So, toward the end of last week I saw two more casts of Sleeping Beauty in New York City Ballet’s production. Above are the beautiful Kathryn Morgan as Aurora and Tyler Angle as her Prince Desire (Paul Kolnik is the photographer). Below are some photos of the other couple I saw, Tiler Peck (both she and Kathryn were making their Aurora debuts), with Gonzalo Garcia, albeit not from this ballet.

(in Four Bagatelles, photo by Paul Kolnik)

(and in the Christopher Wheeldon / Martha Wainwright collaboration over the summer, photo from NYTimes by Andrea Mohin; I like this photo because I think it shows each of their personalities well).

And then last week, I saw Ashley Bouder and Andrew Veyette.

I’ve been thinking about who I thought was best in what role but it’s actually really hard to do that. I honestly ended up liking everyone, though there were definite differences.

I do have a lot to say about Gonzalo Garcia though. I LOVED him as Prince Desire — he really melted me, he really completely stole the show that night and I feel like I’m not ever going to like anyone quite as well in that role now. I mean, you just have to see him in a classical ballet, as the romantic lead, and you realize why San Francisco audiences were so upset when he left SFB for NYCB a couple years ago. Some of those SFBallet fans were really devastated when he left. And I think it’s been such a puzzle to those fans that New Yorkers haven’t really fallen for him the same way. And I think it’s because he hasn’t had the chance to shine because NYCB is so Balanchine-heavy. He needs roles where he can act and become a character. He’s such the quintessential romantic prince.

You can really tell how differently he’s trained than the other NYCB dancers, who’ve nearly all come from SAB and been trained on Balanchine’s non-actable abstract ballets. I felt like with Gonzalo I was seeing someone from ABT — mainly Angel Corella (in terms of the body type, dramatic style and boyishly handsome face). The way he’d hold onto the music, draw it out while it crescendos, by for example in the vision scene holding out a finger to the princess and then leaning back, then looking out to the audience — not AT the audience but in the audience’s direction — to show how enthralled he is, how much he wants to catch her, all before then turning and running toward her. The other two — Tyler and Andrew — they didn’t do all that. They just kind of looked toward her standing more and more toward the tips of the toes, ready to run toward her when the music told them to. Gonzalo’s way was so much more Petipa and Tchaikovsky and Bolshoi and Romantic Russian and all that, and it might all seem overly melodramatic to audiences who aren’t used to that. But that’s what I’m used to with ABT — and that kind of stuff makes me swoon!– so that’s why I think I loved him so much. But I’m wondering what others who saw this cast thought?

And Gonzalo just knows what’s expected of him, as the prince. Later, when he went to do that crazy series of jetes, he was rested up and ready and he nailed them like I’ve never seen him nail anything. I’ve never seen his legs straighter, in perfect splits, and the whole way around the perimeter of the stage, without tiring. And it’s like he knew that was a very important part, and he had to do them perfectly because that’s just what the romantic hero does — that’s the way he shows his love for the princess, and that he’s worthy of her. The other two obviously took them seriously (because they’re crazy hard, you have to take them seriously), but it just was more of a difficult feat, instead of having the same meaning. You know what I mean? Like he looked out all across the stage wistfully, and then he just took off flying around it. It gave it a different meaning than just flying around.

It makes me wonder though if contemporary audiences understand that, or appreciate it. Or whether they prefer for the emotion to look more “natural”? I’m not saying Gonzalo was better than the other two, just different.

I wonder what Joaquin De Luz was like, since he’s not SAB trained either. Did anyone see him?

As far as partnerships, Kathryn and Tyler were my favorites. Tyler had a few flubs on some of his solo variations (but I still love him!), but he was always the perfect partner, he was always solid when supporting her. And the series of fish dives in the wedding pas de deux were some of the most breathtaking I’ve ever seen. Her legs were pointing completely up toward the ceiling! Magnificent! And the final hands-free fish dive was picture perfect.

I liked all of the Aurora interpretations, but they were different too. Kathryn was the most princess-like, the most regal, though that may just be the way she looks. She just kind of looks like royalty! Ashley and Tiler seemed more “real girlish”  – all smiles and sweetness and awe at the world and their cute suitors.

The rose adagios were all near perfect. (ABT’s Sarah Lane is still the queen of the balances to me — it seems like she could hold them for hours.) Kathryn had the most absolutely gorgeous extensions. Do I have to giggle every time Robert Fairchild comes out leading the cavalcade of suitors? I loved Craig Hall as the “African prince,” – I don’t know what exactly stood out about him but something did. And even though it wasn’t a dancing role, I loved Henry Seth as the King; he acted it really well. Chase Finlay was lovely as Gold in the wedding scene – -he’s a really beautiful dancer with exquisite lines. Everyone’s talking about him being the next romantic lead. I loved tiny Erica Pereira as the fairy of eloquence and Ana Sophia Scheller as the fairy of courage, thought Faye Arthurs and Adrian Danchig-Waring were brilliant as The White Cat and Puss in Boots, and Daniel Ulbricht is the quintessential gymnastic court jester.

And there’s NEVER been a better Carabosse than Georgina Pazcoguin! Nor has there ever been (or, perhaps, could there be) a better Lilac Fairy than Sara Mearns. I love how she arches her back so luxuriously and opens up her chest. And the rich, full-out port de bras. Such beautiful expansiveness, that, with her beatific face, makes her perfect for this angelic role. She reminds me of Veronika Part.

Okay, that’s all I can think of, for now!

This week begins the Swan Lakes. I’ve never seen Peter Martins’ version, so I’m really excited. In particular, I’ve heard wonderful things about Maria Kowroski as Odette and I’m psyched for Stephen Hanna’s debut as Prince Siegfried!

This past week, New York City Ballet began its two-week run of Sleeping Beauties. I saw the opening night performance, with Ashley Bouder (above with Damian Woetzel, in Paul Kolnik photo) in the lead. She danced opposite Andrew Veyette, as Prince Desire. Both did really, a near-perfect job (just because nothing’s ever completely perfect!). Really, I don’t know what more you could ask for, although I’m waiting to write my full review on the production until later this week, after I’ve seen two more casts: Kathryn Morgan as Aurora and Tyler Angle as PD (with Janie Taylor as the Lilac Fairy!), and then Tiler Peck and Gonzalo Garcia as the leads.

