Tonya Plank

Author, Dancer and Public Interest Lawyer


Monthly Archive for February, 2008

Sean Bell Shooting Trial, Day Four: “We Were All In Shock, In a Surreal State”

Today’s sole witness was Lieutenant Gary Napoli, the team leader of the drug and prostitution operation on the night of the shooting. Napoli, 50, who in his 25 years on the police force had never been charged with carelessness or incompetence, seemed very nervous. He asked often for questions to be repeated, concentrating hard on his answers. He impressed as a man who was trying hard to be truthful yet couldn’t help but be mindful of his defendant colleagues. He spoke very softly and his words were often garbled; I had a hard time understanding him.
The team, which included all three defendant detectives (Oliver, Isnora and Cooper), had been assigned to the Jamaica, Queens initiative in October of 2006, a month before the shooting. Previously they had been assigned “buy and bust” operations in Chelsea, Manhattan. (I’m sorry but on hearing this, my first thought was: there’s actually crime in Chelsea these days? I’ll be very interested when the detectives testify to know whether this was their first experience out of Lower Manhattan…) Within the prior week the team had processed two arrests each for drug sale and prostitution at Kalua Cabaret. They needed one more arrest — for either — at Kalua in order to ask that it be closed down. According to office superiors, there were to be team changes put into effect the following week, making them believe they may be returned to Manhattan and this would be their last night in Queens. Although it wasn’t listed on their TAC plan (plan of operations) for that evening, the team had decided Kalua would be the main target.

The team consisted of three vehicular units: the undercover’s car, driven by defendant Detective Isnora and containing three other passenger undercover officers; the “prisoner van” which carried defendant Detective Oliver and another officer; and the “chase car” used by the backup team to get the suspects after the buy, in which Napoli and defendant Detective Cooper were passengers).

All cars parked in the vicinity of Kalua at around 12:45 on the morning of November 25th. Once all units radioed they were ready, Napoli authorized them to go, sending Detective Sanchez into the club around 1:30 a.m., and Cooper at 2. About fifteen minutes after Cooper entered, Napoli received a communication (he couldn’t remember from whom) that there was a male black in the club wearing a white White Sox hat and a white t-shirt who made a gesture to his waistband indicating he had a firearm, after a dancer approached him saying she had had a problem with a man in the club. Napoli relayed that information to the other units. At about 2:50, Napoli decided to have Cooper exit the club and place him and Isnora in front of the club to stop the “White Sox” person if and when he left. Cooper returned to his car to get his bullet-proof vest, and he and Isnora took position in front of Kalua.

Around 3:30 a.m., Isnora called Napoli telling him there were two groups in a heated argument in front of the club and he believed a weapon was involved. A few seconds later Isnora called again, his voice now much more frantic, saying they needed to take quick action; he believed there was going to be violence. His words were, “it’s getting hot, it’s getting hot, we need you here quick,” which Napoli viewed as a call for help, and told his units to “move in.” Isnora gave no description of the people involved in the fight but said nothing about a man with a White Sox cap.

Napoli’s car went past Kalua, but Napoli didn’t spot Isnora. (Napoli was in the passenger side; another officer drove). When they rounded the corner of Liverpool Street and began driving south, Napoli saw Sanchez rounding the corner as well; he was walking behind a black woman (who must have been Payne). He then saw Isnora about two buildings in from the corner, standing on the west side of the street. There were between 20 and 40 people on the street, the club having just closed. As he passed Isnora, Isnora gave him three nods of the head indicating a car, an Altima (Bell’s car), across the street, parked on the east side of the street, which some people were getting into.

Napoli’s intent was to drive up past the car, put his police light atop his car, then get out and stop the Altima. As they drove past, Napoli fumbled with the light, having some problem retrieving it, then plugging it in. As Napoli was bent down trying to put the light on, he heard a car screeching away, followed by a collision. Seconds later (he couldn’t estimate how many) he heard gunshots. They were multiple; no pauses. At this point, though he hadn’t seen what happened since he was bent down looking away from the cars, he believed that the people in the Altima knew Isnora was an officer, knew they were all police, and in the process of trying to get away got into a collision. Still trying to get away from the police, the people in the Altima were now firing at them. He thought he and his men “were under fire.”

As Napoli grabbed his gun and tried to look backwards out his passenger window, he saw another officer, who was directly in his line of fire. He radioed the officer to get out of the way, which he did. Napoli exited the car, crouching, his weapon drawn, the gunfire still going on. After he got to the end of his car, the gunfire stopped, an “eerie silence” ensuing. Napoli never fired.

When the gunfire ceased, Napoli called out asking if everyone on the team was okay. Voices indicated they were. He saw Oliver standing on the driver’s side of the Altima and Isnora near the corner of the street. Napoli then turned his concentration to the Altima, seeing some movement inside. A man called out that he was hit. Napoli directed him to put his hands out of the car and wiggle his fingers to let him know he didn’t have a gun. The man did so.

Afterward the team members were “all in shock; in a surreal state.” Napoli had supervised over 100 operations and none of his subjects had ever been seriously injured.

Napoli also had never before ordered a primary undercover to effectuate an arrest; arrests were performed by the designated arresting officer. But he had also never been in this kind of situation. He said he was trained, at the outset of a threat, first to take cover, then assess the situation, and then identify the target, all before using any deadly force. He would not let shots go off without identifying a target. But there are some situations, he added, where you can’t find the target.

MTV’s “Virtual Dance Off” et al

Taking off from its popular show “America’s Best Dance Crew,” MTV, along with Metacafe, is launching a “Virtual Dance Off.” According to the press release, the contest “will allow fans to create their own user-generated dance moves. Users can choreograph their moves, try out new dances and use machinima tools to film and edit their video, before uploading them to Metacafe. The top 20 videos will be featured on a “Virtual Dance Off” micro site, and in MTV’s Virtual Worlds. The community will vote and choose the Grand Prize winner on March 31, 2008.” I haven’t participated in vtmv before. Has anyone else? It sounds cool! Go here to check it out.

Speaking of “America’s Best Dance Crew“: how happy was I that Status Quo was finally NOT in the bottom three!!! Yes! I loved all that flipping they did last night. I’m always afraid someone’s going to get hurt, but they just always make me smile, and I need that after a full week of this trial. Not to wax too cheesy about these boys from the ‘hood I find so endearing, but this disturbing trial (not to mention having spent many years as a public defender) makes me think what dance can do for people — taking them out of their circumstances, giving them opportunities, allowing them to take out aggression in a positive way… Dance is important!

Anyway, I was rather shocked that the judges knocked off Living Color last night. That was pretty risky of them since audiences have voted Fysh ‘N Chicks in the bottom two for, what, three weeks, and this was Living Color’s first time being forced into the dance-off. I was sad; I really liked them — they were a fast, fun, supercharged group and I really thought they’d be in the finals. I was annoyed by Shane Sparks’s, “that’s a female, y’all” remark regarding Fysh ‘N Chicks. Has the man ever seen a gymnastics competition? For the record, yes, Shane, women can climb fences and do flips too.

Finally, a reminder that tonight is Lifetime’s new show, “Your Mama Don’t Dance,” hosted by former “Dancing With the Stars” contestant Ian Ziering. It’s on at 9 p.m. Eastern.

Sean Bell Shooting Trial Day Three: “You Can Tell They’re Undercover Cops By The Way They Look at You”

Today we had two and a half witnesses (third was a police officer, the head of the sting operation the night of the shooting, who only got about a fourth of the way through his testimony). The main people we heard from today were the two guys Ms. Payne, the former exotic dancer from yesterday’s testimony, passed first walking from Kalua Cabaret to her car and then again when running back to the club from the gunfire.

First on was Hugh Jensen, a very soft-spoken 31-year old man with one prior conviction for grand larceny from ten years ago. He had known Sean Bell and his friends for about six years and was at the club for the bachelor party. He and Bell both drove to the club, each carrying about three people, arrived around 11:45 p.m., and parked near each other, around the corner from the club. When Jensen emerged from his car he noticed a police officer standing at Sean’s car, asking him for his license. After the officer left, they all went into the club together.

Around 3:30 a.m., Jensen took “Bone” home, then returned to the club around 4 to pick up Larenzo Kinred (who testified after Jensen), a seemingly sensitive, emotional 34-year-old with one prior felony for crack possession and four prior misdemeanors mostly for marijuana; one for criminal mischief (he broke a window). When Jensen got back to the club he saw five men from the Bell party standing outside in front. Kinred was talking to a woman named Karis off to the side of the club and Jensen joined them. They soon noticed Sean Bell emerge from the club, go back in for a short time, likely to retrieve something, and, upon exiting again, engage in an “altercation” with a man wearing all black standing next to an SUV in front of the club. Jensen couldn’t hear anything they were saying, but characterized the interaction as “kind of aggressive,” “not a normal conversation.” He saw Bell turn around at one point, a “sarcastic smile” covering his face.

Kinred did hear part of the conversation, however. He heard the SUV guy say to Bell, “hey, you can’t be doing that up here. I got money up here, you can’t be going in there.” Kinred interpreted the SUV man’s actions, the way he held his hand in his pocket, to be simulating that he had a gun. Kinred indeed thought the man had a gun. The other five men in the Bell party approached the SUV guy, standing “around him” and, according to Kinred, one of them said to SUV guy, “we can take that away from you.” Kinred and Jensen saw a pair of men, whom they didn’t know, standing only about five feet away from SUV guy and Bell, closer to the two than Kinred and Jensen were.

Finally SUV guy got into his vehicle and drove away very very slowly, turning at the corner. A green minivan followed the SUV, driving slowly down the street as well. As the green van passed, the driver and his passenger looked out their windows at Jensen and Kinred. They were white men. Because of this and because of the way they looked at them, Jensen and Kinred knew they were undercover cops. (At this point there were gasps in the courtroom). “I just know. From the neighborhood. You can just tell,” Jensen said. On cross, Detective Isnora’s attorney, Anthony Ricco (who, by the way, seems very attuned to the “big picture” in all of this, who gives everyone their humanity even while riddling their stories with holes, and whom I really really like) asked Jensen if he could tell the two men standing near Bell and SUV guy were undercover officers as well. Jensen said no, those two guys looked like they belonged there.

Bell and his friends walked off toward their cars, around the corner. Payne, followed by a bald man, exited the club and walked toward the corner as well.

About twenty seconds later, they heard gunfire. There were two to three shots, a pause, then rapid gunfire. Kinred was waiting for a dancer who’d told him she’d been smacked in the face earlier in the night, but at this point he began walking quickly to the corner from where the shots were coming, Jensen following him. They were fearful but worried about their friends. As they ran toward the gunfire, Payne ran by them. Yesterday Payne claimed they asked her what she was running from, annoyed that they didn’t hear the fire, but Jensen said he and Payne exchanged no words; Kinred said he asked her what had happened. Neither man had heard any screeching tires or yelling before the gunshots.

Rounding the corner, they saw a light-skinned man standing to the right of the minivan holding a gun with two hands and shooting into Bell’s car. Kinred cried at length upon describing this in court. They also saw Bell in his car, his head slumped toward his window. “What are you doing?” Kinred yelled out. The officer with the gun turned around to him and said, “get the fuck off the block, get the fuck off the block.” They saw another light-skinned officer on the other side of the car.

As they turned to walk back around the corner they saw the bald guy who had been following Payne run into a little doorway down the street and duck. A few minutes later, Jensen saw Detective Oliver on a cell phone stating the location of the shooting.

At trial Kinred said he didn’t see any of the actual shooting. However, footage from a TV news camera was played in court, showing him shouting to the cameraman that he’d seen the whole thing and knew the cops crashed into Bell’s car and, because they were scared, emerged from the van and began shooting. He admitted this was all an assumption.

Kinred hid from the police for the next few days, directing his wife to tell them he wasn’t there when they came to speak with him.

Also of note: Kinred said he witnessed a fight between a man and a woman at the front of the bar that night, in which the woman threw a drink in the man’s face. And, the prosecutor made a point of eliciting from Kinred that he was wearing a red Celtics jacket and a red baseball cap that night, which I assume will be important info later on.

Oh, Katusha! Jose!

Well, I had really wanted either Arunas Bizokas and Katusha Demidova or Jose Decamps and Joanna Zacharewicz to win, but I understand why Andrei Gavriline and Elena Kryuschkova (pictured above, photo by Jeffrey Dunn from America’s Ballroom Challenge site) did. As host Ron Montez said, they are by far the couple with the most experience dancing together. The judges value that longevity and commitment, and they’re the most used to each other. While I thought their Rhumba long program was a perfect representation of that dance, flawlessly executed with a very difficult lift, where he rolled her not only down but up and down again all in the same breath, I still can’t help but be a slight bit bored by them. Still can’t figure out why. On the other hand, I’m not in love with Standard and yet I can’t take my eyes of Katusha.

