Prodigal Son and some other stuff...

[cubanmiamiboy]

I went to a couple of performances of this program, which, cleverly, was NOT presented in the order seen below.  Of course they had Prodigal Son last, so by the second time I went to the theater, I timed myself and skipped everything else.  

I took my 5 y.o daughter, who has always responded very favorably to Nutcracker, Cinderella, Swan Lake and even Rubies from Jewels, and when I looked at her next to me on her seat she was hunched down...still looking, but obviously bored. So I approached her and whispered..."Do you like it..?", and she goes, looking me straight in the eye..."No..", to which I answered back..."Me neither, honey".  She seemed happy that she wasn't on the wrong.  When Prodigal Son came on, we both got up from our dozing off state.

So yes...we both woke up with the Son and the Siren.  It is amazing how artistic magnificence always stands apart from ....everything else.  It is a unique, marvelous ballet.  Short but extremely artistic and powerful.  You can't keep your eyes off the stage from one vignette to the next.  One time I heard Alicia Alonso say, during a press conference at a Balanchine Gala she organized THAT INCLUDED WALTZ FANTAISIE, that she sensed that the amount of choreography that he used for every single bar of music couldn't be challenged by anyone. No more...no less. That it was a perfection very rarely seen in other choreographers-(I believe she mentioned that maybe Tudor).  And Prodigal Son has unparalleled artistry in great amounts. Yes...there is the stylized, sexually charged Son/Siren duo, but the genius of it all goes to every single corner of the work...from the music to the decor to the masterful choreo. Prodigal Son definitely goes to the top of my "hypnotic ballets" list.

I saw two casts on it.  Alexander Peters/Down Atkins-(below)- and Renan Cerdeiro/Hannah Fischer. Peters was particularly beautiful to watch.

Prodigal Son

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This is a tale of sin and redemption, the story of a young man’s hunger for adventure. It features two legendary roles – the rebellious Son and the beautiful Siren. Their partnership culminates in one of the most sensual pas de deux ever to be seen on stage.

In this masterpiece, Balanchine borrowed from the worlds of gymnastics and circus. Fearless acrobatics, soaring leaps and feats of strength punctuate Prodigal Son’s powerful themes. You’ll feel every beat of this adventure – every high spirit, ferocious battle and devastating blow.
“Gauche and cruel, funny and naive, lascivious and tender… It moves with dramatic force through fantastically perceptive and daring episodes, to a conclusion of irresistible emotional conviction.” The New York Times

CHOREOGRAPHY
George Balanchine © The George Balanchine Trust

MUSIC
Sergei Prokofiev

 

Herman Schmerman Duet*

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How much fun can two dancers have on stage? Even more than usual in mini-skirts designed by Gianni Versace. In this ”gorgeous, edible piece”, the dancers show how much they love to dance and invite you along for the ride (The Guardian). World-renowned choreographer William Forsythe crafts complex steps, reckless shifts of weight and moments of laugh-out-loud humor. This is a duet where our extraordinary dancers shine: showing off their playfulness, bravery and technical attack.

CHOREOGRAPHY
William Forsythe

MUSIC
Thom Willems

 

After The Rain Pas de Deux*

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Two dancers move slowly, precisely, falling into each other and performing lifts of gorgeous geometry. This soft, melting duet is a window into a relationship full of tenderness. You’ll fall in love with the MCB premiere of this Wheeldon classic “that feels like one long, sweet exhalation” (The Standard, UK).

CHOREOGRAPHY
Christopher Wheeldon

MUSIC
Arvo Pärt

 

The Source**

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Claudia Schreier’s second world premiere for MCB, after 2020’s Places, is an original, human story about relativity. Expect a rich and thoughtful journey from this collaboration between the “skilled and sophisticated” Schreier and innovative director Adam Barish (The New York Times).

CHOREOGRAPHY
Claudia Schreier

DIRECTOR
Adam Barish

MUSIC
Riley Mulherkar, Frank Zappa, William Grant Still, Alexina Louie and Julius Eastman*/arr. Gary Sheldon

 

*Company Premiere
**World Premiere

Prodigal Son, After the Rain Pas de Deux and the world premiere are performed to live music.
Recommended for ages 4 and up
Duration: 2hr 19min (including 2 x 20 min intermissions)

 

[abatt]

8 hours ago, cubanmiamiboy said:

I went to a couple of performances of this program, which, cleverly, was NOT presented in the order seen below.  Of course they had Prodigal Son last, so by the second time I went to the theater, I timed myself and skipped everything else.  

I took my 5 y.o daughter, who has always responded very favorably to Nutcracker, Cinderella, Swan Lake and even Rubies from Jewels, and when I looked at her next to me on her seat she was hunched down...still looking, but obviously bored. So I approached her and whispered..."Do you like it..?", and she goes, looking me straight in the eye..."No..", to which I answered back..."Me neither, honey".  She seemed happy that she wasn't on the wrong.  When Prodigal Son came on, we both got up from our dozing off state.

 

 

Wow, time really goes by quickly.  Your little girl is 5 already!  Such a cutie.

Since all Russian companies are banned, it looks like we won't see each other at the Kennedy Center any time soon.  Hopefully you will make a trip to NYC for NYCB or ABT at some point.

[cubanmiamiboy]

12 hours ago, abatt said:

Wow, time really goes by quickly.  Your little girl is 5 already!  Such a cutie.

Since all Russian companies are banned, it looks like we won't see each other at the Kennedy Center any time soon.  Hopefully you will make a trip to NYC for NYCB or ABT at some point.

Time does flies, dear.  Some years ago at the MET you had you mom-(may she RIP)- and I didn't have a daughter. Life cycle goes on and on.

I was last in NYC for New Year.  It was a disaster.  All my City Ballet Nuts were cancelled, as were my Carnegie Hall performances. Thank God the Opera didn't cancel, but...the MET masks thing truly put me completely off.  I even had a lady chasing me all over the lobby DOWN TO THE BATHROOMS AREA screaming at me to put my mask on.  Mind you, I was hiding in a little corner by  myself when she saw me from the distance and she came as a bullet and started screaming and pointing her finger at my face.  I tried to run away but she kept chasing me. At one point I turned around and asked her..."Ma'am...if you're so afraid of me giving you COVID...why are you chasing me...why are you on my face right now..?!" No.  I decided after that trip that I would wait for all the regulations to be over and done with before returning to NYC.  And yes...I had also plans to the Mariinsky DC performances. All cancelled now. 

Hugs to you and Rick, dear.