I love NYCB’s production — a lot more than ABT’s — and I can’t really figure out why. In NYCB’s there’s really never a dull moment — there’s no boring court dancing, just all the wondrous ballet, the very intricate and complicately awe-inducing variations for the various faeries (Sara Mearns was gorgeous as Lilac Fairy — in photo below by Paul Kolnik, as were Amanda Hankes, Lauren King, Rebecca Krohn, Erica Pereira, and especially Ana Sophia Scheller as Fairies of Tenderness, Vivacity, Generosity, Eloquence, and Courage respectively), the fun “wedding scene” with all the cute virtuosity-driven duets for the fairy tale characters (once again, loved Sean Suozzi last week — here as Puss in Boots, and Stephanie Zungre as his partner the White Cat; loved Tiler Peck and Daniel Ulbricht as Bluebird and Princess Florine, loved Henry Seth as the Wolf but not sure why they had a little girl dance Little Red Riding Hood…), the “jewels” starring Stephen Hanna , and of course the beatific Grand Wedding Pas De Deux between Bouder and Veyette.

I don’t know, there’s just never a dull moment: you go from the Rose Adagio with all the virtuosic balances for Aurora (and the handsome cavaliers), to the richly choreographed fairy variations (that seemed to me more Balanchine than Petipa), to the drama of Carabosse’s arrival with her creepy minions and the frightening spell she casts, to the sweet Vision scene, to the quick Awakening (nothing in this production is long and drawn out; each scene gets right to the point), to the Wedding with the entertaining guests, and ending with the beautiful pas de deux between Beauty and the Prince.

I can’t figure out what exactly is different between this version and the others I’ve seen before, but honestly, this hasn’t been one of my favorite story ballets. So I was just really floored by how captivating NYCB’s production was. I can’t wait to see a few more this week. NYCB is good at story ballets! If you’re in NY and you can make it sometime this week, do go!

Over the weekend, SLSG favorite Robert Fairchild had his debut in Robbins’ Fancy Free at New York City Ballet. This is one of my favorite short ballets: three sailors on shore-leave try to pick up women in a bar, but, there being only two women, they kind of get into a little competition, dance-off-style of course. Fairchild danced the role of the Latin guy, Tyler Angle the more head-in-the-clouds romantic one, and Daniel Ulbricht, the short Swing-y one with all the toe-to-finger splits jumps off the bar. The first woman was Georgina Pazcoguin and the one in purple who for a moment falls for the romantic one was Tiler Peck.

(photo above by Paul Kolnik, taken from Ballet.co, of, l-r Amanda Hankes, Tiler Peck, Damian Woetzel, Tyler Angle and Daniel Ulbricht)

Ah, Tiler Peck was so lovely! She dances that role so well — she really inhabits it, and when romantic guy cartwheels her over his head it just makes me swoon! I like her even better than the ABT ballerinas who dance this role – Gillian Murphy and Julie Kent. Peck brings the most to it I think — the dreamy girl who allows herself to get swept off her feet, at least until the guys get out of control. Pazcoguin and Kaitlyn Gilliland – who debuted in the ballet as well, as the third girl who comes on at the very end — did well too, although I thought Gilliland looked a slight bit unbalanced in the high heels.

(Robert Fairchild headshot by Paul Kolnik)

Ulbricht was perfect as the high-flying guy with his bag of tricks, and Tyler Angle was fine as the dreamy balletic one — the best role for him in this ballet, although I don’t really think this ballet suits him that well. I would really have preferred to see Robert Fairchild in his role though, rather than as the Latin sailor with bravado galore. I don’t think he has enough of the cocky shithead in him to quite pull it off. Of course I couldn’t stop thinking of Jose Manuel Carreno in the role — how he always cracks me up when he struts around with the lady’s purse after playfully snatching it, how he tries to please the ladies with those rumba basics that he thinks are oh so sexy but are really just silly the way he does them. I’m sorry Robert, I just couldn’t get Jose out of my head!

Also on was Prodigal Son, starring Joaquin De Luz (who I imagine really excels at the Latin sailor) and Maria Kowroski as the Siren. Joaquin is my very favorite Prodigal Son — including the ABT dancers I’ve seen (I never got a chance to see Daniil Simkin when ABT did it last Met season). De Luz’s jumps at the beginning perfectly emanate youthful restless angst without being too much about the acrobatics. And he acts it brilliantly. He really takes you on that journey with him from restless youth anxious to see the world, to seduction at the hands of the ruthless Siren, to beaten and begging his family for forgiveness.

Watch a tape of him performing and talking about the role here.

And last was Firebird starring the inimitable Ashley Bouder (photo above by Paul Kolnik from NYCB site). My favorite Firebird by far. I love the quick-changing shapes she makes during the pas de deux where she’s trying to break free of Prince Ivan’s (Jonathan Stafford) grip — her being caught by but also intrigued by him. And her liquid fluid arms with lush wingspan are so beautiful. And of course no one does the jetes around the perimeter of the stage like she does!

This program repeats a few times this week, alternating with Martins’ Romeo + Juliet and another program — which begins tomorrow night — and includes the world premiere of a ballet by Alexey Miroshnichenko.

I’ve been hearing rumors about this for a while now, but now that the celeb gossip mags are starting to pick it up, I feel authorized to post about it. Millepied is doing the choreography for the upcoming film Black Swan, which Portman is starring in.

Ever since the World Series, I’d been secretly hoping for a Derek Jeter / Ashley Bouder romance (don’t know why; just thought they’d look so cute together — she seems to be his type and he needs an athletic woman to kind of play-rival him and to show him how to really jump — and how fun would it be to see him at Lincoln Center all the time!) but, okay this will certainly do as well…

Photos above from The Hollywood Gossip.

New York City Ballet officially opened its 2009-10 winter season last night, with a performance and black tie gala dinner. The performance included Alexei Ratmansky’s Concerto DSCH (above photo of that ballet — dancers are Ana Sophia Scheller, Gonzalo Garcia, and Joaquin De Luz — by Paul Kolnik, taken from NYTimes), stars of the Paris Opera Ballet Aurelie Dupont and Mathias Heymann dancing the central pas de deux from Balanchine’s “Rubies,”

(photo taken from Kulturkompasset; Dupont is center, Heymann is holding the hand of another dancer).