The minute she and Arunas leave the floor I’m sad and want them back. To me it says something that I’m not in love with their dance style but they still take my breath away. And she looks so much better with him than with her former partner, Jonathan Wilkins. Their long program just blew me away, from their frame, their sweep, their elegance — they’re a world class couple and it shows. Of all competitors in tonight’s championship, Katusha is the highest ranked internationally, placing second with Jonathan last year at Blackpool. Andrei and Elena didn’t even make the semifinals.

(photo above by Jeffrey Dunn) I loved Jose Decamps too — no one does the Mambo like he does. No one! No one does those crazy lightening fast-jumps and has all that liquid upper body action. The Afro-Cuban styling at the beginning with all that back movement and those rib-cage isolations — that was insane! It’s like he’s a rubber band! The man has no vertebra. The problem with them as a couple is that I think he outperforms Joanna by miles. She’s a good dancer, but he’s so much better that there’s a lack of balance. He can’t help it of course. He shouldn’t dance down. Who was his last partner; does anyone know? I know he was once with Cheryl Burke, but that was a while ago, I thought. Well, my advice to the top Rhythm people is: Joanna and Emmanuel Pierre-Antoine should get back together, and Jose needs a new partner.

And J.T. Thomas and Tomas Mielnicki: I like them a lot and I know how much she loves Broadway theater-style dance. They constructed a perfect foxtrot / cabaret routine, with each dance shown in equal measure and some nice connections between them. But I just think Broadway dance doesn’t look right unless it’s on a stage. With singing. And a loud, live band. I preferred their short routine, the creative combo of Argentine and Standard tango.

And all those “ballroom cameos” in the exhibitions — how fun! Max Kozhevnikov and Yulia Zagoruychenko on twice made my night :D I love that “Rhythm Section” routine. It’s a classic for them and it never loses its charm. I love her razor sharp precision. She just nails every movement, and I love how they play with the rhythms and switch back and forth between them so fluently. I think he’s a wonderful guy, but I do think she outdances him. So, though I’ll miss them as a couple, I think their split was for the best, and I can’t wait to see her with her new partner, Riccardo Cocchi.

And what a treat were Valentin Chmerkovskiy and Valeriya Kozharinova! Ooh, he’s just so sexy! He reminds me a bit of (top pro dancer) Sergey Surkov. Valentin and Valeriya are an amateur couple, as are the last couple to perform, Anna Demidova and Igor Mikushov. Both do well in amateur comps, particularly the latter couple. Couples like these are what I mean by competitive amateur dancers who have sponsors, dance full-time, and are nearly as good as their pro counterparts. You’ll recognize the last names of Valentin and Anna — they both come from big dance families :)

I really enjoyed Ron Montez. He was very good at explaining what the judges looked for and what was good about each couple. And he taught you some vocabulary as well. I learned a lot from him, particularly in the Standard and Smooth divisions, which I don’t know as well as Latin. I hope he returns next year.

Finally, I have to say, I’m so glad they did that little segment on John DePalma, the announcer. If you ever go to a competition in the U.S. — and everyone should! — his voice will become so familiar to you, you’ll be hearing it in your sleep for days. I always wondered about him, where he came from and how he got this job, so now I know! He’s at practically every comp in this country; those words, “Who’s your favorite couple, ladies and gentlemen?!” — Haha, I haven’t been to a championship in a while now (had to miss the New York Dance Festival this weekend, sadly…) but his voice and his words kind of bring me there anyway.

Uh, I’m sad it’s over for another year… They need to televise far far more of these.

Bell Trial Day 2: Emotional and Contradictory Testimony, and Need Made Clear For Videotaped Interrogations

Big day yesterday. We finally had a witness yesterday afternoon — an exotic dancer in the club where Sean Bell’s bachelor party was held — whose testimony went to the ultimate issue in the case (until now, none of the People’s witnesses saw the actual shooting).

I arrived at 8:20 and still had to wait in an outside line, albeit a shorter one. I should try to get an official press pass. Haven’t needed one for all my ballet performances! But if I’m going to write about things like this perhaps it’s worth looking into… Anyway, there was a group already congregated and I got in line behind them. Soon a woman came up and said several “good mornings,” to people, all of whom returned her greeting… except bonehead moi. She did look at me, but I thought she wasn’t talking to me, both because I never think people are actually talking to me when they don’t know me, and also, because, well, she was black and everyone she said hello to was black as well so I kind of assumed they were all together even though she got in line behind me, without chatting further with them. In the courtroom, I saw her sit down on the defendants’ side, up front in the family section, while all the others in line ahead of us sat on the prosecution side. So they weren’t together. It made me happy that people are being kind and generous to each other. There’s no reason not to of course, but this is obviously a stressful time where tensions can easily flare…

This trial really is kind of like a TV drama the way the big story unfolds and audible gasps emanate throughout the courtroom at various points. At one point Justice Cooperman had to ask spectators to quiet down with their commentary, reminding them this was a courtroom.

So, going in order of the day: first two witnesses were bartenders at the Kalua Cabaret, the club where Sean Bell and his friends, Trent Benefield and Joe Guzman, were shot by police, Bell killed, upon leaving via car. Ms. Angulo (sorry, didn’t get her first name; also I’m going to bold names of witnesses to make it easier to see who has testified), speaking through a Spanish interpretor, said she was one of several bartenders working that night, November 25, 2006, and remembered serving Sean Bell one drink, a Long Island Ice Tea, which he ordered from her. The club closes at 4:00 a.m.; she left at 4:30. When she did, she saw ambulances, police cars and yellow police tape blocking off portions of the street around the corner from the club. Sean seemed happy. She never heard shots.

The other bartender, Tina O’Neale, never met Bell that night, but knew his friend, Joe Guzman, who had asked her out. She remembered overhearing a verbal fight that night between a male and female, the two yelling at each other and walking back and forth in the front area of the club before exiting. She later heard about another fight involving a dancer, but didn’t have first-hand knowlege of that. Also, there was a group of guys in the back area (where, according to others was where the Bell party was) who were getting a bit “rowdy,” touching the dancers and being loud. Around 4:00 a.m., as she was preparing to leave, she remembered a woman running into the club “saying something about gunshots,” which she hadn’t heard. She “didn’t pay the shots any mind,” and left the club.

William Bell, Sean’s father, was next to testify. He hadn’t wanted to go to the club, but after his son called him a few times, gave in and went for a couple of hours to help Sean celebrate. He left around 3:00, well before the shooting, so didn’t see any part of that. He said he remembered seeing Detective Cooper (one of the three defendants), in the club.

I just want to take a moment and say for the record detectives Cooper and Isnora are black men, as are their attorneys (both of whom are real characters, both of whom can actually be comical at points while still being very formidable cross examiners). Detective Oliver is white. There’s a team of several attorneys but the main ones are the two I just mentioned; Oliver’s is a white man. I just say this because I feel the media is making this into a white versus black thing and it’s so not. Everytime I see the detectives pictured on the news or in papers, it’s usually only Oliver, or he is in the fore, and any time an attorney is interviewed it’s one of the older white men. There are people of various races sitting on both sides of the courtoom, though it’s hard to tell which side people are supporting, if any; the courtoom’s so packed everyone’s just trying to find a seat. Anyway, back to trial.

Last witness of the morning was the colorful Harold James, a smallish man in his late 30s with cornrows, who’s known — rather widely — in the community as “Bone.” Bone was also there that night but left before the shooting, so didn’t provide any testimony going to the ultimate issue either. He knew Bell but seemed to be better friends with the others in his party, such as Joe Guzman and Trent Benefield; everytime he said Bell’s name, he called him “God bless Sean Bell.” Bone has three prior convictions involving cocaine sales. In one of the more humorous points of the day, Isnora’s attorney (one of the characters) asked Bone on cross, “These are only the three times you happened to get caught, right. I mean, you’re not telling Judge Cooperman that these are the only three times you’ve ever sold cocaine, are you?”

I thought, oh no, be careful what you say!

Looking at first a bit like a deer in headlights, he thought for a few seconds, looked at the judge, looked back at the attorney, and said, “I’m not telling him nothin’.” Laughter spread through the courtroom and even normally emotion-less Cooperman cracked a smile.

The defense attorneys really went nutty with these priors. I say nutty because focusing on former convictions like this is normally something a defense attorney would do with a jury, to discredit the witness; a judge really just needs to be told once — he can remember; he knows what prior convictions for what crime mean and don’t mean — making me think much of this examination was for the spectators and press. They really do have a jury of sorts here.

Anyway, to say Bone was a regular at Kalua is an understatement. He was there several night per week, bringing people there, bringing lots of cash to the owners, “makin’ it rain,” and kind of herding the dancers, all of whom he knew well, around to various parts of the club to perform for friends, parties he’d brought in, to maximize their monetary intake, and of course his friends’ happiness. Though he insisted he never received payment from the club, he had told the Grand Jury he was “affiliated” with it, a dispute arising over what exactly that meant. He’d taken the Bell party to the back of the club, where he arranged for dancers to come back and entertain. In contrast to O’Neale, he said there was no rowdiness back there. He bought Bell a Long Island ice tea.

Bone left at 3:20 to pick up his “lady,” so also leaving before the shooting. One of the most conspicuous points of his testimony was his statement that sometime after 4 a.m, he received a call from Sean Spencer, the club’s bouncer who testified yesterday, in which Spencer told him there were a lot of shots outside the club, a van was seeing going around the corner, and he should come back immediately. He and Spencer had each other’s phone numbers, he affirmed. But yesterday Spencer, who has prior convictions for selling cocaine and soliciting prostitution, had strongly asserted that he never spoke with Bone, hadn’t spoken with him after the shooting, and in fact didn’t believe he even had Bone’s phone number. Bone also contradicted Spencer in another aspect: Spencer had insisted that he searched everyone for weapons before they were allowed admittance into the club, including Bone. But Bone said he was rarely searched since they all knew him well there, and he wasn’t searched for weapons the night of the shooting.

When Bone got to the scene that night, he saw Joe Guzman on the ground, face down, and Trent Benefield in the ambulance, which he followed to the hospital. He admitted lying to the officer in the ambulance, telling him he was Trent’s brother, but only in an effort to get him to allow Trent to speak with his mother on the phone.

It was the afternoon witness who has given the most pertinent, emotionally upsetting and, in my mind, heartfelt testimony thus far, though it wasn’t free of contradictions. Thirty-two-year-old mother of three Marseilles Payne, or “Trini,” was working as an exotic dancer that night at the club. She had one prior for second-degree assault, which she said was the result of stabbing her ex-lover who was beating her. She now works for the Department of Homeless Services as a medical assistant, and in fact, showed up in her scrubs. She quit working as a dancer at the club shortly after the shooting. She was good friends with Bell and all of the men in his party, having grown up with them in the same neighborhood.

That night, she began dancing on the front stage, but Bone shortly led her to the back, to Bell’s bachelor party. There were about 10 members of the party in all. She remembered serving Bell a beer. He seemed happy.

At some point that night there was a fight in the dancers’ changing room / back bathroom when a dancer brought her boyfriend into the room. A couple of other dancers needed the room to change for their next number. One of the dancers instructed the man to leave, as the room was for dancers only, and the man slapped her hard across the face. She and he began fist-fighting and Payne and her friend got between them and tried to break it up. Eventually they were able to push the man out the door.

Around 3:45 last call was announced and by 4 all customers had left. Payne went into the back and changed clothes, then waited for her night’s pay at the DJ booth. Trent had made tentative plans with her earlier to go to a restaurant for food after leaving the club. As she left the club, a man outside standing next to a black truck walked up to her, told her he enjoyed watching her dance and wanted to pay her to spend some time with him. She told him she “doesn’t do dates.” Though three weeks earlier a dancer had been kidnapped from the club, and others robbed, Payne wasn’t that worried about the man because she saw two male friends standing nearby. The man who asked her for the date got in front of her and walked with her but left her alone when she stopped to talk to her friends. She left them, rounded the corner where her car was parked, opened the trunk and put her dance bag inside. On the back window of her car was written “RIP Dallas,” for her boyfriend who had died in a shooting over a parking space only weeks earlier. She broke into tears upon relating this. “He was my best friend in the world,” she said.

While at her car, she saw Trent across the street getting into the rear passenger side of Sean Bell’s car. He called out “hey” to her, and she assumed he was going to drive up to her car and they could decide where to go for food. She said back to him, “okay,” and was just closing her trunk when Bell’s vehicle began to pull out. She said she heard a noise “like an engine revving up” and tires screeching. A minivan came up from behind her and crashed into Bell’s car. A man emerged from the driver’s side of the minivan, went to the front of the van and fired three shots into Bell’s car. Payne turned around and ran around the corner and hid in some bushes in the front yard of a residence, where she heard more gunfire, many shots; said she’s “never heard anything like it before.” Gasps spread throughout the audience at this. Payne claimed she never heard anything precede the shots, never heard anyone say “police, stop” or anything of the sort. She also never saw Detective Isnora, who according to opening statements — I’m pretty sure of both parties — was struck by Bell’s car when it pulled out. She also claimed Bell’s car didn’t back into reverse, going toward Isnora, and eventually hit the back wall, which was asserted in openings. When asked on cross how the shooter was able to get in front of the van, she said after the crash both cars backed up a little bit.

