Eileen

I was absolutely enthralled by this Nutcracker. Saw it tonight (Dec. 28) with Gillian Murphy and David Hallberg - a dream couple - and they were perfection. I sat in seat A1 in the orchestra which is actually the third row. It's an excellent seat, but you do have heads in front of you as row A is on the same level as row AA and BB - I would rather sit on the aisle a few rows back so as to have elevation and a better view of the stage. But quibbles aside, I saw the dancing close up and the expressions - there was so much to see, to absorb! Ratmansky's Nutcracker is very busy with story-telling especially in the first half. But he's quite amazing really, he keeps everything moving, with all sorts of surprises and a wacky humor at times. Ratmansky will never echo Balanchine's "Don't act, dear, just dance" - his dancers certainly do act, they are very expressive and effectively so. Their expressions add to the story line of the ballet as they emit surprise, annoyance, or even sheer delight. And delight is telegraphed to the audience in many of the ensemble dances. Especially effective were the Nutcracker's Sisters (usually called Marzipan Shepherdesses), the flowers, and the darling Polichinelles in a dance full of wit and humor. The children looked absolutely delighted! The snowflakes were a surprise, in that they were actually a wicked bunch of sisters. They were chilling, and I would have expected them to carry icicles in their hands (they did not but should have). They were very like the Wilis, a malevolent sisterhood. They even crossed their hands in front Wili-style at one point, a sure clue of their origins in Giselle. The first half of the ballet was quite dark, but the second half was all lightness and cheer. The flowers were charming. I liked the four male bees, but I can't help thinking that if Balanchine had choreographed their sequence, he would have interspersed them more effectively among the flowers - Balanchine was a master at utilizing limited numbers of men partnering many more women(see Divertimento No. 15, Serenade, Stars and Stripes for example). Ratmansky's bees danced far too independently - aren't bees supposed to sniff the flowers and flutter from one to another? I loved the Arabian dance where the four harem girls compete for one danseur - it gave the ladies a chance to turn the tables! The centerpiece of the ballet was Murphy/Hallberg, who were sublime. At one climax of the choreography, she seemed close to tears. And Hallberg has a way of concentrating, his eyes round, as if he is willing himself to conquer this moment. They are both brilliant! And they have a modesty in their bearing, a genuine humility as they acknowledged the tributes of the audience. I realized as I watched Gillian Murphy from up close that she is not beautiful, but her dancing makes her so. May I add that my evening was enhanced by some very special encounters. Allegra Kent sat in the very first row just ahead of me, and at intermission I asked if she would sign my program. Then to my amazement, I saw another principal of NYC Ballet, Wendy Whelan, in the back of the theater, and I asked for her autograph, too. That program's a keeper! Wendy looked small and slight, whereas on stage she appears so tall and commanding. She is gracious and lovely. Oddly enough, on the train home, she and her husband were riding the same subway car as I did, and I "accompanied" them all the way to the West Side of Manhattan, where I got off at Lincoln Center. Odd to see a Sugar Plum Fairy, Swan Queen, and Wheeldon muse riding the subway. Isn't that so New York?

I was at the New York State Theater lobby today with my niece and her friend. As we watched the Nutcracker video, we couldn't hear the music because of the pre-performance hubbub, so I sang the score as the video played. I've seen it so often that I could coordinate the dance and the music. While I sang, I would stop to narrate the ballet, point out to the girls details of the party scene. After we left, one of the young girls told me that a 6 year old little girl had been watching me, intent on the singing and narrating, listening all the while! I wish I had seen her. Even an orchestra of one can provide a soundtrack to the Nutcracker. My niece and her friend, by the way, knew very little of ballet before this and they were in rapt fascination. I had the privilege of explaining to them who George Balanchine was and his contribution to ballet - and explaining and singing the Nutcracker score was great fun!

Thank you for your kind response. I looked up the quote "ballet is about behavior" and saw where I initially read it, in a New York Times article about Garielle Whittle, children's ballet mistress at NYCB, who attributes it to Balanchine (she was in the company in the 1970's). Thank you for telling us your thoughts on the book, Eileen, and I imagine your own experience is more extensive than you realize. Balanchine reportedly said, "La Danse…c’est une question morale," although your quote about behavior may be correct - it just doesn't ring any immediate bells with me. It's subject to a wide variety of interpretations.