And then the evening finished off with the world premiere of artistic director Peter Martins’ Naive and Sentimental Music, set to John Adams’ (brilliant) score of the same name (I’ll post photos when I receive them).

But first, there was a short film of the reconstruction of the inside of the Koch Theater (still can’t help but think of it as the State Theater…) while the orchestra played Tchaikovsky’s Sleeping Beauty overture (as it turned out, the perfect music to highlight the comically sped-up but ultimately awe-inducingly huge renovation process). Highlights of the renovated theater are — most importantly and coolly — the orchestra pit with a floor that can rise to stage-level (! — and this is how the orchestra played the overture), and two aisles now carved into the orchestra seating section. (Before, orchestra section had no aisles — so, though this is how Balanchine wanted it, apart from being extremely hard getting to a middle seat, it was a fire hazard).

Anyway, after the mandatory thank-you speeches by Peter Martins and David Koch (who funded the renovation), came the  Ratmansky. The fun frolicking threesome in blue (top photo) were danced by Joaquin De Luz, Gonzalo Garcia and Ashley Bouder (all three brilliantly on, Bouder thankfully back from an injury), and the adagio couple in green were Benjamin Millepied and Wendy Whelan (photo below). I think this was danced better than I’ve ever seen it done before — it could have been because I was so excited to see Bouder return, or because the dancers are all beginning-of-season fresh… but this is by far Ratmansky’s best, imo — it’s got the most complex structure and original movement.

(photo by Paul Kolnik, taken from Danza Ballet)

Next were the POB couple, who danced “Rubies” brilliantly — not only with precision and clarity but with great exuberance as well. One thing I meant to say earlier about La Danse (the Wiseman film about the POB) and forgot, was that the POB dancers are all so trained to make meaning out of every little thing they do — every step, every gesture, no matter how small. You have to have some kind of thought in your mind whatever you do. (This is not what Balanchine taught his dancers; he taught them simply to do his steps and those would contain everything the audience needed to know.) I feel that this allows POB dancers to bring a certain passion and humanity to all of the works they do — I noticed that from performance footage from that film as well as from last night.

And third came the highlight — for me anyway — of the night: the new Peter Martins’ ballet. The John Adams music was absolutely gorgeous — rich, many-layered, complex, intense, varied and structured into many sections — some lighter, many heavier, evocative, etc. etc. Beautiful! Oftentimes music like that overpowers the dancing, but not here.

In a short film shown before the dance (methinks Martins is taking after Wheeldon here with these little introductory films), Adams says the title refers to the difference between musicians whose music was fresh and original (the “naive” composers — like Mozart, he says) and those whose music was meant to speak to the past, to convey a sense of history, music that kind of carried the weight of the world on its shoulders so to speak (the “sentimental” — which he considers Beethoven). You could really see that in the music — some of it lighter, much of it weightier. Martins said in the film he tried to evoke that visually through dance, and I think he did so successfully — there’s a lighter, adagio section with dancers dressed in pristine white, another light but fast section with dancers in red, and then the more intense, almost severe sections with dancers in blues and deep greens and black.

Though most sections are danced in ensemble, Martins created the ballet for the principals only. This created an interesting dynamic, because, except for the middle section with the three pairs of dancers in white, almost all roles had equal weight — and yet practically all of the dancers stood out. It was an overload of star power!

And, though some sections seemed a slight bit underrehearsed (or maybe it was just that the footwork was so difficult and fast), everyone shone since Martins highlighted each dancer’s strengths: Maria Kowroski and Sara Mearns as lyrical women in white, Sterling Hyltin and Teresa Reichlin as kind of sharp-edged, sassy women in fiery red, Andrew Veyette and Daniel Ulbrich at the high-jumping bravura guys in black, there were some jazzy moves for Amar Ramasar, etc. etc.

Oh and I just love Tyler Angle He partnered Yvonne Borree and I don’t think I’ve ever seen her so at ease and so fluid! She looked really beautiful. Nice also to see Stephen Hanna back from Billy Elliot! He partnered Darci Kistler in the white section.

It’s a rather long ballet but I was thoroughly engrossed and can’t wait to see it again. I hope they keep it in the rep.

Okay, that was the gala. Now onto the Nuts. Regular season begins in January.

How funny — I was just going on in my last post about how I fell in love with the Paris Opera Ballet through Frederick Wiseman’s currently-showing film La Danse, and now I receive news that two etoiles with that company — Aurelie Dupont (in photo above, taken from Bailarinas) and Mathias Heymann — will be performing with New York City Ballet in their opening night gala, on November 24th. In exchange, NYCB’s Ashley Bouder and Gonzalo Garcia (both SLSG faves) will perform with Paris Opera Ballet, on November 12th. Both couples will dance the “Rubies” section of Balanchine’s Jewels.

Additionally, NYCB’s opening night performance will include Alexei Ratmansky’s Concerto DSCH (my personal favorite of his) and a premiere by Peter Martins set to John Adams music and starring all of the company’s principal dancers.

Photo of DSCH by Paul Kolnik, from NYTimes.

NYCB’s Nutcracker season begins the Friday following opening night, November 27th. Visit the website for tix and info.

Most exciting though about the dancer exchange. I’ve never seen Heymann perform live and I’ve only seen Dupont dance Trisha Brown, not full-out ballet.

Here are a couple videos of Heymann I found on YouTube: first as Bluebird in Sleeping Beauty and second in a contemporary solo:

And here is Dupont as Kitri in Don Q:

Sorry, you guys, I’m just so into videos these days!

Sorry I’ve been so out of it again with blogging, you guys — I can’t believe how many little errors there are in my book to correct… So stressful!

Anyway, I managed to watch DWTS last night. Thing is, I’m really so not into it; even if I wasn’t busy with my book, I’m so not into blogging about the show this season. I think Mya is overall the best contestant on the show right now, and so she probably deserves to win. But she just doesn’t do that much for me. I liked both her Quickstep and 70s Samba last night — I thought her Quickstep was actually pretty basic and technique-focused so I’m not sure why Len didn’t like it, and the Samba was fun — a lot of people dance Samba to disco music since it’s so hard to find good authentic Samba music around here.