After the shots ended, Payne got up and ran back to the club. On the way she passed her friends again, who asked her why she was running. They hadn’t heard the shots. She ran into the club and screamed to Sean Spencer and others inside, “they were shooting, they’re shooting them, the cops are shooting them.” But she also testified that she hadn’t, at that time, realized the shooters were police officers.

After she collected herself, she went back to her car and tried to leave, but the area was filled with an ambulance, a helicopter and police who had now created a crime scene, of which her car was a part. She couldn’t take it. She saw the man who’d asked her on the date running down the street, now with a police badge dangling around his neck. Crying, she said she saw people from the car being lifted into an ambulance. (At this point, female members of Bell’s family burst into tears and were escorted by male members of the group outside of the courtroom.)

After someone in the club told police Payne had seen the whole thing, the police, she claimed, forced her to accompany them to the precinct. She told them, untruthfully, that she hadn’t seen anything, knew nothing, and needed to go home to her children. But they kept her there for 18 hours, wouldn’t let her talk to her children on the phone and wouldn’t give her anything to eat the whole time. She wasn’t released until midnight, after she gave in and gave a statement.

When asked on cross examination why she was so hesitant to give the police any information up front, since she wasn’t inculpating her friends with anything she said, she said simply that she didn’t want to get involved. When pressed by defense attorneys, who asked her if, not knowing who the shooters were, she feared her statement may somehow inculpate her friends of wrongoing, she insisted that was not the reason she didn’t talk. She then broke down, in what to me was some of the most heartfelt, saddest testimony of the day. She let loose on the defense attorney, screaming that she didn’t want to get involved, she didn’t want to be a part of this, she wanted a better life, she wanted to get her kids out of there, she hated having to be involved now, she had to relocate to a different borough because of this, she just wanted nothing to do with anything, she simply wanted … out…” The attorney stopped questioning and we took a break before the third attorney’s cross. Ms. Payne exited the courtroom to collect herself.

While it still didn’t make complete sense to me as to why she told the police up front she’d seen nothing, her sorrow and extreme frustration with her life — a life filled with shootings, violence, death, beatings, fights, struggle to make ends meet, fear for her daughters — was all too clear. I felt so horrible for her. Well, she’s now in a different place, with a new residence, a new medical job, so hopefully she’s on her way.

I saw a defense attorney on television news last night saying a lot of this would come down to credibility; whom the judge would find the most believable since testimony was so conflicting. It’s true that there are so many interested witnesses in this — everyone who possesses pertinent information seems to either be a friend of the victims or one of the accused. I feel like the biggest key though will be ballistics evidence, especially that regarding the cars — which was speeding, who crashed into whom, the paths of the respective cars — experts can make good determinations of these sorts of things. That and Isnora’s medical records showing any injuries from being struck by a car.

One other thing I want to say about Ms. Payne’s testimony regarding what went on at the precinct: I’ve seen numerous claims by defendants that police officers coerced them into making confessions by keeping them in solitary cells for hours on end, making threats, preventing them from leaving until they confessed, depriving them of food and water, and then, when they went to give in, feeding them details for their “confessions.” No one ever seems to take those claims seriously; people roll their eyes and accuse the defendant of making it all up because of course police officers never coerce or suggest, never distort or exaggerate. And then later, after the person has been convicted, new evidence comes to light showing that the defendant couldn’t have committed the crime because in fact he was somewhere else at the time, in another state even, or evidence comes to light incuplating someone else. It made me really upset to hear all the gasps in the courtroom when Ms. Payne recounted her day-long ordeal in the precinct. This trial is almost surreal; it’s like that Joyce Carol Oates short story where the black college student is condescending to the white one without knowing it, saying things like “it’s so great that you’re here. We know you’ll have to work hard to keep up because of your disadvantages, but you can do it…” “Double Negative” it’s called, or something like that. Right now in NY interrogations do not have to be videotaped in order for the confession they can produce to be admissible as evidence in court. There’s a movement underway to change this though, and many states have passed laws requiring interrogations to be taped. It is argued that this serves not only defendants but the police as well; this way they can prove a confession was not coerced and that they did nothing to suggest key evidence. It seems to me that there is no viable reason for not requiring interrogations to be taped; confessions are already videotaped, just not the process that led there. So the technology is already there. If people like Al Sharpton are really serious about change, about ending police misconduct and brutality against black men, and not merely participating in spectacle, supporting efforts at making this law in NY and throughout the country is a good place to start.

Sean Bell, Day One: “I’m Not Afraid of Your Guns; You Have Guns, But I Have the Truth”

This obviously isn’t about dance, but, given my background, it’s something I care deeply about. If the trial lasts, as expected, a couple of months, I’m not going to be able to go to the whole thing, but I figured I’d go for a few days at least. Funny because, even though I’ve handled over 100 appeals, I’ve never even seen an actual trial. Not that this is a normal one in any sense, which is probably the most frustrating thing about it. There are many people — many of them black men like Mr. Bell — tried everyday, even in that same courthouse in Queens, some of them wrongly suspected by the police because of their race, and no one is talking about them. No one cares about them. Oftentimes their families don’t even show up to their trials. Just something for people to keep in mind in this absolute carnival the media is creating of this trial. You should have seen the cameras there. I counted nine network TV vans in total lining Queens Boulevard in front of the courthouse this morning; I didn’t even know there were that many local stations. And there was a guy with a television camera filming everyone as they, one by one, entered and exited the courtroom.

I got to the courthouse at 8:20 and there was already a line outside, which I joined. There were a few NAACP people in front, one woman playing a conga drum and some others chanting and carrying signs bearing Sean Bell’s picture and demanding justice. About ten minutes before 9, when trial was to begin, a group of white men, whom I assumed to be police officers or family and friends of the officer defendants, arrived and joined the line. As they walked past, the woman began beating on her drum, chanting grew louder, and another woman shouted, “I’m not afraid of your guns. You have guns, but I, I have the truth.” It wasn’t until around 9:15 that they let us in. By the time I got into the courtroom, the prosecutor had already begun his opening argument.

Anyway, if you haven’t heard about this case, Sean Bell is a black man who, on November 25, 2006, was killed by police gunfire upon leaving his bachelor party at a Queens strip club. The club had been the subject of many community complaints and the target of several police sting operations in an effort to crack down on drug selling and prostitution. A couple of arrests had been made there earlier that day. According to opening arguments, which took all morning, Detective Gescard Isnora, a young black man as well, who was acting as a primary undercover in a drug bust that evening in the club, overheard a dancer there tell another person a man had harassed and threatened her and made her feel his jacket, through which she felt what she thought was a gun. Isnora radioed to his team members, including Detectives Michael Oliver and Marc Cooper, to be prepared for this to turn from a drug bust into a “gun recovery” case. Upon leaving the club, Isnora observed Bell and some of his friends fighting with a man in an SUV, who was waiting for a dancer in the club, whom he heard threaten Bell’s group with a gun. According to Isnora, Joseph Guzman, Bell’s friend, said something to the effect that they would return to the man in the SUV with their own gun. Basically, Isnora radioed his team, the detectives all followed Bell to his car. Thinking Guzman had a gun, Isnora ordered Bell to stop his car, displaying his badge, but in a place that may not have been visible. It is also contested whether he identified himself as an officer. Bell kept driving, toward Isnora, running into him, then reversing and running into the police van containing Oliver. Thinking Guzman was reaching for a gun, Isnora yelled that to Oliver who began shooting, causing Cooper to shoot as well, thinking his colleagues were being shot at. In all, 50 bullets were fired killing Bell and injuring Guzman and another friend. There was no gun ever found in Bell’s car. That’s of course a hugely oversimplified nutshell, but I found the prosecutor’s opening statement to be confusing, mainly because it was so detailed as to who was where when and who radioed what to whom and who shot where, etc. etc. In any event, openings aren’t that important because they aren’t evidence; the testimony is what matters.

This is a bench trial (since the officers waived their right to a jury), so I figured the lawyers would behave more like appellate lawyers, rather than their dramatic, often rather bombastic, trial counterparts. But I was wrong. There is a jury, of course: the jury of public opinion; those of us in the audience, and those who will see and hear about the trial on TV or in papers. The attorney for Isnora, the black officer, in particular was a character. He was black, as was Cooper’s attorney (Cooper, by the way, is only charged with reckless endangerment for a single bullet that did not enter its intended target — Bell’s car — but was off 11-14 degrees and went instead into an Air Train subway platform where people were standing). Isnora’s attorney was very impassioned about his client and seemed very angry that the media has villified Isnora, making him out to be an evil police officer attacking a black man, when he, in fact, was a young black man himself who had come from the ghetto and could have easily ended up a druggie and a pimp, but instead worked his way up and now risks his life daily to protect his community. At one point during his opening, the attorney left the podium to stand behind his client in support.

About halfway through the prosecutor’s opening, a large group of people walked in, which, until they sat down in front of me, I hadn’t realized included Al Sharpton and Nicole Bell, Bell’s fiance and the first witness. (She took his last name after he died). She was a rather soft-spoken young woman, and she cried only when the prosecutor asked her what state Bell was in when she saw him that Saturday morning following the shooting (the answer was, in the morgue). I felt horribly for her and nearly cried myself. But please do not believe the news reports that she cried throughout. I just heard on ABC / 7 News that her testimony the whole way through was “emotional” and teary, and that is a ridiculous untruth, which anyone who was there knows. She kept it together very well, though it appeared to be an understandable struggle. Still, she only broke down once. I am actually rather astounded at the press’s lack of objectivity.

During lunch I overheard two journalists at the table next to me. One asked the other which way he was leaning thus far into trial. At that point we’d heard only openings and one witness who wasn’t on the scene. Plus, they should well know one of the basic foundations of our criminal justice system: the presumption of innocence.

We had two other witnesses today, neither of which gave a huge amount of revealing testimony. The first, an officer who examined the crime scene, displayed some pictures he took and some diagrams he drew of the club and surrounding parking lot and streets. They displayed the photos on some large screens so the audience could see, and not just the judge, who had his own computer screen in front of him. In particular, we saw some pictures of the damage done to the police van after it was hit by the car Bell drove. We still have to hear from the experts about exactly how much damage was caused, but it didn’t seem by the pictures alone to be all that huge — just some bumps and chipped paint, and the radiator underneath was knocked down and the license plate knocked to one side. The other witness was the club’s bouncer, who basically said he heard none of the commotion outside, not all that odd given there were two sets of heavy steel doors meant to block sound.

Justice Cooperman seems pretty untalkative thus far. I don’t envy his position.

At sean bell shooting trial

At sean bell shooting trial

Originally uploaded by swan lake samba girl via mobile.


Nicole testified this morning. So sad. Small protest in morning but huge when we came out for lunch. Cameras everywhere. More to come…

Movmnt Magazine Dance Blogger Party

Sorry I’m so late in getting this up! Last Monday evening, David Benaym, Editor-In-Chief and co-founder (with Danny Tidwell) of Movmnt Magazine hosted a dance blogger party at his office’s downtown NY headquarters. From left to right in picture above: Tony Schultz from The Winger, Doug Fox from Great Dance, Dea Soares Berrios, a friend of mine and The Winger’s, from Brazil who writes the personal blog Dea Nos Eua about her experiences moving to the U.S., her husband Al Berrios behind her, Taylor Gordon from The Winger and Off Center, me, Evan from Dancing Perfectly Free, David Benaym, and Brian Gibbs from The Winger.

It was a great time! David (pronounced Du-VEED) is extremely animated, and being from France, has a serious accent. People were having all kinds of funny mis-understandings :D We had some good discussions about dance and the internet, which companies are the best at using it (NYCBallet and Alvin Ailey, both of whom have YouTube channels), which are the worst (unfortunately my favorite American Ballet Theater was the sad winner in that category), which issues people are afraid to discuss in the blogosphere (dancer eating disorders being a big one), how most bloggers’ personas are so different from the writer’s actual personality (as well as pictures; we all agreed Schultz’s Winger headshot looks nothing like him!), and how we keep in touch with each other on a daily basis through our blogs though we’ve rarely met in person: at one point, David remarked how worried he was about Jolene. We asked why and he said, “Did you see? She said she would not come because she was very very sick and would soon go to hospital.” “Nooooo,” we all — and I mean all — sang out in unison, “that’s Ariel!” (who’s better now, by the way). Then he said, “Ohhh, well then who is Jolene?” Again, we all said in unison, “she’s the one who lives in San Francisco…” — I find it sweet that we all keep up with each other so well via our blogs; we really are a tight community. And finally, we talked about whether bloggers (particularly the snarky ones :) ) should be anonymous (we’re all dying, for example, to know who Danciti is, though some thought anonymity was fine). I know I’m forgetting tons of stuff; we decided through Al’s suggestion, that the next time, we would take minutes or record.

