can be done today for theatrical effect. The ship wreck alone makes me NEVER, EVER want to see the tacky ship wreck that is seen in ABT's "Corsaire". And for those of you wondering about Shakespeare's stage direction of "exit pursued by a bear", it's all there. Blink and you might miss it, but from where I was sitting I nearly fell out of my seat!! All in all, as a total piece of theater I felt it succeeded on every level. How I wish it were here for a longer visit. Hopefully, National Ballet will listen to the roar of the crowd at night's end and bring this one back and soon!!

Dirac, I was the ASM on an off Broadway musical called "Taking My Turn". 1983. Intermedia Theater in the East Village. (when the EV was still a fun place!!) It was a bittersweet musical on the joys and tribulations of aging. I can appreciate it's message far more now than when I did the show, still it remains a favorite of mine. Also in the cast were Margaret Whiting, Cissy Houston, Ted Thurston, Tiger Haynes , Shileh Smith among others. There wasn't a "diva" among them. Just total professionals. All happy to still be performing and doing a most marvelous job of it. Marni was sweet and as I said generous to all. And very funny too! It was pure joy to go to the theater every night and see these wonderful actors doing what they all did best. I wish that the Summer Encores Series here in NYC would revive it sometime. It's worth another look. I believe there is the PBS showing of it somewhere on YouTube. Check it out.

So sad to hear this. What a wonderful lady. So talented and generous. I loved working with her. RIP, Marni.

I was surprised there was no announcement in the NY Times on Sunday for the Box Office opening on Monday. Odd.

Thanks, "Ashton Fan" for your clear evaluations of the "Brexit" issue. I too wonder about "buyers' remorse" in Britain, and of course here in the States, as we face many of the same issues with distorted "truths" coming to us. My hope is that the arts in the UK will come through all right with little fuss, but not holding my breath.

sorry

I'm sure she did not have a lot of coaching or prep time for this. It was done at a Competition. Still, she acquitted herself well and for someone who most likely has not danced this pas a lot, I think she was fine, if a bit tentative. Tom Forester also did well and I wish he would get more chances. It's doubtful ABT will give her a promotion after all this time, so perhaps it makes sense to her to begin a family. I've always enjoyed her time on stage and wish her well in her new "role".

Agree about Kristi. She did have an injury after she got promoted to soloist, but yes, she was never used to her potential. If we have to have a "Prodigal", I'd like to see Deven Teuscher have a crack at the "Siren" role. I still wish there was more for the company to do, especially in "Prodigal". We wait much longer between Tudor ballets, so to do "Prodigal" again so soon (7 years) seems a bit odd. Besides, City Ballet does a very credible version; I'll wait until January.

Personally, I would have preferred if they had done either the" Bach Partita" or " Upper Room". I find both of these ballets superior to the" Brahams-Hayden". Or if they had really chosen to be bold, they could have revived her "How Near Heaven". With an extraordinary score by Benjamin Britten, it would have been a perfect fit for the State Theater. I just find the B-H to be a bit more convoluted. Less focused. And it was done just last year. And didn't we just recently see "Prodigal" also? Is there no other Balanchine out there that would have given more people a chance to dance? "Allegro Brillante"? Or, I know this hasn't been done in forever but, possibly revive his "La Sonnombula".. I can picture either Sarah Lane or Stella in the sleepwalker role. I'm just saying..........

Amen to that.

This is not Ashton's "Daphis and Chloe. Is this a new ballet of Millepied's ? Not known to me. Ashton's was amazing. Great score. As for the rest of the rep. a bit of a disappointment IMO. A bit of too much of Jessica Lang and I would say that for "Prodigal Son" also. There are a few ballets here with small casts. (not the Tharp, however). Well, in the positive corner, it does have a few ballets not usually seen anymore. We'll see.