I think overall I like Aaron the most though, even though he’s not as good as Mya. Still, he’s getting less and less fun, for some reason, as the season goes on. His over-the-top-ness is not enough to compel me to watch the show anymore. I liked but didn’t love his 90s Latin routine last night — wait, was it  Jive? I don’t even remember? But I was annoyed with Karina that she didn’t let him do his fun boy-band moves. Why did she cut him off like that — I think it would have been hilarious. And what is with everyone getting sick? (Both Karina and Aaron had the flu at various points this week apparently…)

I thought all the Standard routines were pretty bland last night. I thought Donny’s Viennese Waltz was the best, mainly because Kym was so beautifully fluid. But during the Latin round, his 80s Paso wasn’t all that interesting. The costumes and music (I used to love Spin Me ‘Round) were far more fun and flashy than the actual dancing.

And I feel the same way about Kelly as I do Aaron. I liked watching her learn and grow early on but now it seems she’s stagnating and it’s not that interesting anymore. I thought her 60s Jive was cute and I love that Louis, unlike Karina, let her put her own Monkees-esque moves in.

I feel like Joanna really dances like a paper doll. She has no grounding, no weight, no strength or firmness in her body. You need that for ballroom, even for the Standard dances. You need that for any kind of dance. You need that to do fouettes and pirouettes in ballet. Not that I don’t dance exactly like that — that was always my problem: I looked emaciated and completely substanceless. I used to think it was just about being thin, but it’s not. There are very thin dancers who are very rooted and have a great deal of strength in their bodies. She’s a really really pretty paper doll, but a paper doll nonetheless and I can’t for the life of me understand why the judges fawn over her so.

I know, as Katrina had commented earlier, that seasons may collide, but I still so want Yankees to be on the show.  Come on, A-Rod can dance with Smirnoff and Derek with … Lacey maybe. The World Series was the most exciting thing to happen since Roberto Bolle (look look, new pic from Weber book!) came to town. I’ve been a bit bored and depressed since it ended…

One more thing about the Yankees: they had a little dance segment at the City Hall celebration — did anyone watch it? The dancers were teenaged schoolgirls, apparently, from Staten Island, called the LA Dancers — something like that. They were okay, but you know… Why don’t they have a real dancer, like Ashley Bouder? I think she’d be perfect — she’s cute and extremely athletic and would be very attractive to the average baseball fan. And she’s a NYCBallet dancer… Come on! Next year…

Photo of Bouder by Gene Schiavone, taken from Bailarinas; photos of A-Rod and Jeter taken from here and here respectively.

(left to right: Ashley Bouder, Antonio Carmena, Russell Janzen)

All photos of Ashley Bouder, Antonio Carmena and Russell Janzen by Matthew Murphy.

Review by Michael Northrop

Avi Scher & Dancers debuted the dynamic new piece “Touch” at the 2009 Contemporary Dance Festival at Manhattan Movement & Arts Center Saturday. The music, Aphex Twin’s “Blue Calx” performed by Alarm Will Sound, fit right in on a mixed bill that ranged from quieter balletic moments from the host company, Thang Dao Dance, to some entertaining, Pilobol-esque body-stacking from Phoenix Project Dance Theater.

That was it for fitting in, though. Everything else about “Touch” stood out, starting with the dancers. New York City Ballet corps member Russell Janzen, soloist Antonio Carmena, and principal Ashley Bouder were tremendous, and the choreography made the most of the trio’s athleticism. This was not a timid exploration of the stage. Whenever there was a question (a half step, a reach), the answer was yes (continue, embrace).

Janzen and Carmena came out shirtless in bike shorts. Aesthetically, this highlighted the physicality of the piece, which included some exceptional lifts. (Psychologically, it just made every guy in the audience feel like a toneless dumpazoid—or perhaps I project? In either case, it was a big hit with the row of teen girls behind me.)

Bouder, dressed in black, was marvelous. She reminded me of that great line, that great scene, from Geoffrey Rush’s Oscar-winning 1996 movie Shine: “Boldness of attack.” In the movie, Rush, as a brilliant pianist, has to be prodded to it. On Saturday, Bouder was committed to it from the start. Her pointework was precise but bristling with power.

Anyone who saw Scher’s work at the City Center Studios in June or the Ailey Citigroup Theater in September knows that he has a real flair for physical, crowd-pleasing pieces set to contemporary music. This fierce, fresh piece manages to both fit right in with that and, again, stand out.

Just a reminder that this Monday night, November 2, is the America Dances! gala fundraiser for Career Transitions for Dancers at City Center. This year’s gala performance will honor Patrick Swayze (who will be given a posthumous Rolex Dance award), and include performances by Desmond Richardson, Ashley Bouder and Andrew Veyette of NYCB, Stephen Hanna and Tony winner Kiril Kulish of Billy Elliot the Musical, Dancing With the Stars dancers (who are as of yet unspecified), and Cedar Lake Contemporary Ballet, amongst others.

Career Transitions for Dancers is a very important organization that helps dancers (who retire young and often without much education outside of dance) to transition into other careers. Swayze strongly supported the organization and was planning to attend the event and receive his award before he passed away.

For more info, go here.

Okay, isn’t it apparent from this picture alone that David Hallberg is the best Apollo EVER?! And it’s only a rehearsal photo! Oooh, I really may have to go to Vail next year…

Photo taken from The Winger, where you should read Carla Korbes’s post on her experiences at Vail and performing the Balanchine classic with the great DH. She’s also got several more photos posted including some of D and Ashley Bouder.

Okay, regarding the earlier controversy as to whether Ms. Bouder was dancing all out during the rehearsal, here she is with David dancing for real at Vail, albeit from a different section of the pdd. Personally, I think she looks beautiful — gorgeous arms. And surprisingly, you don’t even really notice the height difference, which has to be pronounced (she regularly dances with Joaquin De Luz at NYCBallet and David is well over 6′).

Our David Hallberg (with flying blonde mane and miraculous feet!) rehearses the Black Swan pas de deux with Ashley Bouder, which they’re currently performing at the Vail International Dance Festival. Great Paloma Herrera-esque fouettes, Ms. Bouder (with the multiple pirouettes thrown in; I haven’t really seen the NYCBallet ballerina in a dramatic part yet; she and David look good together!)