At the end, David gave us little gift bags containing issues of the latest magazine as well as a few back copies, a pair of Movmnt socks (hehe, like they give you on VirginAtlantic for overseas flights), and a copy of his and Danny’s book, “Moving Still.” Since I helped to organize the event, I received a special copy, containing all of the featured dancers’ — including Tidwell’s — autographs :) Even though I don’t agree with David about everything (for example, he thought about 10 posts a week on The Winger was good, otherwise it’s too overwhelming; I think, seriously, the more posts per day the better — my ideal number would be a Gawker-sized 30+ per weekday, although I realize this is never going to happen without a salaried, full-time blogger staff; there needs to be a Nick Denton of dance…) but I have a great deal of admiration for someone who has such an entrepreneurial spirit, who’s such a risk-taker and doesn’t think twice about creating his own path. He not only started his own magazine and wrote two books — his own novel (only available in French) as well as “Moving Still,” but he founded his own publishing companies to produce all of these things.

If you’re near a Barnes & Noble that carries it (one thing I learned from David is that you have to pay a bookstore shitloads of money just to carry your mag, even though they get a big profit from sales anyway?..), the latest issue is available. It includes an article by Taylor about dancer injuries, and two profiles from dancer Matt Murphy on composer Nico Muhly and “Center Stage 2” star Kenny Wormald, amongst other good things of course! Or you can visit their website.

Also, if you’re a dance blogger and near NYC and you want to be included on our email list, send me an email (found on my contact page). I don’t always organize these things but I seem to be the current “maintainer of email addresses.”

Diana Vishneva’s “Beauty in Motion” at City Center

I’m writing a review of this for Explore Dance, so will make this short; I wanted to post something quickly since it’s only showing tonight and tomorrow (Sunday) matinee.

It’s funny to me that dance-makers and fans always complain that critics are destroying dance with their negative reviews. I think they often do the opposite, creating loads of hype, sometimes deserved, sometimes not. And you don’t know which it is until you’ve seen the program. In this case, I’d say the program is worth seeing, but not for the reasons the critics say. The highlight to me was the brilliant brilliant Desmond Richardson of Complexions Contemporary Ballet, in the third ballet of the night, “Three Point Turn,” Dwight Rhoden’s exciting piece about the turbulence of male / female relationships. Richardson had two breathtaking solos that brought the crowd, rightly, to its feet. For a ballet-trained dancer he excels at the sharp, angular, staccato movements that are the hallmark of modern. He’s really a marvel.

I also enjoyed in that last piece Kirov danseur Mikhail Lobukhin. He’s a muscular man with a longish blonde mane and highly arched feet that, when he points, enable him to make beautiful lines. He has kind of an androgynous appeal, which works well for this piece in which masculine violent passion and feminine romantic love are often evoked simultaneously.

In the first ballet of the evening, Alexei Ratmansky’s “Pierrot Lunaire,” which aims to put to dance a set of Fifteenth-Century European poems about a clown’s descent into madness and back again, and in which the clown is depicted alternately by four dancers (all from the Kirov), Alexander Sergeev was my favorite. He interpreted his clown’s changing happiness, sadness, sexual fervor, and madness with the most pathos, and I couldn’t take my eyes off of him.

The show is meant to celebrate Diana Vishneva, the Russian ballerina who is currently a principal with American Ballet Theater as well as the Kirov Ballet, or Mariinsky Theater, in St. Petersburg. The middle piece, by Moses Pendleton, the modern, not ballet, choreographer who founded theatrical dance companies, Pilobolus and MOMIX, is the one that most celebrates Vishneva, because it allows her to have the stage entirely to herself. I don’t think she works tremendously well with others (which I’ve noted before), and I have yet to see what all the critics are so orgasmic about with her, but Pendleton gave her some brilliant props to work with — particularly a large mirror upon which she lay in various positions, she and her reflection together evoking a series of imaginative shapes, and a beaded headdress which she wore and spun around repeatedly in, making interesting forms with the material — and the result seemed to be the crowd-pleaser of the night (other than Richardson).

At the end of the last piece, the curtain went down, then rose again. All dancers besides Vishneva were onstage. The dancers linked hands and came forward for a group bow. Then, each came forward one at a time — five in all — then another group bow. The dancers began looking at each other, a bit concerned. The conductor — shaggy-haired and good-looking I might add! — came onstage and took a bow. The dancers took another group bow. The singer came onstage and took a bow. The audience applauded on and on, for a good ten minutes. The dancers looked at each other, more worried. Audience members began to shrug their shoulders. “Is she coming out?” someone whispered. A few began to leave. One dancer, I think it was innocent-faced Sergeev, gave a nod and the dancers walked forward, arms linked, for yet another bow. Vishneva has refused to take bows before: at ABT’s opening night Met gala last year, she wouldn’t come out for her Sleeping Beauty curtain call. Ballet Talk talkers surmised she was upset about her performance. I didn’t see anything lacking in her performance and wondered whether it was just that she had to share the stage with two other dancers who played Sleeping Beauty (at the gala, they had three women dance the part for variety). I turned around to peek at Kevin McKenzie (ABT’s artistic director, who happened to be sitting behind me); he didn’t seem to have a clue as to what might be up either. I turned around and put on my coat. Some other orchestra members came out for some bows. Then another dancer group bow. The lady beside me excused herself and walked past me. I was just about to grab my bag and go when, finally, in what must have been a good fifteen minutes after the end of the last ballet, she emerged from the wings, bedecked in a velvety black, floor length gown with a several-foot-long train. But she didn’t just walk out onstage to the middle of the lined-up dancers; she walked around clear to the back of the stage, proceeded all the way around the row of dancers, went nearly into the opposite wings, and came around in front, prancing to the front of the stage and taking several very long, drawn-out bows. I think by that time all of our standing ovations and applause had long been spent on Richardson, and I heard several harrumphs of annoyance. I know it may be a Russian thing for the prima ballerinas to act like drama queens in taking their bows, and some may see it as a point of amusement for American audiences, but I think people were more confused and annoyed than entertained.

Anyway, the show’s worth seeing for the interesting choreography, the excellent guest dancers from the Kirov, and for Richardson. Go here for tix. Here are a couple of other write-ups from my fellow bloggers, Jolene and Art in California, who have different points of view regarding Vishneva, from me.

Vaidotas and Jurga Take Second With Splendidly Evocative 70s Style Showdance :)

Sorry it’s taken me so long to get this Ballroom Challenge post up!!! (All pictures by the way, except mine from Blackpool below, by Jeffrey Dunn, taken from America’s Ballroom Challenge website).

I loved Vaidotas Skimelis and Jurga Pupelyte’s retro hustle-y disco-y Cha Cha / Samba! He moved so well; I’ve never seen his hips move like that! The routine had a great sense of humor and charm. I loved his bouncing around on one leg, the other extended out, their excellent lift sequence, the 70s-style costumes, and that great, very disco-y death spiral they ended with. All so Studio 54; all such fun!

Funny because Anna Trebunskaya and Pavlo Barsuk did a retro routine as well; theirs more jive-y and from the 50s-60s, although I felt theirs didn’t have as much spark and fun period flavor as Vaidotas and Jurga’s. At Blackpool last year there was a very popular lecture on the history of Latin dance, where the speaker used several currently competing dancers to demonstrate the looks and moves of the past, tracing them to the present. It was so interesting to see how the dances have changed over the years, becoming faster, the footwork more intricate and the movement much sharper. And with each decade you could see outside popular cultural influences; the 70s period replete with hilarious Saturday Night Fever moves. Of course we laugh now, but back then it was brilliant the way contemporary dance meshed with classical ballroom. It made me wonder what period we’re in right now? Hip hop? The movements are so sharp, so staccato, I wonder if Hip Hop (the club dance of our day) and break dancing have had something to do with it?? Hmm. Anyway, I just thought I’d include a couple of my pictures from that lecture here:

Here is the 50s style. How adorable is that dress! The couples danced so slowly compared to today, they danced much farther apart from each other (it being the 50s and all) and everything was very “cutesy,” meaning, the hips were less connected to the lats (back muscles), so it looked like the butt was kind of shaking cutely on its own instead of the hips being compelled to move by the shoulder blade forcing the lats down and compressing the lower back into the hip socket. (Remember the perfect Rhumba walks exhibited by Yulia Zagoruychenko in the opening exhibition? The hips are more connected to the rest of the body now; whereas back then it was more like the dancers were walking toward their toes, lightly, and, with their hips uncontrolled by the upper body, it made for a rather dainty booty-swaying action).


Here’s the cute 60s style Cha Cha, the couples still barely touching each other to maintain “a safe distance.” See how her entire body sways to one side though?

Here’s the 70s couple with their hilarious costumes and John Travolta arms.

And this couple — my love Sergey Surkov and his Melia :) — demonstrated the contemporary Rhumba. See how, in contrast to the 60s couple above, her body is straight, only the hip slightly beginning to settle to one side? Now, the active parts of the body move one at a time, first the foot takes a step, then the shoulder pushes down on the lat muscle, pushing down on the lower back, which compels the hip to settle. It’s much more stylized, more controlled, and more subtle than the hip-swaying / entire-body-swaying movement of yore. And much harder!

Anyway, back to America’s Ballroom Challenge.

I loved Delyan Terziev and Boriana Deltcheva’s “Money Money Money” routine from Cabaret. And I love that they used the newer, Alan Cumming version of the song! I loved the way Delyan moved his back, the way he curved his shoulders up and over so he was hunching intentionally awkwardly at times. He kind of inhabited the decadence of Weimar, the corruption of money, in his body, the way Cumming’s Emcee did in the play. And her dress and bob were cute and she did the seductive Sally Bowles well too. I thought this was one of their better routines and I was sorry the judges didn’t rank them higher.

I also noticed, both in group and solo routines Andre Paramonov and Natalie like I never have before. Maybe they come across better on camera than in person since they’re a bit smaller than the others?… I don’t know, but he dances with a lot of character and charm, shows a lot of expression on his face, and she has beautiful extensions and ballet-based technique. Some of those lunges and the dip she’s doing in the picture above were breathtaking.

And I just want to say something about Ilya Ifraimov and Nadia Golina, who did this robotic thing that reminded me a bit of Gary and Rita Gekhman’s techno Standard showdance from a couple of years ago. It wasn’t my thing as I’m thinking it wasn’t for a lot of people, but the judges placed them first because in the showdances they seem to value creativity and uniqueness over all else. This, I think is where Jonathan Roberts was coming from with that rather odd-looking routine he created for Marie Osmond on Dancing With the Stars last season that he received so much public scrunity over. These competition judges go wild for these kind of odd-looking routines, sometimes the more out of the ordinary the better.

And finally, the winners, Andrei Gavriline and Elena Kryuchkova. I find their showdances to be rather bland, actually. Andrei used to teach at my old studio, so he’d perform in the showcases first with his students in the student section, then with Elena in the pro portion. Pasha and Anya though were always the main draw, their showdances having loads more flavor, cool tricks, and just overall pizzazz, though they were never ranked as high as Andrei and Elena in the comps. I think Andrei and Elena have excellent Latin technique and a quiet, subtle charm, but, while understated works in group dances, it doesn’t for showdances. I do think they deserved to win the overall.

It’s very weird, but I feel that Andrei on his own is one of the most amazing dancers I’ve ever seen. And on his own he seems to have a decent amount of charisma. But together they’re lacking in that department, and that’s extremely nonsensical given how in love they are and how much attention he showers on her, both during dance and outside the ballroom (I’ve seen them together a lot and they’re always all over each other!) Ballroom dance is all about partnership, though, so they have to learn how to have appeal as a couple. How do you teach that: how to have charisma when dancing together? All I know is, they need to take it up several notches if they ever want to achieve real popularity with the crowd. If that’s what they want.

Going over my notes, as far as the group numbers: I love that the camera guy focused so on Vaidotas and Jurga. Thanks camera guy! I guess others find them charismatic as well… I liked Anna and Pavlo’s close, cheek-to-cheek Argentine tango handhold at the beginning of their Cha Cha. It was different. Anna also had some great moves, some beautiful ronde de jambes en l’air (one leg circling the air), particularly coming out of a deep lunge. I liked Natalie’s beautiful Rhumba splits, which she did several times, making good use of her long legs and flexibility. I loved Delyan and Boriana’s costumes, the cherry red making them stand out brightly. They’ve moved up a notch, by the way, regularly surpassing Ilya and Nadia in the standings now, very unusual in Latin.

That’s another thing: Ron Montez kept saying he had high expectations for Anna and Pavlo, thinking they’d be at the top and possibly even winners, since they’re a new couple who’s shot up the charts recently. He should know though, unless something has changed since his day as a champ, that precisely because they’re a couple new to the finals, they would place at the bottom. Those are the ironclad rules of ballroom dancing that make these competitions so frustrating. Pavlo and Anna placed in the finals because Max and Yulia didn’t compete (Yulia, by the way, is not retired, as Montez said; only Max Kozhevnikov, her old partner with whom she danced in the exhibition, retired. She is now dancing with Italian dancer Riccardo Cocchi, but wasn’t yet ready to compete with him when this competition was filmed); last year Pasha Kovalev and Anya Garnis’s departure from competition allowed Vaidotas and Jurga into the finals. It was a given therefore that Vaidotas and Jurga would place fifth, Pavlo and Anna sixth, being the second-newest and newest respectively. That’s just the way things work. I could have told you the finalist positions before the comp happened, as could anyone who regularly attends these things.

