TCHAIKOVSKY AND TWIZZLERS DO NOT MIX, NYCB!

New York City Ballet’s Nutcracker season opened on Friday night. Review coming soon, but first I just have to complain about what I assume is a new custom in the Koch Theater, at least during Nutcracker season — the selling of Twizzlers, gummy bears, M&Ms and other bags of candy, along with bottled water, in the concession area, which is situated so close to the auditorium, audiences are assuming they’re for consumption inside the theater.

My friend Mika and I were seated comfortably in our orchestra seats (my first time in the new Koch house orchestra — wonderful wonderful improvement from the old: each row of plush velvety seats is staggered considerably higher from the prior row so that you can easily see above the head in front of you! Yay!), the lights dimmed, Faycal came out and took his cute little bow, the orchestra began — this is some of my favorite music in all of ballet — and suddenly, the row behind me began this all-out candy fest. Multiple bags were torn into, water bottles opened. “Here, honey, have a licorice,” said the mother. I turned around and shot the mother a look but she completely ignored me — or perhaps didn’t even register that I was looking at her for a reason. This continued — the passing of the crinkly bags, the water bottle’s cap being removed and replaced, the noise the plastic bottle made as the water was drunk and it filled with air, the “here, have the rest of this cookie,” etc. continued throughout the entire first act. I don’t think anything has ever disturbed me so much in the theater. I felt like I was at a movie — and a noisy movie at that. I almost felt like crying during the mouse / soldier fight scene — I love those tantalizing flutes! And I could hardly hear them.

When the curtain went down on the first act, I turned around, but the family of four kept right on gorging, staring right back at me, like they had no idea what I was looking at, and not even trying to hide their food. I felt like lecturing them on manners, on music appreciation, on ballet-going not only being a visual experience. I looked down the row to see if anyone else was annoyed and then noticed several others were doing the same exact thing.

I decided this wasn’t a regular ballet crowd and some random audience member lecturing everyone would be ridiculous. So, I spent most of intermission walking up and down the aisles searching for an usher — did they get rid of half the staff or something? Finally, a woman dressed in black asked me if I needed something, and I asked her if she worked here. She said yes, and I told her about the picnic-ers, and led her to them, where she told them eating wasn’t allowed in the theater. They all looked rather astonished.

Then Mika and I walked out front and I saw the concession stands overflowing with that same candy. Then I felt bad. I realized they didn’t just go to the Duane Reade and buy out the candy counter in preparation for the night; they bought it inside the theater, thinking, like at the circus or something, it was perfectly okay to chow down during performance. They’d dressed up their little girls in bright satin-y dresses, they’d obviously splurged on orchestra seats, and they didn’t look that wealthy. I felt like an obnoxious snob! On our way back in, I saw several others carrying bags of candy in with them. The family in back of me clearly weren’t the only offenders. (see the comments too)

I mean, it is about manners, but it’s not just about etiquette. It’s about art appreciation. Most mainstream movies don’t rise to the level of art; they cater to people’s preconceived notions and their plots don’t require many brain cells to understand. So it makes sense that people can take considerable time from looking up at the screen to focus on getting at their candy and passing it all around. But of course not every form of entertainment is so simple. In order to appreciate the artists’ abilities to subtly structure sound and movement to tell a story, you can’t be so focused on your food.

Anyway, happily, they obeyed the usher and didn’t eat at all during the second act (which I was able to enjoy much more). But I think, to avoid that kind of embarrassment and audience annoyance, if they’re going to sell circus-like candy at the concession stands during the Nutcracker, then there should be signs posted nicely but clearly instructing people to consume the food and beverages in the lobby, not the theater.

RHAPSODY FANTAISIE

 

 

I am extremely behind on reviews but here are a couple of pictures (by Erin Baiano) of the cast of Christopher Wheeldon’s Rhapsody Fantasie, which the choreographer premiered with his company, Morphoses, in October. I can’t write a full review but I guess it’s interesting to see what lingers in the mind. I remember a variety of movement — from neo-classical ballet to more contemporary with some ballroom thrown in — I remember some swing-y moves and even some salsa basics! I remember interesting ensemble work — with dancers at times breaking into pairs for partner dancing, at times the men dancing together, performing various complicated lifts, which I found rather mesmerizing. And I remember Wheeldon’s signature modern ballet pas de deux with the complicated “pretzel shape” lifts (as in the top photo, of NYCB’s Wendy Whelan and Australian dancer Andrew Crawford). Besides Whelan and Crawford I found Drew Jacoby and Rubinald Pronk to be the most compelling pair, dancing their series of twisted shape after twisted shape with passion and psychological intention.

 

Opening Morphoses program 2 was Continuum, a Wheeldon ballet from several years ago (photo above, also by Erin Baiano). This was a very abstract work set to sharp, at times tense Ligetti music with brilliant lighting that made the dancers appear ghostly, as if their shadows, silhouetted on the back wall, were doing the dancing.