Bouder’s also performing Balanchine’s Who Cares with SLSG favorite Robert Fairchild, and David’s dancing Apollo with Pacific Northwest’s Carla Korbes. So wish I could be there…

(Design by Janie Taylor, NYCBallet)

I love these Dancers’ Choice programs at NYCBallet! Established to raise money for the Dancers’ Emergency Fund, it’s the one night of the year where the dancers plan everything — the ballets to be performed, which excerpts, and who dances them. One dancer plays artistic director for the night (tonight’s was  principal ballerina Jenifer Ringer), another designs the program graphic (tonight, Janie Taylor, above), and another choreographs a ballet to be premiered (tonight, Ashley Bouder, with costumes by Janie Taylor) Dancers who are visual artists donate their artwork for a silent auction during intermission. And that’s my one and only complaint with the evening — the intermissions are always too flipping short. There’s no way people have time to browse through the special items for sale and make their purchases in 15 minutes. Why don’t they double or even triple the intermission? People can buy sparkling wine and browse and buy, not to mention people-watch (practically everyone shows up for these things — all the dancers past and present at NYCB and even ABTers from across the plaza). And it wouldn’t be more expensive to do that, right — if you’re selling alcohol and art, what’s the added expense? What do people need to get home for by 10:00 anyway

Okay, that’s my little rant.

The program was excellent. They chose the best parts of some great ballets, and some ballets I’ve never seen before — and ended up loving — and of course Bouder’s new ballet!

I’m not going to go in order, but just write what comes to mind first, which is the new Bouder,

Continue reading ‘“BRAVO, MR. B.”: DANCERS’ CHOICE PROGRAM, NEW YORK CITY BALLET’

Top to bottom: Ashley Bouder and Robert Fairchild in Lifecasting, Tiler Peck in Mercurial Manoeuvres, and Maria Kowroski and Philip Neal in Slaughter on 10th. All photos by Paul Kolnik, courtesy of NYCB.

My friend Michael (whose novel is reviewed in the New York Times Book Review this Sunday, woo hoo!!!) and I saw this program Wednesday night. It was one of my favorites at NYCB and I think his as well. (Well, he loves Ashley and I love Mr. F. so it was a given we’d be melted into our seats by the end of Lifecasting).

But we were also both blown away for the first time by Wheeldon’s Mercurial Manoeuvres, I think because Tyler Angle plus Tiler Peck equals serious magic… Oh my gosh, Tiler Peck really made that ballet. I can’t wait to see her again tonight. She was just everything and more. Unfortunately Tyler won’t be partnering her (he’s my favorite male partner, along with Marcelo Gomes at ABT); she’ll be partnered instead by Adrian Danchig-Waring, a dancer who I am not all that familiar with but am excited to see. Also, heinously, my love Gonzalo Garcia (who owns the lead in this) is not dancing tonight; instead it’s Joaquin De Luz, who, yes yes, I’m sure will be spectacular as well It will be interesting to compare, as I so love to do…

Casts are the same for Lifecasting with the aforesaid mesmerizing Robert Fairchild and Ashley Bouder, and Slaughter on 10th, starring Maria Kowroski and her legs, Philip Neal and his tap shoes, and Vincent Paradiso and his gangster persona! I’ll write more about this program after I see it again tonight.

I was at NYCBallet last night and then absolutely needed to go out to O’Neals afterward with my friend to discuss Tiler Peck’s brilliant performance in Mercurial Manouevres (and yes, Ashley Bouder in Lifecasting, whom my friend has an enormous crush on   — we got kicked out of O’Neals at 12:15 a.m. – -ridiculous that they close that early; that’s why ballet isn’t attracting young audiences — there are no bars open late in the Lincoln Ctr area…argh!) Anyway, I’m watching the recording this morning. Here’s my recap:

First on, popper Phillip and contemporary dancer Jeanine dancing to a Tabitha and Napolean hip hop routine. The first dance of the season. It was pretty good. I thought she did really well, especially for a contemporary dancer. I think she even kind of outdanced him! It wasn’t tremendously memorable to me, but was good.

Next, Asuka and Vitolio, in a Tyce DiOrio Broadway routine. She has ballet training and he grew up in an orphanage, so interesting combo. Cute. His opening jump didn’t have much height but other than that everything went well — great solo, side-by-side movement, good lifts — she has great lines. And he had a good multiple pirouette in there. I really enjoyed Vitolio — I thought he stood out much more than she. Mary’s nuts. They didn’t just “do their steps, do the right thing.” They gave it a lot of umph. I think the character was totally there. Nigel’s critical too — what are the judges on?

Third, Karla and Jonathan’s Cha Cha choreographed by Tony Meredith. So, Karla has danced on Broadway, toured with Wicked, and Jonathan’s a Salsa dancer who started dancing after seeing this show. (I like how we’re learning a bit about these couples now). Eh. It was okay. But her legs were too bent, she didn’t straighten enough, and it looked like it was lacking in precision and leg lines. He was pretty good. It didn’t look anything like a professional Latin routine though. She looked like a Broadway dancer doing Latin. Judges are all going wild though. Judges sure like sexy.

Fourth is Randi and Evan’s Tyce DiOrio Broadway routine. Randi’s from a small town and big family and not used to flash. Evan’s the Broadway dancer, from Michigan, who most stood out to me during auditions. He kind of reminds me of Craig Salstein — which means, I really really like him! So, she says she’s married and doesn’t like doing sexy, romantic things with Evan — because dance is real of course, it’s not an act. It took them a bit to get into the mood of it, but when they did, Wow! That really blew me away — so passionate. He did a very nice tour jete in the middle, she had very lovely leg lines, beautiful lifts, and some excellent staccato movement (are they called isolations in contemporary?) in the middle, emphasizing every body part, and, as Nigel says, exhibiting excellent control. Really fabulous movement. I’m so glad the judges like them. If they didn’t I was going to be beyond annoyed.

Fifth, Paris, a contemporary dancer, was in a car accident and has no sensation below her knee on one leg. Wow. She’s paired with Tony, a hip hop dancer. He chose dance over sports in high school. Good for him They’re dancing to a Tabitha and Napolean hip hop routine. Oh, I remember him from auditions — the comical guy who kept flashing the photos of Nigel during his routines. I liked him, personality-wise, though I didn’t think his dancing was anything to write home about. Well, I thought the choreography here was a little bland, but I do think they did as well as they could. Or, maybe it’s as Adam says, that they didn’t have enough attack. They were fine, but there needs to be more. They were a little too soft and bouncy.