One last thing. For anyone who tuned in a bit early and saw the end of the McNeil Lehrer Newshour where Mr. Lehrer was talking about the New York Times article arguing PBS was no longer necessary, here is that article. Regarding this show in particular, the writer, Charles McGrath, argues that PBS is now, in an attempt to get audiences, copying the networks by putting on a dance competition of their own. Mr. McGrath obviously didn’t know that this was a real competition, not a reality show of the kind seen on the networks. He also wasn’t aware that these PBS ballroom competitions have been around now for well over a decade. It’s true that they went off the air for a couple of years due to lack of funding. But they have long been a mainstay of public television. Dancing With the Stars has been around for, what, two years now? I don’t think America’s Ballroom Challenge is doing any “copying.”

Status Quo Nails Upside Down Soulja Boy!

Woo hoo — I love this group! Did you guys watch it? (MTV’s “America’s Best Dance Crew” of course!) They were given as their song the extremely popular YouTube hit, Soulja Boy, which began an internet dance craze, but their particular challenge was to do some of the steps upside down, which they nailed (or murdered, as Shane Sparks would say) with those insane handstands and upside-down lifts. And did you see the guy with the injured ankle doing those continuous flips over the guy they basically made into a human jump rope? And that ending crazy jump flip thing where he ended up in the crowd pretending to be all pissed, like he didn’t mean it? This group reminds me of those kids you see in the Times Square subway, or more often, at the Central Park fountain wowing the crowd. They’re so real and their dancing has such a story to it with thrilling but humorous theatrics and such a street feel and I just love them. Maybe also because they hail from Kirven’s hometown :) Anyway, can America please stop putting them in the bottom??? I’m sick of this shit! They rock dammit! Stoppit!

Anyway, sorry I’m so late with my Ballroom Challenge post! This week has been insanely busy and I have tons to blog about — Movmnt magazine blogger party Monday night (which Taylor and Evan have already excellently covered), continuing legal ed seminar Tuesday (which, don’t worry, I won’t be blogging about, though it was one of the more interesting CLEs being on sex offense legislation), book party for a friend last night (which Ariel has already excellently covered, but I will blog about as well! — along with Movmnt party), and tonight an Op Ed writing seminar, for which I chose to try my hand at a gun control piece, and consequently have lovely homicide stats coming out of my nose… Anyway, I promise to write about ABC tomorrow!!! Thanks for all the comments on the last post, you guys :)

Tonight is Latin!

Yes, my favorite! Tonight’s American Ballroom Challenge competition is the Latin event, the most popular in the U.S. (Standard is more popular in England). Look for:

Andrei Gavriline and Elena Kryuchkova, several times U.S. national champs. Andrei is tall and thin and he just flies across the floor. He’s one of my favorite Latin men.

A new favorite man of mine, Vaidotas Skimelis, whose large size both slows him down a bit in terms of sheer speed, but also gives him a kind of Maks Chmerkovskiy / Marcelo Gomes virile appeal. This is the couple for whom Pasha and Anya’s departure from competition last year kind of allowed in the door for finals — so one not completely horrible aspect of P & A’s absconding for Hollywood :) Last year he and partner Jurga Pupelyte did a gorgeous showdance that had everyone talking.

A couple I’ve admired for a while, Delyan Terziev and Boriana Deltcheva. I’m not always in love with the themes they choose for their exhibition showdances, but on the floor, during the group numbers, I think they have really beautiful, unique artistry.

If you’re a “Dancing With the Stars” fan, watch for Anna Trebunskaya and her newish partner Pavlo Barsuk. About a year or two ago she and Jonathan Roberts broke up (as dance partners) and she’s been doing very well with Pavlo.

And finally, they’re not competing, as he’s now retired and she has a very new partner, but watch in exhibitions for current U.S. national champs and longtime beloved couple, Max Kozhevnikov and Yulia Zagoruychenko. Above is a picture of them from Blackpool last year, where they always give a lecture demo.

That’s tonight 8p.m. on PBS!

Decent New Dancing With Stars Cast

Ugh, I’m such an idiot. When they said they were going to announce the new “Dancing With the Stars” cast on “Dance War” tonight, I thought they meant they were announcing the real stars! They only announced the celebrities! I’ve heard through the grapevine — from Sharon :) — that Louis Van Amstel is dancing again, which I’m thrilled about since I regard him as the greatest ballroom dancer in the world right now. I heard Julianne Hough is dancing again as well. And besides that don’t know… I guess the show regards them as less important than the contestants, sadly… I do love how the announcement was made though — LOVE that Dance Center / Sports Center comedy sketch thingy — Kenny Mayne’s sense of humor has stolen my heart… and he with Jerry Rice and Lisa Rinna were hilarious with their goofy back and forth jabs at each other.

So the celebrity contestants:

First announced is Marlee Matlin, the actress whom I loved in “Children of a Lesser God,” but haven’t seen her in much of what she’s been in lately — TV shows, right? Well, I’m excited about her. I guess she’ll kind of be the Heather Mills of this season if you want to see it that way. Not being able to hear the music will obviously be a handicap, but, equally obviously, she’s someone who doesn’t let her hearing hinder her.

Second woman is Priscilla Presley, actress probably best known as Elvis’s wife. At 62, she’ll perhaps be the “Jane Seymour” of this season.

Next is Shannon Elizabeth, an actress I’m not really familiar with but apparently was in “American Pie,” and “hot,” as Jerry continuously pronounced her.

Fourth is Monica Seles, the tennis player who always used to grunt loudly when swinging that racket. The three commentators had fun ribbing on what kinds of noises she might make and whether they’d sound better in Latin or Standard.

Fifth is Kristi Yamaguchi — yay!!! I loved watching her skate. I used to take figure skating lessons and she was my role model; I so wanted to be her. I can’t believe she’s 36! As a skater, obviously she’ll have a big advantage here, but you never know what that’s going to mean…

Final woman is Marissa Jaret Winokur, Broadway actress from “Hairspray,” which, embarrassingly, I never saw. Commentators had some fun joking that her hair might be a big problem, as she may trip over it or it may get all tangled up in her partner.

Men are:

NFL player Jason Taylor of the Miami Dolphins. At first I couldn’t figure out what was up with that beefcake photo they put up of him, with Lisa’s pointing out the various “highlights” in his physique. Then I realized the other two commentators were NFL players so she was joking that he was by far the best looking footballer the show had ever had.

Second is Christian de la Fuente, good-looking Latin telenovella star, whom I’m not familiar with.

Then there’s Mario, the R&B singer and hip hop dancer, who will have the obvious dance-experience advantage.

Next is Steve Guttenberg — yay!!! I remember him from oooh so many movies, not the least of which, honestly, I’m so embarrassed to admit but the Village People movie. I honestly saw it when I was really really young and I fell head over heels in love with his cutely endearing dorkiness. Of course he’s best known for his role in “Three Men and a Baby,” which, yeah, he was good in that too :) He’s got a great personality and I know I’m gonna eat him right up!

Then there’s Penn Jillette, the magician with Penn and Taylor. The thing about this guy is that he’s enormous — he’s 6′6 tall and has a shoe size that’s off the charts. It’ll be interesting to see who he’s partnered with.

And last is Adam Carolla, a comedian whom I’ve never heard of with a syndicated radio show. Does anyone else know of him?

Hmmm. Overall I’m more excited about the women, since I’m familiar with many more of them. But I do so love Mr. Guttenberg…

Okay, it’s been a long day. (I actually just got home — it’s midnight — and sped through what I’d taped to see the DWTS announcement parts; I’ll have to watch the rest of the show tomorrow.) More later…

American Song & Dance and Russian Treasures

I had a most excellent ballet weekend. Friday night at NYCBallet was one of the best nights I’ve had at a ballet of mixed bills. The program was titled “American Songs and Dances,” and included three ballets — two by my favorite American choreographer Jerome Robbins and one by NYCB artistic director Peter Martins. The first “Thou Swell,” by Martins was one of the best things I’ve seen by him. It was a ballroomy ballet heavy on pas de deux (my favorite) in which four couples dance the night away to American classics like “Getting to Know You”, “Isn’t it Romantic”, “Blue Moon”, “The Most Beautiful Girl in the World”, “Bewitched, Bothered, and Bewildered”, and “The Lady is a Tramp” etc. etc. etc. The style is jazzy, Art Deco-y 1930s and a large, interestingly-shaped mirror hangs down over the back of the stage. I thought the mirror ever so cool both in its cut and how it allowed you to see the dancing from several different angles, but the guys next to me complained that it created distracting shadows.

(photos by Paul Kolnick)

Well, all I can say is there is no one sexier than a male ballet dancer in ballroom attire :D Perhaps that is to say there is nothing sexier than dance that looks like ballroom and IS a form of ballroom, but takes on a different cast and is all the more brilliant when combined with the poetry of ballet.

After Nikolaj’s farewell, I now can’t take my eyes off of Yvonne Borree. (all headshots by Paul Kolnick). She’s so sweet and so lovely. She danced here with Nilas Martins, my “Nikolaj replacement” and he did a fantastic mad sexy job both partnering her and with his own brilliant expressiveness. Whoever told me he was like Nikolaj in that department, that that ability to express and evoke and emote, bringing you to the edge of your seat, is a Danish thing, was so right! They were charming together and they are the new couple.

My other favorite couple was Amar Ramasar (duh!), dancing with Sara Mearns. He was so gorgeously dapper and, tall, dark and handsome, he stands far out from the crowd whether in a pas de deux or ensemble. And there is something so polished about his dancing. With his long legs, his kicks attain greater height than everyone else’s, and, overall he’s just always so suave.

Second on was “Ives, Songs” by Robbins, danced to the music of Charles Ives, the lyrics of which were, nicely, reprinted in the Playbill. A man, here the legendary (now retired) Robert LaFosse wanders around the stage watching dancers of various ages, perhaps his family, act out various dramas. It has a kind of “Norman Rockwell” evocation and makes you a bit sad as he relives scenes from his family life. Here Kathryn Morgan stood out to me — she kind of reminds me Margot Fonteyn. She just steals the scene without trying. I’m starting to notice Justin Peck a lot too. At one point his character goes off to war and he crashes to the ground with the perfect degree of pathos, a fallen soldier. But the person who really blew me away here was the singer, Philip Cutlip. His voice was a miracle and he enunciated every word so smoothly and with such emotion. Yet he didn’t take over; he was a perfect accompaniment to the dancers.

And third was Robbins’s magnificient, thrilling “West Side Story Suite.” Andrew Veyette completely blew me away. He danced the part Nikolaj did in his farewell — the leader of the Jets, with the singing role during “Cool It.” He belted out those lyrics far better than Nikolaj — I couldn’t believe a dancer could sing like that! Wow! And he and Amar, as leader of the Sharks, did the fight scene brilliantly. I don’t know how people don’t hurt themselves. Georgina Pazcoquin — oh my, that one can do anything! Anything! She played Amar’s girlfriend, Anita. She sang and danced “In America” like I’ve never seen it done before. She easily got a standing ovation. She must be seen more! This season she has easily become one of my favorite women. Robert Fairchild reprised his Romeo role, playing Tony here with all the youthful angst of the teenager he, unbelievably, still is! I think I stood behind his mother in the press ticket line — I’m not sure because she seemed very young (but then I have to keep reminding myself how young he is) when she happily announced her last name to the ticket guy.

Sorry for going a bit headshot-happy here. I just noticed Robert has a new one up, and I thought it was really good. :)

(photo of former cast, by Paul Kolnick)

The only thing here: Amar. Surprisingly, he wasn’t all that hard-assed as an intimidating gang leader. He is just more the dapper ballroom gent, I guess. But I think it was partly his costume. I was sitting in the fifth row and I could have sworn they had him in corduroy pants, while everyone else was in jeans. The cords, with their flaring, preppy, schoolboy front pockets made his black tennis shoes look like top-siders. He just looked like a young college professor. Maybe it’s just that I’d just read a Jhumpa Lahiri short story in the New Yorker and the way he was dressed I kept thinking of the male model they had in the accompanying picture, but I just didn’t see him as a Tybalt-esque thug here.

Saturday night was Russian night :) Entitled “Russian Treasures,” it celebrated Balanchine’s creations — some of his greatest — to Tschaikovsky’s music. First on was “Serenade”, one of my favorites, which I’ve written about here and here. Again, Yvonne Borree stood out here in her sweetness and charm. Second was “Mozartiana” — my first time seeing this one, as well as the one that followed, “Tschaikovsky Piano Concerto No. 2″ also titled “Ballet Imperial.” Since hearing Terry Teachout rave on about that latter one, I have been dying to see it and it was definitely my favorite of the two. “Mozartiana” (an early Balanchine) had a lot of the very typical back and forth of classical Petipa: pas de deux, male solo with bravura leaps galore, female solo with bravura fouettes galore, male solo ditto, female solo ditto, back to pas de deux again ending in faux happy togetherness. I’m not so into that; it bores me. I did like Daniel Ulbricht in this though — he was the perfect young Mozart as he jumped about youthfully illustrating his solid technique and perfect lines. He didn’t overdo it this time with sky-high leaps, and I liked him for that.