I don't mind purple prose from Bentley when she's writing about ballet. From some writers, it reads like cliches in the place of smart description and analysis. From her, for me, it reads like emotion layered onto smart description and analysis. Gosh, all of you diamond and silver circle and 5 star commenters and I, a mere nobody, in your midst! I am reading Apollo's Angels and I love it! I also adored Toni Bentley's review, because it was so emotionally true, not just reportage, yes, lavender prose and all. I think Jennifer Homans is brilliant - though I haven't gotten to her pessimistic epilogue yet. However, she has given me an insight. Her selection of photos of Apollon Musegete, the original Balanchine ballet of the 20's, costumed in 20's style, echoed with a strange familiarity for me. Where had I seen those headpieces? At NYCB last season, in Ratmansky's Namouna, a Grand Divertissement, where the ballerinas are all wearing what look like odd helmets or swimming caps. Could these inexplicable caps be an homage to the original costuming of Apollo? Though Homans doesn't mention Ratmansky at all, when I read an excellent writer (and see her choice of illustrations), I make connections to my other ballet experiences. I can't be as critical as the more experienced commenters here. I am still in a state of - well, aesthetic joy. Homans connection of ballet as an expression by physical means of a moral purpose speaks to me - even if ballet didn't exactly ennoble Nureyev. Wasn't it Balanchine who said, "ballet is about behavior"? Correct me if I'm wrong.

I was passing by the State Theater near the stage exit and saw hoards of little bunheads - girls of about 9 or 10. One group of 4 was sitting with a lady (who may have been an employee) and I spoke to both the children and their guardian. They told me they were rehearsing Magic Flute on the stage of the State Theater (sorry, Koch, I know) and Dena Abergel, the new co-children's ballet mistress, was directing them. So yes, Magic Flute is very kid friendly, lots of little girls in it, and they look so excited and happy. Take your little bunhead!

Suzanne Farrell Ballet will perform Balanchine pas de deux at Purchase, NY near White Plains on Sunday, November 7 at 3 p.m. We New Yorkers would love to see this company. I can take Metro North to White Plains and a taxi to the Tilles Center, but after the performance I have no idea how I would find a taxi to get back to the train station in White Plains. Is anyone familiar with the Tilles Center - are there taxis after performances like at the Kennedy Center? Is there a shuttle bus to take people to the train station like the Kennedy Center has?

On the issue of introducing the dancers before the performance: I thought it was a treat to see them as themselves in all sorts of get-ups, including costume. The appreciation idea was thoughtful. Peter Martins spoke well, and the intermission champagne was bounteous. I don't mind the "demystification". I think we can meet the dancers as "Ashley" or "Wendi" and then be transported into Ballet World as the curtain rises.

I should have posted this in the First Week Reviews section! From Bart: Eileen, not to worry. I merged your posts into this pre-existing thread.

I was in the first row of the Second Tier on opening night. Before the performance, Peter Martins announced he was bringing all of the principals out, one by one, to show them appreciation. He said, "Don't lets make this a popularity contest." Meaning please give equal applause to each. Each dancer stepped out in front of the curtain, one in overalls, some in street clothes, some in their costume for Serenade - light blue gauzy dress - but with a sweater or jacket on top, one with a muffler around her neck. They all stood in a row at the end and we applauded. It was a lovely moment. The ballets, Serenade, Grazioso, and Four Seasons - I will take them in turn. It was my feeling that Janie Taylor, who is looking emaciated, was too dark in tone. Her gaunt face and expressionless eyes were difficult to watch. Sara Mearns was simply superb, perfect in every way. She also looks a healthy weight, which helps give her dancing strength. Megan Fairchild made less of an impression - I think she is more of a soubrette type than a Serenade type. The corps was perfect - for the first time, sitting in Second Tier, I could actually see the patterning of the choreography. I saw the two diamonds of corps dancers in the opening, you could discern what was going on - from the orchestra, it is a confusing mass of movement. Though it is wonderful to see the dancers from close up, too. In Grazioso, one of my favorites, Ashley Bouder, was sparkling and totally dependable in her quickness of execution. Her three cavaliers took turns wowing the audience with pyrotechnics. Andrew Veyette is fabulous, but I have to say Daniel Ullbricht, hanging in the air an improbably long moment, made the audience gasp. Grazioso has the sort of music that reminds me of Nino Rota's The Leopard (Il Gattopardo). It's actually twinkling Glinka! This ballet was completely new for me, always a thrill to see something new. This is excellent work by Peter Martins. Wonderfully, I had never see The Four Seasons either! The ballet arrived as a complete surprise, in its format and its theme, though I should have known the seasons would be depicted. Needless to say, I loved it. I will leave the technical descriptions to professional critics, but the corps dancers lent every section zest and zing. I adored the cuteness of Winter, with the corps girls shivering in white, and the soloists with icicles falling from their sleeves. Christian Tworzyanski is extremely dependable as a dancer and partner, I have been noticing him advancing in the past several years. Sean Suozzi is a standout always. Erica Pereira was, to me, perfect. In Spring, my absolute favorite principal lady, Jenifer Ringer. And she is a lady, always. Her technique is strong though not showy. Her tone is gentle, her beauty as she dances ethereal. Summer was hot! Wow! And in Fall, Tiler Peck was more refined than usual - she has a hoydenish aspect frequently, and here it was gratefully absent. Did I write enough? I think I have. I'd like to hear from anyone who also attended.