I love Christopher Wheeldon, who’s always trying to give audiences insight into the dance-making process. At the beginning of this program, he spoke a bit about the dances, and, regarding Continuum, he told us all to look out for a part where, as he was making that dance, he became mesmerized by a neighbor’s cat and dog. It was only all too obvious which pas de deux this was, and everyone laughed as the two dancers kind of crouched around each other getting ready for a playful (or maybe not so playful) attack. I don’t think the audience would have thought anything of it if he hadn’t pointed that out. Now if he can give us insight on how the whole thing comes together!…

EXCELLENT DANIIL SIMKIN INTERVIEW

 

There’s an excellent interview with young, newish ABT virtuoso (and very intelligent-sounding) Daniil Simkin at the Ballet Bag. Simkin talks about his experiences thus far with American Ballet Theater, dancing with major stars at the World Ballet Festival over the summer in Japan, and a gala he’s organizing next month in Athens. He also talks about how dance professionals can use social media to connect with fans and what he thinks ballet companies need to do to keep ballet alive. Excellent interview, superb questions, “bag ladies”!

And it gives me the opportunity to post, for people who don’t have the opportunity to regularly see ABT, some of his more astounding YouTube clips. Enjoy:

And The Flames of Paris, the first thing I ever saw him do (but with Sara Lane, at ABT). Look for the barrel turns around the 5:55 mark:

For more clips, go here.
Above photo, by Gene Schiavone, taken from Simkin’s blog.

CORY STEARNS, MODEL?

 

Haha, I kept my TV on (for once) after SYTYCD ended and I just overheard some story on Fox News about an ABT dancer who also models. I turned around to face the screen and there was our Cory Stearns, lifting Stella Abrera in Benjamin Millepied’s Everything Doesn’t Happen at Once during ABT’s recent season at Avery Fisher Hall! I didn’t hear the first part of the story because I wasn’t really paying attention, but apparently Cory was standing in line at a deli and was discovered by some modeling agent. He’s now a model, as well as of course, an up and coming ABT danseur. Then they showed an excerpt of a music video he did with Kylie Minogue, which he apparently made when he was 17 — so a few years ago. Wow — I’d never seen it: he made her look like a real dancer.

Then they had a little interview with him. They asked him if he had a girlfriend and he laughed and said no, he’s currently available, but added that he prefers dancers. Funny how male ballet dancers (well, the straight ones) always do that. Female dancers seem more willing to “date outside the box” so to speak. Hmmm…

Anyway, since I didn’t get the first part of the story I have no idea what the point was — is he in a new modeling spread in some magazine this month? Did anyone else see it?

REVISITING BATSHEVA'S MAX

I just got an interesting comment (scroll down to last comment) on my post on Batsheva’s MAX, from someone who recently saw that performance in Bruges (one of my favorite places in the world, btw). I just point to it because I often find myself trying very very hard to appreciate a dance performance that bills itself as avant garde. And I often have a hard time not ending up with the same thoughts as that commenter…

CARLOS ACOSTA ON TRAVEL AND HOLIDAYS

 

Carlos Acosta is interviewed in the London Telegraph Travel section.

His worst traveling experience?:

“One of the worst was arriving in London to dance at just 18 and not being able to speak the language. I rented a room but didn’t know what anybody was talking about. I felt lost because I just couldn’t communicate. I wanted to see a movie, but everything was in English. When I went to a store to buy something I didn’t know what to say. I bought books and taught myself English, but it was six months before I was ready.”

Via tweet by the Ballet Bag.

Photo by Julian Andrews.

NO IT’S NOT THE TOE SHOES, CHRISTOPHER WHEELDON!

 

Here’s a Sarah Crompton interview with Christopher Wheedon in the London Telegraph. Morphoses is about to open their fall season there, debuting a new ballet by Wheeldon and one by Australian choreographer Tim Harbour. At the end of the month, New York audiences will get to see those premieres.

In the article, Wheeldon talks about trying to increase ballet’s appeal to new audiences. He surmises it may be certain ballet aesthetics, such as the toe shoes, that are a turn-off, that may make ballet inaccessible. I strongly disagree though. I think people are generally awed by the toe shoes and by the beauty and immense athleticism of the art form. They’re all the more awe-inspiring when you see them up close, a thought I had recently in the Guggenheim’s tiny theater watching ABT, their studio company, and the students at ABT’s Kennedy-Onassis School of Ballet perform in a Works & Process event there.

I really think people in general are drawn to stories. That’s what I hear anyway from other dance-goers, or would-be dance-goers (who patronize theater and opera but shy away from dance). I think abstract ballets can definitely be intriguing but I think if your repertoire consists of only the kind of story-less ballets Balanchine made it’s going to suffer. I’ll be very excited to see the Alice in Wonderland that Wheeldon’s doing for the Royal.

GILLIAN MURPHY AND MANDY PATINKIN WILL RECEIVE PRINCESS GRACE AWARDS

 

ABT principal ballerina Gillian Murphy (who I was just going on about needing a ballet choreographed especially for her) will receive a Princess Grace Statue Award , at the upcoming award gala, held at Cipriani on October 21, along with theater / film actor Mandy Patinkin (who is a multiple award-winning Broadway actor but whom I think most still know as Inigo Montoya). Ticket prices look pretty steep, but congrats to them!

Photo by Matt Albani from ExploreDance.