Balanchine created “Ballet Imperial” in 1941 for a traveling American Ballet Caravan, which, under the sponsorship of the Roosevelt administration, toured South America. He wanted to create a ballet that celebrated classical dance, while remaining uniquely his own. And that he did: it reminded me a lot of the “Diamonds” portion of “Jewels”, the last third of that ballet in which Balanchine pays loving homage to his native land with majestic ensemble dancing to a familiar, much- cherished Tschiakovksy score. (I wrote about that ballet here.) Originally, the program notes state, it was performed with a scenic backdrop illustrating the Neva River running through St. Petersberg, and Peter and Paul Fortress and gorgeous Winter Palace upon it. But, typical for Balanchine, he took out the background in 1973, feeling the ballet and music could stand on their own, which they can, but I still would have loved to have seen that backdrop! Jonathan Stafford stood out to me here, for the first time. He was magnificient in some high-flying assembles and with his height, he’s the perfect nobleman. Oh, and I just have to say, the pianist, Susan Walters, was breathtaking here! This company sure knows how to find the most excellent musical artists.

So sad though — this is the last week of NYCBallet’s Winter season…

Happy Belated Valentine’s Day!

Thursday night I got together with several friends and we went out to a great restaurant in Soho / Nolita, FR.OG (standing for “French Origine”; starting from left of table is: Allison, Marion, me, Kathy, and Alyssa). Dishes combine the flavors and spices of North Africa with French culinary style and technique. Though it was a bit pricey, and not something I’d do but for a special occasion, I found the food excellent.

I had the duck leg pastilla, delicious diced duck meat combined with what tasted to me like Moroccan spices in a light pastry shell coated with honey and almonds, along with lightly-dressed baby arugula side salad. Only thing was, no way could I eat even half of it, and it didn’t heat up so well the next day — the pastry crust was soggy by then and I could no longer taste the delicious honey-ed bottom. Why do restaurants serve such blasted big portions!!! Marion, from Ireland, said this was the first thing she noticed when she arrived here — American food portions are off the scale… I tasted her cigare of chicken, by the way, though I’m not usually a fan of chicken. But it was really unexpectedly juicy and the skin was crunchy and flavorful — the best chicken I think I’ve had.

And they had an excellent cocktail list. Frozen hot chocolate martini, mmmmm.

Maybe too excellent a cocktail list… Of course we HAD to try everything! And the drinks were so delicious you couldn’t really tell they contained any alcohol, until you stood up…

By the end of the evening we were a bit tipsy… and we suddenly somehow found ourselves downstairs near the kitchen trying to meet the chef. This was partly because we’d so enjoyed the food and were interested in knowing how it was prepared and where the chef came from (Queens, as it turned out), but also because, admittedly, a few members of our party were drawn to the restaurant because of the chef’s very attractive profile on the website :) Poor man was more than a bit weirded out by all these women pawing at him and asking him questions galore. And I learned that a couple of my friends are apparently more cynical and untrusting even than I: because he seemed so stunned at all the attention, they suspected perhaps a line cook had been sent out to entertain us in lieu of the real chef. But I don’t think so — the guy in the middle above looks like chef Jarret Brody, right?… (If you aren’t taken to his pic on the link, click on “a place to eat”)

Anyway, fun night out with the ladies :) If you’re ever in SoHo / Nolita, there’s lovely food to be found here. And you can request to meet the chef and see if you get the same guy…

Womyn ‘N Hip Hop

My write-up on the second week of MTV’s “America’s Best Dance Crew” is now up on the Huffington Post!

Bravo’s STEP IT UP & DANCE Cast Revealed

Go here to see the cast of Bravo TV’s new dance show, “Step It Up & Dance.” This show, which is set to premiere April 3rd, is similar to “So You Think You Can Dance” in that dancers compete in several different dance styles, here for a cash prize of $100,000. I like this cast: there’s a diversity of training and dance style — from Tae Kwan Do to Ballet, with many trained in several styles — and a good age range.

Hooray For Katusha and Arunas

Although I really don’t like this picture of them (taken from America’s Ballroom Challenge website — it was the only one they had of them; copyright of Jeffrey Dunn); the only thing I didn’t like about their showdance was that ending pose. Kind of a fish dive but not a real one or her arm wouldn’t be wrapped around his neck like that, and her bottom foot should be touching her top knee and it’s nowhere near it. Lifts actually always look a little weird in Standard because the shoes aren’t flexible and you can’t point your toes, so the line is off. Anyway, aside from the ending pose, I loved them — both their showdance and their group dancing. In particular I love him — better than her old partner Jonathan Wilkins even. He’s faster, swifter, and sharper — especially his Tango. That really blew me away. I’m happy for her that she ended up with someone like him. I had thought Jonathan retired from competition and that’s why they broke up, but I was wrong; he’s just moved back to his native England and is now competing for the UK with Hazel Newberry, a former British champion. It’ll be very interesting to see how they place respective to Katusha and Arunas in the world championships this year!

I also really liked the showdance of Igor Litvinov and Yulia Ivleva.

This is a photo from their group dance number (all photos by Jeffrey Dunn), not their showdance — they were the ones dressed in the Mod Squad / Elvis outfits who danced to the James Brown medley. Normally I prefer traditional ballroom dance to the more “creative” caricatures, but this one I liked because their use of the music wasn’t at all what you expected. Who would have ever thought of putting a Viennese Waltz to Brown, a Tango to “I Feel Good”! And it all worked — the rhythm as well as, unbelievably, the style. It was fun and their transitions between styles were excellent.

And I liked Urs Geisenhainer and Agnes Kazmierczak for almost the opposite reason.

They performed only to one song, but put several dance styles to it, including some Latin, and at the end even some breaking isolations. At points, such as the beginning, they uniquely combined Tango, a Standard dance with Cha Cha, a Latin. I’ve seen Latin dances combined with each other and Latin and Ballroom in one routine but with transitions between them. But I haven’t often seen Standard and Latin steps actually combined into one like that — it was like a Tango promenade / cha cha chas. Very cooly unique. And all of the dances looked equally good on them. Talk about versatility!

For exhibitions, as I said earlier, I love Austin Joson and Elizabeth Lakovitsky.

He keeps growing and growing; he’s starting to look like a little man. And only two years ago Elizabeth was a little girl. I know they’ve worked hard on their Paso Doble and it shows. They have a really cute jive and a sweet rumba too, but I think Paso is their favorite. That routine, with that kind of foreboding music, was rather mature, as cohost Ron Montez said! They have some polishing to do (and he has some more growing to do so he’ll catch up with her :) ) but I think they’re going to be really great someday.

I liked this couple too, Anton Belyayev and Karolina Paliwoda, who recently turned pro.

Sometimes the best dancers are just coming from the amateur ranks. I thought her form was fantastic, and I love the simplicity both of their routine and costumes. As Montez pointed out, she had no rhinestones on that dress and I love that somone has the courage to do something different. There’s too much glitter in some of these ballroom comps and sometimes it’s meant to compensate for lack of quality in the dancing. And they performed basic steps with such clarity, Montez was even able to use them as a model for pointing out to the audience the elements of a proper rumba. Montez is a good host: he notices small details and he’s interested in imparting the mysteries of technique to the audience.

The only thing, Standard in general is just kind of boring on TV; it doesn’t come across the same as in a live comp — somehow part of the magic is lost, kind of like with some of the filmed ballet (particularly ensemble work). I don’t know why that is exactly. I guess it’s the weightlessness factor: dances that are more grounded, like Latin and Tap have more weight and don’t lose much resonance when reduced to two dimensions. More light, feathery, weightless dances like ballet and Standard Ballroom just lose impact when not three-dimensional. That’s Paul Parish’s theory anyway. Hmmmm.

Also, extremely annoyingly, the ABC website no longer contains an email address where you can email questions, and ABC isn’t a part of the Great Performances series, so I don’t know how to get a hold of them. A couple of people asked me about songs they used in the group dances. I’ll try to find out how to contact them, but often, the event organizers don’t even remember which songs they used. They usually have a bunch of songs suitable for each dance style already downloaded into the computer, so that someone just hits “Cha Cha” for a cha cha heat, or “Rumba” for that dance. I was so disappointed when I’d hear a song I loved and would ask around and no one had a clue what I was talking about. If you ever go to competitions, though, visit the shopping pavilion (where they have all the costumes). There’s usually a music vendor there and they have TONS of ballroom CDs for both Latin and Standard. They have tables and tables of headphones and walkmans and you can sit there for hours and listen. If you’re in NY, Worldtone has a decent selection. If you’re neither in NY nor have any comps near you, you can visit DanceVision website. A lot of the songs are repeated on numerous tapes, but even if you don’t find the particular song you heard that way, you’ll definitely find a million others. I’ll let you know, though, if can find ABC people! Annoying that they took the email address down!

A Reason to Watch DANCE WAR Next Week, and Other Dance Show Stuff…

In case you didn’t hear yet, on next week’s “Dance War,” the new season of “Dancing With the Stars” contestants will officially be announced. Also, next week will be that show’s finale?! It seemed to go so fast; I was kind of shocked when they announced that last night.

Anyway, this week was “Latin Week,” which I felt pretty eh about — nothing new for me with this show. At least dance-wise I felt eh. Tango hooks in the opening number were sloppy — Kelsey had to re-adjust her position with her partner to get her foot wrapped around his leg. If she was as close to him as she should have been that wouldn’t have happened. But who am I to criticize someone for not maintaining the proper Argentine Tango frame — I was NEVER able to feel comfortable that close to the guy :) — at least not random guys in class I didn’t know…

And is Bruno the king of hysteria-drenched, goofy similes or what? “I’ve taken more punches than Rocky!!!” he wailed with wild gesticulations, over losing twice in a row. I hate to admit it, but at some points, his nuttiness actually kind of grows on me… I’m glad he finally praised Carrie Ann’s team. He needed to do that to show he was a sport. It just really bothers me how he practically equates dance with sex. Those guys’ open-shirts in his second number — oh please! Same thing with the way he had Kelsey last week vamping it up Jessica Simpson-like in “These Boots Are Made For Walkin’.” Dance can be sexy, but when it’s so overt like that it just becomes silly and crass.

I did feel like the singing was a bit better this time — particulary from Zack on the Bruno team and Chris on the Carrie Ann team. When Chris “sang for his life” I have to say I was actually quite blown away. He’s had so many microphone malfunctions, I don’t think I’ve really heard him sing, but he has a pretty nice voice.

I think what annoys me most about this show is its general air of unreality. It was sweet when Phillip’s mom showed up to watch her son, but do the show’s producers really expect us to believe she couldn’t afford to travel from Virginina to California but lo and behold thanks to her church she was finally able to see her son fulfill his dream? Thanks to the show’s producers is more like it, if the whole thing wasn’t phony to begin with. And it was nice that team Bruno did some outreach at the Community Center for people with Downs Syndrome, but if they really were invited because Zack’s brother has Downs, it would’ve been nice if they showed some footage of the two of them together. And even team Bruno’s ultimately winning this time around … if they didn’t win would anyone really tune in next week; what fun is a shoe-in finale? And when Carrie Ann started crying when she lost — and the tears were really there; her face was all wet– I wondered which acting method she studied. There was so much fakery, when that Orville Redenbocher commercial came on — the one about the guy and his wife whose marriage was in serious trouble because she liked natural snacks and he didn’t, and he collapsed on the kitchen floor and started throwing food about madly — did you guys see it? I seriously thought it was a trailer for a new reality show.

Which brings me to MTV’s new show, “America’s Best Dance Crew.” I wrote about it for Huffington and will link as soon as it’s posted, but for now I just want to say, I really kinda like it. It has more authenticity: the competitors seem like real people; they’re kids you like and want to root for, and the judges take them seriously, and seem more interested in imparting constructive criticism than hogging the spotlight and playing “characters” themselves. It’s pretty good. MTV Thursday nights at 10 p.m.

Finally, don’t forget to watch PBS tomorrow night, Wednesday, for “America’s Ballroom Challenge.” It’s Standard, where lovely ladies in beautiful, flowing, bejeweled ballgowns are swept around the floor by their dapper tux ‘n tailed gents. I initially fell in love with ballroom through this dance style, although I’m afraid it looks very different on TV than live and some of the magic is taken away. Anyway, I will be very excited to see US National champ and second in the world, Katusha Demidova, with her new partner, Arunas Bizokas. Also, in the exhibitions, watch for the pro/am couple Max Kozhevnikov and his student Yuk Chun (for people who follow ballroom, Max is the former partner of popular Latin dancer, Yulia Zagorouychenko), and in the junior division Austin Joson and Elizabeth Lakovitsky. These kids train at my old studio and I’ve written about them previously here and here. Austin in particular is a little cutie, and he ROCKS! Okay PBS at 8 pm EST!

Apollinaire and Diana!