Sixth are contemporary dancers Caitlin and Jason. She has a gymnastic background (I remember liking her in audition; I was really rooting for her, when it seemed her sister’d be the one to make it). They’re doing a Bollywood routine by Nicole (I didn’t get the choreographer’s exact name). Whoa, that was excellent! My favorite dance so far! Everything was so excellent — he is just oozing with charisma, and a really natural dance ability. And she has gorgeous lines. Beautiful lift up front, loved the low-to-the-ground deep knee bounces, excellent plastique — beautiful lines with the wrists and hands and feet. Whoa. He’s my favorite so far. Nice to go with the Slumdog Millionaire song as well.

Janette and Brandon. She’s a Latin dancer from a Cuban family and learned to dance at home. Brandon is that contemporary dancer who during auditions some of the judges wanted to die for and two couldn’t at all understand the fuss. It was something that annoyed me during auditions, because we didn’t get to see a whole lot of him and so couldn’t take a side and participate in the debate. So, now we’ll see. They’re doing a Foxtrot. Wow, that was really pretty, ended up being a nice Foxtrot once they got into it — it did take them a little bit though, but once they loosened up and swayed their upper bodies, it had some real spice. Not at all one of those stiff Standard dances you sometimes see when both partners are too nervous. That ending lift sequence was gorgeous. He did have charisma but I’m still with Mia — he’s okay but I’m still waiting to see what Mary and Nigel were going on so about during auditions.

Ashley and Kupono are doing a Jazz routine by Wade Robson. So they’re crash test dummies. Wade Robson is so weird! I thought it was more rubbery than robotic, but I guess that’s right — right? Crash test dummies are rubber so they can bounce all about. It was good. I thought he outshone her. I like how he made those nervous little flutters ripple throughout his body. That looked hard and he did it well. She was a little too fluid, which normally would be proper for contemporary dance, but here it wasn’t quite right. Mary likes her though.

Melissa, the ballet dancer (“I’m strictly a ballerina, also called a buff ballerina and naughty ballerina”) is partnered with contemporary dancer Ade. They’re doing contemporary with Mandy Moore. Whoa, tied with the Bollywood for my favorite of the night! She was gorgeous — like a bird, she just flew! Adam Shankman is crying! She’s 29, the oldest dancer on the show, and he tells her she’s living proof that we get better with age. He says her power is profound. He’s right! Mary screams! She keeps saying the quality of the movement, the quality of the movement, you can’t deny training, you can’t deny training. Yes, you can see all the ballet training — she lifted herself in those lifts. And did you see how high she danced on releve! Oh, for all the people who aren’t watching because of Alex Wong, she is so worth watching the show for this season! Poor Ade — I didn’t even notice him — though I did notice one jete where he made a perfect split, which was marvelous. And he’s a good, strong partner.

Finally, Kayla and Max are doing a WOO HOO, Louis van Amstel samba! Welcome to SYTYCD, Louis   Max is Russian, a ballroom dancer. Kayla’s contemporary, from a single-headed household; it was a struggle for her to take dance lessons as a child, but they managed. Aw, Louis’s being so nice — telling her he can’t believe she hasn’t done ballroom before But, you know, I was disappointed. The music totally outshone them. He didn’t do much for me, unfortunately. He didn’t have the flash I’ve seen in most male Latin dancers. His hips weren’t that fluid and his movement range wasn’t that wide, and his rhythmic sensibilities just didn’t seem to be all there. Maybe he was nervous. Maybe he’ll get better. She was very good, although she didn’t looke like a proper Latin dancer. But how could she be expected to be at this point — she’s contemporary. That back kick was stunning. The judges are going nuts, though, and Mary did her crazed hot tamale train screams. I don’t know, I didn’t see what they did.

My favorites of the night: the lyrical Mandy Moore routine and the Bollywood number, and dancers Melissa, Jason, Evan, and Kupono. I can’t believe someone is going home already tonight.

Okay, just one more post before I settle down for the weekend.

Next week is going to be pure insanity. Practically every single Giselle cast at ABT is a must-see. Retiring ballerina Nina Ananiashvili is dancing her last two Giselles Monday (with Marcelo Gomes) and Friday (with Jose Carreno); Tuesday Diana Vishneva dances the lead (whom many critics consider best in the role); Wednesday matinee David Hallberg and Maria Riccetto make their debuts; Wednesday night Veronika Part dances the Queen of the Wilis with Irina Dvorovenko in the lead; Thursday night La Scala superstar Roberto Bolle makes his debut as the newest company principal; Saturday matinee Herman Cornejo dances Albrecht; and Saturday night is visiting Bolshoi ballerina Natalia Osipova in the lead. (By the way, Saturday night casting has recently been changed to David Hallberg as Albrecht, dancing in place of the apparently still-injured Ethan Stiefel.)

Across the plaza at New York City Ballet, the newish ballet Lifecasting by Douglas Lee (which is your only chance to see Ashley Bouder dance this season) shows on Wednesday night, Friday night, and the Sunday matinee along with the critically acclaimed Christopher Wheeldon ballet, Mercurial Manoeuvres (one of my personal favorites of his). And their always fun Dancers’ Choice program is on Sunday night. (Visit Oberon for more deets on that).

I had also wanted to see Jennifer Muller’s The Works 35th Anniversary program at the Joyce in Chelsea but just don’t know if I’m going to be able to pull it off.

(at top of post, Julie Kent as Giselle in Roy Round photo)

Also, the following week, on Tuesday, June 16 from 5:30-7 pm, Roberto Bolle (photo from here) will be at Rizzoli Bookstore (on 57th Street between 5-6th Avenues) signing copies of his book (of photos of him dancing at La Scala).

Happy weekend, everyone!

(Above images, Concerto DSCH by Paul Kolnik, courtesy of NYCB; top dancers: Janie Taylor and Tyler Angle, botton: Wendy Whelan and Benjamin Millepied)

I can see how ballet is so addictive, especially to those with dance training who’ve either danced the roles they see onstage or pick up choreography on sight. It’s so interesting to see different dancers perform the same roles, to see what they can each do with something, where they can take it. A ballet can look completely different depending on cast.

