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What Is It About NYCB that We Adore?

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This is a topic that I could write about at length, but it boils down to these few remarks:

To see the Balanchine rep on a daily basis year in and year out, you have to go to NYCB. No, they are not always perfectly executed.

The same may be said of the Robbins repertoire.

I cannot think of any other Company that is so dedicated to the creation of new works. They are not all great pieces by a long shot.  They do extend the range of the dancers and bring new/different music into the repertoire. You can always skip them if they're not to your liking.

The dancers. I love every last blasted one of them.

The feeling of continuity: knowing Merrill Ashley or Karin von Aroldingen are hovering backstage; seeing Nicholas Fokine onstage in the NUTCRACKER.  An ongoing sense of ballet as a family affair, spanning back to Diaghilev who in turn links back to Petipa.

The theatre: ideal for dance. The Met's too big, the Joyce too small for larger pieces and has no pit.  City Center is not comfortable and the stage is oddly proportioned. But the NY State Theatre is just right. It feels like home.

Balanchine's ghost: he's in the air.

Oberon: What a magical epistle to the greatness of NYCB. You -and I'm jealous-have seen many more ballets and many more dancers than I have, but, like you, I love them all.

I cannot imagine the pain in their beautiful bodies as they perform these wondrous ballets. I can barely do ten pushups, much less catch a 99 pound ballerina leaping into my arms. And those pointe shoes and their tender toes.

I never bemoan the present with that roster of dancers.

YES to Oberon 100000000000000000%, JIM

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