My friend Apollinaire Scherr has an excellent article on the bewitching ballerina Diana Vishneva in this week’s New York Magazine! Apollinaire makes me so jealous the way the writes about dance :) And check out the spellbinding photograph by Armen Danilian.

Vishneva will be performing next week at City Center with Desmond Richardson from Complexions Contemporary Ballet. The two will dance choreography by the man everyone in NY is talking about these days, Alexei Ratmansky. Go here for tix and info.

Farewell To A True Artist

(photos by Paul Kolnick; I couldn’t decide on the two, so I chose both)

So sad! So, yesterday was Nikolaj Hubbe’s final performance with the New York City Ballet. He will now return to Denmark to head the Royal Danish Ballet. I am really going to miss him. There are lots of great dancers, but he was a true artist, bringing every step he did to a higher level.

A wide range of dances were on yesterday’s bill, showing his extreme versatility. The afternoon began with Balanchine’s poetic 1928 “Apollo,” the story of a boy / god who matures into a man, with the help of course of three other-worldly muses, or as Tobi Tobias defines it, “the saga of a soul … finding its identity.”

We then saw “Flower Festival in Genzano,” a short piece choreographed by August Bournonville, fitting since he founded the Royal Danish and Nikolaj excelled in his ballets there early in his career. Here, Nikolaj did not perform himself but two young dancers whom he’s trained in the School of American Ballet — the marvelous and charismatic Kathryn Morgan, whom I’d seen as Juliet in Martins’ Romeo + Juliet, and a young corps member, David Prottas, whom I’ve noticed before but only in the corps, and who blew me away yesterday. He has lovely long legs that make a breathtaking line and, as I’ve noticed before, he does every little step with such clarity and precision. He stands out. I’m serious about noticing his curly headed, long-legged excellence in the corps before — in ballets like “Square Dance;” I just never said anything because I was once told by a critic friend that it’s bad luck for an up and coming dancer to laud them too much early on — like it jinxes them or something, and perhaps because I just didn’t have the confidence to say what I thought of someone no one else had mentioned. I’m so glad Nikolaj used him in this all-important piece on his farewell program. It makes me feel like I’m not a total idiot and can spot talent and artistry too :)

Then came “Zakouski,” a Peter Martins ballet. To be honest, I’ve never been all that in love with Martins’s choreography (apart from the recent “Grazioso”) but once Nikolaj stepped out on that stage I felt completely different. It’s a cute story of the different facets of one couple, actually performed by two different pairs. Nikolaj danced one of the pairs with his longtime partner, Yvonne Borree, and the other partnership was danced by one of my new favorites Andrew Veyette, and sweet Megan Fairchild. Nikolaj and Yvonne had the more mature roles, their dance infused with sexy tango-like movements, which he performed perfectly sharply, sexily, manly. I love him! He also brought out the magic in Yvonne — so, he brought out the magic in both Peter and Yvonne.

When they took their curtain call for this one, it was so sad. Yvonne was crying uncontrollably; his shirt was wet all down one side with her tears. It almost made me cry. Below is a Paul Kolnick picture of them together, not in this dance but another.

The last section was “Cool” from Jerome Robbins’s “West Side Story Suite,” in which Nikolaj actually sang a little! And the program ended with Balanchine’s cowboy and saloon-girl-inhabited tribute to the American West, “Western Symphony.” I guess it’s good that I got Nilas Martins confused with Nikolaj a couple of times in this final ballet. There will still be a Nikolaj-reminder for me in the company.

Here’s a nice little write-up on Nikolaj’s career in Playbill.

As always with hugely important performances like this, the whole day is just one big event, in which everyone in the ballet world, and often beyond, partakes. I no more than got seated when I heard a man and woman fighting behind me. Apparently, she had said too loudly, “Look, there’s Baryshnikov!” thereby embarrassing him. I looked and looked but could not find him. This is likely because I’d just seen my love, hairy-faced and sporting big black chunky glasses, make his besuited entrance. He sat in the first row right smack in the center and chatted with lady next to him. During each intermission I caught him with dancers in his usual hang-out place — on the right side of the theater either on the promenade or the ground floor. Anyway, after I got myself seated for the second intermission, I tucked my legs under me to let passersby get to their seats, and right as his leg brushed mine, I looked up and saw Misha’s face. He was just sitting a few seats down from me and I didn’t even notice him! In the row behind me was Alexei Ratmansky, the director of the Bolshoi who may take over as artistic director of NYCBallet. During second intermission, I saw Philip and Wei and Philip asked me to ask him what his decision was on that (apparently he had to decide by the day before or something). I said no way, I’m way too shy! I also ran into Sarah, and Monica. Others wrote accounts of the day by the way: here is Philip’s and here is Sarah’s.

Of course the final curtain call was horrendously sad. It went on for maybe twenty minutes. There was confetti, bizillions of flowers, everyone in the company past and present went up onstage to hug and kiss him. Here are some pics I took:

Nikolaj and Damian Woetzel embracing.

Nikolaj will give his final dance performance in April with the Royal Danish. During intermission Monica said under her breath, “Hmmm, I wonder if I have any reason to go to Copenhagen in April?…” I was thinking exactly the same thing. Do we need more of a reason though?!

Carnival in Tribeca!

I didn’t get around to going to the real Carnival this year, so this weekend I went with a couple of friends, Kathy and Alyssa, down to the Lafayette Bar & Grill in Tribeca for a little end-of-Carnival Samba party. It was hosted by a Samba meet-up group I joined a while ago but whose meet-ups I never had the courage to attend, owing largely to an insane experience I had in Quenia Ribeiro’s Samba class at the Alvin Ailey extension.

Well, I am happy to say that this time, though I was nowhere near perfect, or even good, I did much better! Or at least I felt much better. The meet-up group’s founder, Marizete, who is from Brazil, began the evening with a little class. She first taught us the steps, which were so much more basic and easier than anything I’ve learned in ballroom Samba and certainly than Quenia’s class. Quenia’s class was more focused on Bahian Samba, or Samba Reggae, which seemed more African and even a little hop-hop infused than what I was used to with ballroom. But Marizete taught only the Rio style, whose steps are smaller, and, to me, more basic than Bahian style. And the emphasis is more on sexiness, attitude and just overall style than on detailed traveling movement patterns, difficult isolations, and changing rhythms. The basic is simply, crossing one foot in back of the other, sliding the other foot a little bit forward and then bringing the back foot up to meet the front with a little hop. And then added with that were some pelvic rolls while standing, pelvic rolls while bending knees and going all the way down to the floor, then pelvic rolls while turning slowly in a cirle, and, at the end she added some pretty arm movements.

Here she is showing us how to roll our hips. It was a lot of fun, and way way way the hell easier than the Bahia / Reggae style, for me. I just look like such a goof trying to do African dance, although I’d really like to be good at that some day. The only thing so ridiculously hard for me to master in Marizete’s class was doing so many things at once — I’m so uncoordinated! I was fine with the basic, fine with the pelvic / hips rolls, but once we started trying to turn in a circle doing the pelvic rolls, I just couldn’t seem to manage both at once. And once the arms were added, forget it. I was going in the wrong direction, bumping butts with poor Kathy, whacking the guy on my other side with my arm, moving my hips in the same direction I was turning in instead of opposite, which I think was the way it was supposed to be… I was a mess! Thankfully there were so many people on that crowded floor, I don’t think anyone really saw me making mistakes galore. Most of the people were not experienced (unlike those crazy Ailey students) so I didn’t feel like that much of an ass. And, I think with practice this is something I could actually do okay.

Here she is trying to teach us the arms.

After the class, we all sat down and had some drinks and dinner, and listened to a Bossa Nova / jazz band, which was lovely. Of course they performed some samba too, in honor of Carnival. And there was some general dancing. I watched Marizete dance with several guys and it was really interesting to see they way they partnered. They were connected and maintained the normal frame, like in regular partner dancing, but they each kind of did their own thing; it wasn’t formal ballroom at all. The guys would just kind of lead her in a certain direction and she would do the Carnival-samba basic with her regular cute bouncy hop, even though the guys weren’t doing the samba basic but just kind holding her and walking her around the floor. There was another woman there who was very good, who was doing the same thing only way faster. It was like watching a Carnival dancer going at her own pace, but maintaining connection with a guy who was just kind of going at a quarter her speed and then not even doing the same footwork. So it looked very asymmetrical, but it still somehow worked. I so want to dance like Marizete and the other woman I saw.

During the band’s breaks, Marizete played some tapes she’d brought of recorded live music at past Carnivals in Rio. Everyone got out on the dance floor and just bopped around to those. Even people who couldn’t really do samba, who’d missed the class or forgotten the basic got out there; we all just did our own thing. Even if you don’t know what you’re doing, the rhythm just gets you!

Then, at the end, a local band, “Manhattan Samba,” played, and they were fantastic! They were all percussion like a regular street band, and had a leader bearing a whistle around his neck blowing out directions. Marizete came out dressed in a Carnival costume and danced a few numbers.

Here’s one of the band. They were having a blast, as were we just listening to them. There is nothing more infectious than a Samba percussive band; nothing!

To Marizete’s left is one of the guys she was dancing with, whom I think she’s taught. I wish she would teach more formal lessons. She seems to create such a nice, fun, social, very informal atmosphere, which for me, is so much more conducive to learning than being around already-perfect dancers, like I found at Ailey. Although Ailey was more challenging and I’d like to go back to Quenia’s classes when I’m better, I need something more basic for now, until I have more confidence.

Anyway, very fun night. The only drawback was the wait-staff at Lafayette Bar & Grill. So nasty. First our waitress was very annoyed when we asked her for a bit more time deciding on our order. Later, when asked for more water, she basically reprimanded us, telling us she “can’t be walking around with the water pitcher.” We waited about twenty minutes until we were able to get the attention of a busboy. At one point another waitress crashed into me, then instead of apologizing harrumphed; apparently I was standing in her way trying to take a picture. About half an hour before the show was over, our waitress threw down our check saying gruffly, “show’s gonna be over soon.” When we looked at the bill, it was more than we’d expected. When I added it all up, I realized they’d already added a $12 “service charge.” This was in addition to the cover charge we paid to get in, so I assumed it was a mandatory tip. While I understand why they do that for large parties, we were only three. I think if they’re going to host special events there, they should train their wait-staff a bit differently…

It’s Up!

Yipee, my Huffington Post blog is up! My first piece is a general rumination on the current dance craze on TV — kind of similar to my Explore Dance article, but more personal, from my own experiences as a ballroom dancer and balletomane, and more focused on the popularity in general than critiquing the individual shows. I’ll post there, soon hopefully, about the new dance show on MTV, “America’s Best Dance Crew.” Photo, meh, but at least no moustache, right :D

New Wheeldon Pretty But Not Profound

(photo by Paul Kolnick)

So last night was the premiere of the newest ballet by Christopher Wheeldon at New York City Ballet, the last he’ll choreograph for the company in his role as resident choreographer. Named ROCOCO VARIATIONS, because it was choreographed to Tchiakovsky’s music of the same name, it was relatively short and minimal, involving a total of four dancers — two male / female couples. Overall, my first impressions are that it was sweet and pretty, but nothing that really blew me away. The curtain opened to a bare stage, no sets. First one couple emerged, then another, the two women dressed in really lovely bronze-colored strapless dresses, the flowing skirts A-level and knee-length. They resembled a cross between ballgowns and a long tulle ballet tutu, and at first I thought it was going to be reminiscent of a Balanchine ballroom ballet, but I was wrong; it was pretty much straight ballet pas de deux. The men wore brown tights and white billowing tops covered by 19th Century-esque beige vests. The music was absolutely beautiful, it goes without saying, and Wheeldon’s very musical; the steps “looked like” the music.

I appreciated a few moments of original partnering and movement: at one point, when all four are onstage, the women stand next to each other and extend their arms toward each other, and the men walk around them and underneath their arms, on the way through grabbing each other and doing a short, jaunty little male -on- male dance. Cute! There was also a nice, evocative shape made by one couple — Sterling Hyltin and Giovanni Villalobos — when Giovanni lunged deeply toward her and she leaned toward him on one toe, her back leg in an arabesque. Where normally the ballerina would keep her head up to maintain her balance and smile brightly at her partner’s face, here she covered his hands with hers and let her head fall all the way underneath their locked hands. It looked like she was really deferring to him, really trusting him, and it was original. Near the end, Adrian Danchig-Waring, the other man, bent down, and his ballerina Sara Mearns, lay on his back, her body straight, almost like a log, and he carried her off that way, bent-backed, as if now bearing a weight.

I was really mesmerized by Mearns and Danchig-Waring. Adrian’s arms were so fluid, they were like water. And both were very expressive with their upper bodies; they had beautiful port de bras (arm movements) culminating with intricate, delicate shaping of the wrists.

I’ll see the ballet again, but, on first sighting, I found the choreography pretty and lyrical, with points of originality, but nothing tremendously profound. My thoughts are that Wheeldon is petering out a bit, wanting to focus now on his own company, Morphoses.