Janie Taylor recently debuted as the female lead in Ratmansky’s Concerto DSCH and I absolutely loved her. I thought she brought a certain vulnerability, delicateness, and romantic touch (both big and small “r”)to the role and as such created a poignant centerpiece to this ballet that is mainly full of fast, frolicking fun. She was perfect partnered with Tyler Angle, who gives everything an emotional, Romantic quality. There’s one point where the girl bourrees (tip toes) backward from the guy and he steps toward her in a series of lunges, arms outstretched. It was rather heart-grabbing when Janie and Tyler did that. It was like Tyler was reaching for her with all his might, but she just kept falling away from him, telling him no, it couldn’t be.

The original cast for the romantic couple was Wendy Whelan and Benjamin Millepied, and when I saw them perform it again a few days ago, I looked for that part. I almost didn’t see it until Wendy had bourreed practically into the wings. Benjamin, instead of reaching toward her with all his power, bent his knees and performed those walking lunges close to the ground, kind of bouncing up with every step forward. His arms were still outreached but the deep kneed, close to the ground walks gave it overall a more playful feel, or perhaps like he was looking up to Wendy, his supreme ballerina. Wendy’s of course such an icon in the ballet world and she’s stronger and less vulnerable and delicate than Janie and so it just had a kind of man worshiping woman instead of a boy trying desperately to hang on to his love feel.

Ashley Bouder has been out with an injury so Ana Sophia Scheller is filling in for her in the main allegro ballerina part, still dancing alongside Joaquin de Luz and Gonzalo Garcia.

(photos of Garcia and Scheller by Paul Kolnik, taken from NYCB website)

There seemed to be a slight bit of drama going on between Scheller and Garcia at first — I don’t know what it was — he was his usual sexily mischievous, charismatic self and she seemed nervous and holding back a bit (albeit not with Joaquin), but hey, drama is always fun I think that has been all worked out though. The last time I saw them dance this together they were right on. She appears to be a lovely dancer and I’d like to see more of her.

I’ve also seen two very different casts in Scotch Symphony: the first Benjamin with Jenifer Ringer, the second Robert Fairchild and Kathryn Morgan. This is a sweet Balanchine ballet, telling the story of a young kilt-clad Scotsman lost in the Highlands who becomes completely smitten with an ethereal goddess dressed in Romantic tutu. He keeps trying to reach her but is thwarted right and left by a group of Scottish guards. Finally, they meet and dance a lovely pas de deux.

My friend, Alyssa, now has a huge crush on Benjamin. I don’t know how it happened; we were standing in line at the box office to pick up tickets one night and he was talking on the overhead screen, likely about his new ballet (I’m not sure because the sound was off) and Alyssa became mesmerized by his face. “That’s the guy who recently premiered a new ballet,” I said. “Oh, he’s a choreographer? He’s cute!!” Then when we got inside and were looking at the Playbills she screamed, “look, the cute guy is dancing!”

(Millepied headshot by Paul Kolnik; all headshots by Paul Kolnik, taken from NYCB website)

Afterward at dinner all she could talk about was how other dancers (like Daniel Ulbricht, who we saw in Tarantella that evening) were great jumpers and technically perfect and all, but Benjamin just brought so much more to the dance. “He was just so … so… he was perfect in everything he did, but he wasn’t just perfect, he was… ” she waxed unable to come up with the right word. It was Ethan all over again (whom she fell for after seeing at Martha’s Vineyard merely introducing his Stiefel and Stars and saying he was unable to dance because of the knee operations).

I nodded. He does have a certain beneath-the-surface charm (Benjamin that is), and he is a very good dancer, always coming through with those ever so challenging fast-paced Balanchine roles.

But of course I was dying to see Robert Fairchild in the same role, with Kathryn Morgan as his ethereal love object. They were so beautiful together. She’s just so angelic, and he always dances with such passion and boundless amounts of energy, and of course he’s always got that boyish charm that he’s had since debuting in Romeo two years ago at age 19 but that I don’t think is every going to go away. He’s such a hard-working young guy, you can tell — he puts everything he has into his dancing. He had a tiny fumble coming out of a jump and had to check himself with a couple extra steps to secure his footing (but he didn’t fall), and at one point he was a bit too far from Kathryn during a supported arabesque penchee and she couldn’t get her leg all the way up in the air. But, to me, honestly, when a dancer makes a blunder it only makes him or her all the more endearing, more human.

(Robert Fairchild, Kathryn Morgan)

I loved Tiler Peck in Tarantella — another role that usually belongs to Ashley Bouder, but Tiler brought a certain freshness and wit to this cutesy extreme high-speed dance. Ashley usually brings a sexy, flirtiness to it; Tiler was more sweet and smart. I like both, and, again, it shows dancers often make the dance.

Daniel Ulbricht (photo above by Paul Kolnik), as always, delivered on the technical and difficult athletic aspects of the dance — the high jumps the turns and all. Audiences always go absolutely wild over him. I personally like Joaquin de Luz a bit better (in this and the other roles he dances — he and Daniel usually alternate) because he delivers on the virtuosity as well but he makes it more about the character. At the end, the boy here steals a kiss from the girl. With Daniel, the high jumps and theatrics are the dance, the kiss is just a little reward at the end; with Joaquin the whole thing is about that kiss, the mad leaps and spins and turns with the tamborine are simply leading up to it. But audience do go completely wild over Daniel.

(Tiler Peck)

I saw the new ballets once again — Benjamin Millepied’s Quasi Una Fantasia and Jiri Bubenicek’s Toccata, and both grew on me. Funny, but I sat in orchestra this time for both — first time I was looking down from the first ring side, and it’s really interesting how different the ballets look from different vantage points — especially the Millepied. Looking down from above, this ballet really seemed to evoke a flock of birds, at times sinister and foreboding. Looking at it straight on, it was still unsettling — with that haunting Gorecki score — but at times the dancers resembled insects reminiscent of Robbins’s The Cage, and later, just figures — one weak and somewhat broken, the other strong — moving in various groupings. My friend Michael and I both noticed how he’d make various groupings or formations with the dancers — phalanxes, Michael called them. Sir Alastair had noted the same, saying he likely got the ability to work a large ensemble like that from Balanchine. I don’t always notice such things until someone points it out — I’m usually more focused on the theme, what the choreographer is trying to evoke, or make me think and feel.