A recent Wall Street Journal article on NYCB's efforts to reach out to new younger audiences focuses precisely on those photos in the brochure. The photo of Janie Taylor in bustier in the arms of Sebastian Marcovici is being displayed in Soho and Tribeca for the purpose of attracting young people to the ballet. The article describes how in past years the marketing campaign depicted the dancers in ballet poses with buns, costumes, and stage makeup. After much discussion, the marketing campaign was changed to personalize the dancers, to depict them with hair down, no false eyelashes, and looking into the camera in natural poses. NYCB is walking a fine line here, making the photos sexier while being careful not to descend into the offensive, in your face type of photography that you see in pop culture. I suppose Balanchine would not approve of this ad campaign, but I think the photos do not cross the invisible line and remain artistic yet sensuous.

Carey Mullligan stars in Never Let me Go, opening next week in New York, based on the Kazuo Ishiguro novel. Her gamin haircut seems to have inspired Ashley Bouder. Cary also appears on the cover of October Vogue wearing French couture, a juxtaposition of her accessible friendly personality with the austere remoteness of the extraordinarily elaborate gowns.

Ashley Bouder again! I was walking through Lincoln Center Plaza, and she nimbly passed me going the other way - her hair is even shorter! I look forward to seeing her dance Tuesday in Grazioso when City Ballet opens. I think Carey Mulligan is definitely influencing hairstyles among 20-somethings!

Oh, forgot to add that I saw Ashley Bouder at the Duane Reade at 63rd and Broadway - Duane Reade of the ballet stars! I also met the wonderful Garielle Whittle at the checkout counter at that Duane Reade last winter and spoke to her about her wonderful work with the children. (She is children's ballet mistress of NYCB as you all know.) She is lovely and gracious.

One of the my favorite sightings of several months ago was Ashley Bouder waiting on line at the pharmacy - I was sitting on the side and waiting too - and her hair was in a ponytail, she looked totally like a normal girl no one you'd notice particularly - but with her feet she was doing little tendus! This was before she got her cute new hairdo. I'm such a fan!

The Starbucks on 67th and Columbus Ave. near Lincoln Center is certainly the Starbucks of the Stars. This morning Sara Mearns was behind me in line - without makeup but totally Sara Mearns! Her picture as the Lilac Fairy is posted on my kitchen cabinet. It's so amazing, being able to see my ballet heroes as normal people. I've also seen Damian Woetzel there when he was still in the company, and many, many other dancers. I also saw Sara Mearns and Amar Ramasar together in the other Starbucks, at 63rd and Broadway, near the theater. Since I pass Juilliard on my way home, I recently saw Janie Taylor and Sebastian Marcovici walking past me. At a performance last season, Janie Taylor and Rebecca Krohn were sitting together near the elevators during intermission. Any other ballet sightings of note?

I was struck by the beautiful photography in the generously designed brochure for the coming season. The pictures of the dancers are vibrant and full of personality. Does anyone know if the male and female dancers shown together in the photos are actually couples (in real life)? They do look as if they are.