The rest of the evening consisted of Balanchine’s sweetly Romantic “Divertimento from ‘Le Baiser de la Fee’” — which translates to “The Fairy’s Kiss” and is based on a Hans Christian Anderson tale; Peter Martins’s short tribute to China, “The Chairman Dances,” likely in honor of the Chinese New Year (Happy Chinese New Year everyone!); and Balanchine’s fun, raucous “Stars and Stripes,” a patriotic tribute to his adopted country, choreographed in honor of NYC mayor, Fiorella LaGuardia, to iconic Philip Sousa marching music.

I then came home and watched Randy Jackson’s “America’s Best Dance Crew,” on MTV, which I’d taped. I thought it was a lot of fun — very different from the other dance TV shows. For people who didn’t see it, it’s all dancing — no singing, unlike “Dance War” and the groups have been working together for some time, so they’re familiar with each other and know what they’re doing. It appears that the judges give the groups a different song to choreograph to and they have to come up with something original in a short period of time. The crews with the two lowest scores have a dance-off in the end. But the dancing is really only hip hop with some breaking thrown in, so there isn’t a variety of styles, unlike SYTYCD. My favorite crew overall thus far is “Live in Color,” though I’m not in love with the name — too much like “Living Colour,” whose lead singer the lead dancer actually kind of resembles, with the mohawk (though the dancer’s hair is shorter than the singer’s was). I loved how that guy threw in those fouettes at the end (which one of the judges called “art spins” :) ) Anyway, I’m expecting to write more about the show on my Huffington Post blog column, when it’s up (I’m thinking it got a bit delayed by Super Tuesday). If it’s not up soon, I’ll write more about the shows here.

Night of Premieres

Just a reminder, tonight Randy Jackson’s new reality TV dance show, “America’s Best Dance Crew,” premieres on MTV, 10 p.m. ET (although it looks like it’ll be rebroadcast a bunch of times). Mario Lopez from “Dancing With the Stars” co-hosts and Shane Sparks from “So You Think You Can Dance” is one of the three judges. In this show, whose orientation is mainly toward hip hop, the competition is among several dance teams. But these teams are already formed and have been working together for some time, so it’s not another “Dance War.” For more info go here.

Tonight’s also the premiere of — don’t laugh, I’m honestly kinda excited to see it :) — “Lipstick Jungle,” starring Brooke Shields and based on Candace Bushnell’s book of the same name. That’s on NBC also at 10 p.m. ET.

And finally, if you’re in New York, tonight is the premiere of the last ballet Christopher Wheeldon will choreograph for the New York City Ballet in his job as resident choreographer of that company. After this season he will leave his post (possibly to be replaced by the Bolshoi’s Alexei Ratmansky), to concentrate on his own company, Morphoses. That’s at the State Theater at 8 p.m.

Happy night!

Oh, and also, speaking of ballet, look at these gorgeous pictures by Patricio Melo of Ballet de Santiago’s “Swan Lake”! Wow!

“West Side Story” Wins the Day

(photo by Jeffrey Dunn, from America’s Ballroom Challenge website, of Jose Decamps and Joanna Zacharewicz)

Since I’m late in posting again (sorry, was a bit depressed about something last night), most of the conversation has taken place on comments on the last post, so I’ll be brief here.

I loved Jose and Joanna’s West Side Story-ish showdance and I’m really happy to see ballroom combined with these classics (last week was the Fred and Ginger-esque routine by the Smooth showdance winners, Steven Doughtery and Eulia Baranovsky). I thought Jose was just so good; the way he moves his whole body — his upper body just as active as his legs, it’s like he’s a snake with no vertebra. He really got into the fun, fifties-ish theme and he looked to me like a character right out of Jerome Robbins’s dance-movie masterpiece. But he made it a rhythm showdance just the same including all the major rhythm dances, most prominently Swing and Mambo, and even a little Paso Doble thrown in at the end — all of which jibe really well with the Robbins. I’m not sure who choreographed it, but if he did, I think he may have a future as a dance-maker after he retires from competition. I like Joanna too, but to me Jose is the powerhouse of that partnership. He has so much charisma, and actor-ly ability, though I’m not sure if it comes across the same on TV as live.

I was sorry to see Bree Watson and Decho Kraev (below in photo by Jeffrey Dunn) place so poorly. I thought her leg extensions and her stretches were gorgeously balletic, especially in the slower dances, and I was kind of sorry they performed a Swing rather than a Bolero or Rumba for their showdance. But they seemed to know what the judges preferred, since they placed higher in the showdance than in the group dances.

And I always love watching Emmanuel Pierre-Antoine, although I liked him a lot better dancing with Joanna (Zacharewicz, who is now dancing with Jose) than with his new partner, Julia Gorchakova. His routines with Joanna were really cute without being crass and I could have done without all the Robin Byrd-esque booty-in-the-face of their showdance. And watching her, it seems more to me that she is trying to be what he wants, to please him, than being her own person, although Joanna sometimes loses connection with her partner doing too much of her own thing… Still, this is a new partnership and I’m sure they’ll improve. And Emmanuel: he just has such a hunger for dance, and his wild abandon makes him such a compelling showman; I can’t help but root for him :)

I loved just-turned-pro couple Pasha Pashkov and Inna Brayer (who performed in the exhibitions; photo below by Jeffrey Dunn). What a lovely combination Latin routine — I love how they softened the Samba and blended it with Paso Doble. And what lovely flowing costumes!

And I just have to give a big huge shout-out to pro / am couple Scott Lazarov and Christine Stanko (Christine is the amateur student; Scott the pro teacher — also performers in the exhibitions; photo above again by Jeffrey Dunn). I’ve met Christine before at Nationals, when she became the national amateur Mambo champion, and learned that she is a full-time dermatologist, and only took up dancing when she was in medical school — so, as an adult — both of which just blow me away. Many amateurs don’t have day jobs; they practice all day long and have a sponsor to pay the bills. And most start as young children. It’s very hard ever to get really good (I mean at the competition level) when you’ve started in adulthood, and more so when you have a demanding full-time job. So big huge kudos to her!

Finally, I have to give the cameraman a whopping D-! Half the time — more than half the time, he completely cut off the dancers’ legs, sometimes everything below the ribcage. What am I supposed to get from seeing a dancer’s shoulders and face? It was like a sea of legless torsos moving across the stage somehow on their own. And I couldn’t believe all the focus on the women’s pelvises — especially with Carolina and Felipe Telona! And sometimes the camera was way too far away. I think cameraguy needs some lessons from the primetime people.

Anyway, I’m glad you guys had fun watching! Next week is beautiful Standard — more on that later.

Tonight’s Rhythmic Showdown

I got so carried away with politics, I almost forgot to post about tonight! It should be a most fun evening on America’s Ballroom Challenge (PBS, 8pm EST), as this event — American Rhythm — is always a crowd favorite. Keep your eyes open for the always entertaining and hungry-for-a-win Emmanuel-Pierre Antoine and Julia Gorchakova,

their main competitors (and current US champs), Jose Decamps and Joanna Zacharewicz,

and the quieter, but lovely couple who always seem to get overlooked by spectators caught up in the relentless Pierre-Antoine / Decamps battle: Felipe Telona and Carolina Orlovsky-Telona.

Have fun!

Are African American Women Mere “Footnotes”?

I am so sick of the way the media is making the Democratic race into a race and gender war and the terms they’re using to construct it falsely. All I heard all night was that Clinton won among “women” while Obama prevailed among “Blacks.” What exactly are Black women then — doesn’t this language kind of negate them? Just when my blood was boiling over it, the reporter added, “oh and a footnote, a footnote: Black women voted for Obama by …” (whatever the percentage was). “A footnote”? How insulting.

While I’m mostly pleased with the Super Tuesday results, I am thoroughly disgusted by the media coverage, at least on network TV. They act like Hillary’s a big loser for not doing better, when, hello, she secured the most delegates and won the biggest states. On the other hand, the way they talk about Obama, it’s as if they’re patting him on the head, saying ‘good boy, good boy, you did really well, considering…’ Considering what? That he’s Black? That he’s young? It’s like he’s a child or someone with some huge handicap.

And right now on ABC some male jackass pundit is saying the Democratic party needs to decide whether it wants to be forward-looking, appealing to young people aged 30 and under, or looking backward to the good old days, appealing to the 60 plus crowd. Could the party possibly be both, dumbass? Ugh. Idiots. Okay, I’m tired and going to bed…

Nikolaj!

(photo by Paul Kolnick)

Last night I went to the State Theater to hear Nikolaj Hubbe, who is retiring from NYCBallet this month to head The Royal Danish Ballet) give a little interview. Unfortunately I missed Philip, who covered the event in pretty good detail here.

Oh, he’s so good-lucking, and what a fun, charming, good-humored personality! And what a deep, virile, sexy, scratchy voice! … although the scratchiness could have had something to do with a little cold he seemed to have come down with. I hope he’s well for Sunday! He came onstage dressed in tight black jeans and black and white checkered shirt with a big matching scarf wrapped around his throat, and his hair mussed about sexily.

Like the most charismatic people, he’s able to laugh easily at himself. Asked when he realized he wanted to be a dancer, he said, “Well, I don’t mean to sound pretentious, but … well … I always knew I’d be a dancer,” then laughed and kind of rolled his eyes like that couldn’t help but sound pretentious! He knew he wanted to be a dancer when, at four years old, his mother took him to a Nutcracker. But, what he really wanted back then, he said, was to come out of the little trap doors in the floor and ride across stage in the big nutshell (which they had in the Copenhagen version). So, like all little kids, he wanted the theatricality of it all. And at thirty, “I thought I would be a Hollywood star,” he said, then burst out laughing. He seemed really to enjoy making fun of himself at thirty (ten years ago): he later said he had initially applied for the directorship of the Royal Danish at that age but was then turned down. Said with a laugh he “couldn’t believe they turned down me, the Nikolaj Hubbe, haha! I was the Great Dane who (ventured beyond) the Copenhagen border and became famous in America!” But it was all for the best, he said: he needed the ten years to learn to interact with people, to develop as an artist and learn “diplomacy,” to have more international experience, to take his hubris down a (big) notch :) He needed to “eat humble pie.”

He admitted he’s a slow learner, has problems learning the steps because he’s too analytical, too brooding. I remembered reading an article where the writer, observing a choreographer working with ABT dancers, said David Hallberg seemed to have problems learning new choreography. Hmmm, the best artistically and seemingly the most intellectually sophisticated have the hardest time with new steps… Maybe this sheds light on the difference between an artist and a dancer. Since I’ve been so taken with his dramatic abilities and his expressiveness, I listened carefully when he explained his process. He basically said he used to stress out a lot about how he was going to perform something, how he was going to do a coda or a variation, how to emphasize this, what detail to give that… Finally, he learned to let go of all that, he learned to just know the choreography well, have thought about it deeply well before the performance, and then let go of it all before the show so he could be free to just be in the moment when he was onstage. That way, having no “worries about” or “ambitions” for a piece, you learn to shed your self-consciousness. I kind of understood, although it’s hard for me since I’m not a performer.

Someone in the audience smartly asked him how he interpreted the man’s solo in latter part of SQUARE DANCE, which didn’t involve a lot of dramatics and wasn’t a “story-ballet” to be acted. He thought about it (he was very pensive throughout, taking his time to think out his answers rather than just blurting out whatever came to mind), and said he thought the solo was highly dramatic, in silence and simplicity there can still be huge turmoil, and, though the part was very ‘lyrical’ and ‘poetic’ and all (his vocal inflections on the “lyrical” and “poetic” indicated he wished to think outside of the typical ballet-speak box — I use those words all the time, bad me!!) the solo still wasn’t without its “outbursts.” How I wanted to hear him talk more about all of his roles! Well, I just hope he can impart all of his wisdom to the next generation because he’s leaving a big huge hole here!!!

Speaking of teaching, he said he loves it — it’s all one in the same to him, dance is dance whether it’s performing, teaching, directing, it’s dance and it’s what he lives for.

He also talked about his favorite roles: Sonnambula (the first thing I saw him in :) ), Apollo (likely the last thing I’ll see him in), Rubies from Jewels, Other Dances, Afternoon of a Faun, West Side Story, Dances at a Gathering (though he initially hated it), Square Dance, he went on and on — basically everything. He even spoke of something Peter Martins choreographed just for him which he hated at first, but once it was taken out of the repertory he loved it and longed to dance it again. Isn’t that how life always is though…

He talked a bit about his partnerships, said he was terrified of the big famous ballerinas when he first arrived in NYC, loved partnering Yvonne Borree because she’s so small and made him feel very big and powerful and protective (he said this with a smile and laugh), he said, raising his eyebrows, that it was “unnerving” to dance with Wendy Whelan, said he was always very alert when partnering her. He said talking about dance partnerships was very “psychological,” like how you work with a certain person, differently with another, says a lot about your own psychology. That I understood :)

Okay, that’s all I can think of for now. His last day dancing with NYCB will be this Sunday. So sad.

Don’t Forget to Vote!

Happy Super Tuesday, everyone! And happy NY Giants parade, NYers :)