I wish I had a picture of what the dance looked like from above. Overall, I think I still see Hitchkockian birds

I still don’t know exactly what Toccata is about but I love how there is a great deal of really intense partnering, sometimes several duets happening at once, the dancers by turns pushing and pulling, sliding, strugging with and embracing each other, and I love how at points the bodies just kind of mesh into one another, just melt into each other. It’s really kind of sexy in its own way. I love Robert Fairchild in these kinds of abstract roles. As I think I’ve said before, he always makes a little character out of a role no matter how abstract, and he dances with such expansiveness. With that and his immense charisma he devours the whole stage.

(Robert Fairchild and Georgina Pazcoguin in Toccata, by Paul Kolnik, from Oberon’s Grove)

I’m also liking Maria Kowroski much better. I heard she is taking acting lessons and it shows. Every little step is meaning something, saying something, a little quip perhaps, a little retort, to her partner (who has often been Sebastian Marcovici these days) and to the audience. I particularly liked her in Balanchine’s modernist Movements for Piano and Orchestra and his sweet, more classical Chaconne. Huge kudos to Sebastien in the latter for doing some really intensely fast footwork and really nailing it all. He is a large guy and that’s not easy. A friend told me afterward he thought Sebastien looked a bit “heavy” in the role, and I can definitely see that — a smaller dancer would have looked much lighter and more frolicking and playful — where Sebastien brings more virility and power and intensity — but, again, what makes ballet so addictive is the different bodies, different strengths, different personalities, different interpretations.

(photo of Wendy Whelan and Craig Hall in Christopher Wheeldon’s After the Rain by John Ross, taken from Ballet Co)

NYCB’s Spring season began on Tuesday and I spent much of the weekend at the Koch theater. Friday night was my first time seeing Balanchine’s Divertimento No. 15, (set to Mozart), which Arlene Croce called one of his greatest ballets, and I can see why, particularly with all the complex, richly detailed variations. The ballet begins with an Allegro section danced by the whole ensemble, the women entering the stage first. But I have to say I felt like the dance properly began when the three male leads — Tyler Angle, Amar Ramasar, and Andrew Veyette– came onstage, particularly Angle and Veyette (I prefer Ramasar in the more dramatic roles but he always has a charisma that draws your eye). With the exception of Sterling Hyltin, who is becoming one of my favorite ballerinas, the men just stood out more. At one point, after executing a step perfectly on beat, Andrew looked out at the audience and flashed a knowing, mischievous grin that made me and my friend (and those around us) giggle, and that set the tone of the whole night for me.

Though all of the women seemed to keep time with the fast-tempo and execute all the intricacies of that insanely quick-footed choreography, Sterling’s dancing had the most dash and flair.

Continue reading ‘NEW YORK CITY BALLET SPRING SEASON BEGINS! (PROGRAMS 1 AND 2)’

(above image of Joaquin de Luz and Megan Fairchild in Tarantella by Paul Kolnik, courtesy of NYCB)

So, Sunday marked the end of New York  City Ballet’s winter season. I was honestly in a blue funk all day yesterday, which shows, I guess, that I am really beginning to love this company since I’ve normally only gotten so sad over ABT and Alvin Ailey.

Sunday was a one-day only program, the All-American Season Finale, which included Robbins’s Glass Pieces, Martins’s Hallelujah Junction, and Balanchine’s Tarantella and Stars and Stripes. Tarantella (this is the only time it showed this season) is always fun, with its cute Neapolitan peasant boy-tries-to-get-girl caricatures, lightening-charged footwork, and series of bravura solos for both man and woman, all performed with a tambourine. I was completely out of breath after watching Joaquin de Luz fly across the stage and ultimately steal a kiss from Megan Fairchild. Joaquin is not just a dancing virtuoso but a dramatist as well and his characters are always these virile, sexed-up, but charming, innocuous men. I really love him.

Glass Pieces and Hallelujah Junction also really grew on me. I don’t know if it was Maria Kowroski or what, but the  slower, more adagio section of Glass Pieces was very compelling this time, and it really spiced up the last man-centric, drum-beating, section as well. At first I wasn’t a huge fan of Maria Kowroski, but either she has improved or she has really grown on me. I always thought she had an excellent dancer body, but now she is using it in a much more expressive way, really to say something. The only thing I’m not in love with choreography-wise in Glass Pieces is in the last section, how the men come jogging out, hands powerfully punching the air, doing their ‘man things’ to the booming drums, and then the women daintily slink in to the sound of the flutes. Corny.

I was able to watch more than just the mesmerizing lighting in Hallelujah Junction this time. I love the movement theme –toward the beginning — of the landing a jump or phrase on releve and then swiftly lowering the ankle to the floor. On Andrew Veyette it looked kind of teasing but in a sinister way, like the slicing of a knife. There is something very sinister in general about Andrew Veyette, very virile in a threatening way, which makes him perfect for the devious man dressed in black here.

And I love how Sebastien Marcovici, the man in white, kind of Janie Taylor’s saviour, would powerfully jete across stage after him, threatening him, banishing him. Sebastien and Janie are such the romantic couple, in part because they work so well together and in part because of their respective sizes. Someone very knowledgeable in the dance world told me they thought he’d been working out a lot, trying to build muscle. I do think he seems to have become more muscular lately, especially his legs. Building muscle often decreases the muscle’s flexibility and he doesn’t seem to make a perfect split on a jete like some of the others, but I still think it’s so romantic that he’s so much larger than little Janie; he can just sweep her off the floor and scoop her up into his arms — aw

The program notes state that Stars and Stripes, the somewhat cheesily patriotic but excellently danced Balanchine ballet, was shown at presidential tributes, like that of Kennedy and Johnson, and at Nelson Rockefeller’s NY gubernatorial inauguration. It’s so weird to me to think of that, though I could see it performed back then. But now? At President Obama’s inauguration? It just doesn’t seem like it would fit. It would seem kind of anachronistic, sadly…

Anyway, the talk of the ballet world lately has been Sir Alastair’s New York Times season wrap-up.

Taylor Gordon, my friend and fellow blogger / dance writer, says, “whether you agree with him or not, it boggles me that one person has the power to say these things in basically the one print medium dance criticism has left. Ouch.”

Macaulay basically takes the women of NYCB to task, saying none of them really command authority like true ballerinas,

Continue reading ‘New York City Ballet Season Finale and Wrap Up With Response to Sir A’