There’s an interview with 11-year-old Maria Gorokhov, who dances the part of young Marie in NYCB’s Nutcracker, in the W Magazine blog.
Via Opera Chic.
(photo taken from W blog)
NYCB’S FIRST NUT OF THE SEASON
Photo by Paul Kolnik, copied from NYCB website.
Okay, after blabbering on about the audience Friday night and new post-ballet restaurants, on to the actual performance.
It was magical, as always. Megan Fairchild and Joaquin De Luz were charming as the leads (the Sugarplum Fairy and her cavalier) — above headshots by Paul Kolnik, from NYCB website. I always love watching these two — Megan’s so sweet and she always seems to have this “cat who just swallowed the canary” smile on her face. She’s the ideal ballerina for this role. Maybe it’s just that I haven’t seen City Ballet in a while now, but Joaquin, who was injured at the end of last season, seems to be jumping higher and spinning far faster than ever before. As always, he was the perfect manly cavalier.
Beautiful Sara Mearns danced the other main role — Dewdrop. (Headshot by Paul Kolnik)
I wonder if something was done to the stage floor during renovations because Ashley Bouder had slipped on opening night in the new Martins ballet, and Mearns slipped twice on Friday night. I don’t think I’ve ever seen Mearns fall and Bouder was just kind of standing when she fell, so it made me wonder if something’s slippery. Anyway, Sara seemed a bit shaken at first, but she soon recovered and danced with her typical beautiful fluidity and lush, expansive lines.
The little girls are so cute — you can hear all the ooohs and aaaahs when Dewdrop and her ladies in pink fill the stage. Below, Megan Fairchild in that role, photo by Paul Kolnik, taken from Explore Dance.
Other highlights were the magical-seeming Christmas tree that in little Marie’s dreams rises up from the floor and shoots straight through the ceiling, Sean Suozzi as Candy Cane — the incredible things he did with that hoop! — and, even though the Chinese stereotypes bother me in the Tea section, high jumper Daniel Ulbricht did expectedly well as the lead there, although I thought I remembered that dance being longer? And of course Justin Peck was a lot o fun as Mother Ginger, the role many of us most remember from seeing the ballet during childhood.
Balanchine’s version of the Christmas classic is a little shorter with a more children-heavy cast than most, making it the ideal holiday treat for families. It runs through January 3rd.
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.
ED'S CHOWDER HOUSE IS THE NEW PJ CLARKE'S FOR AFTER-BALLET DRINKS AND DELICIOUS FOODY THINGS!
So, after NYCBallet’s Nutcracker Friday night (review coming soon), my friend Mika and I discovered a new place for after-ballet drinks and interesting foodie things — Ed’s Chowder House (located right across the street from Lincoln Center, two doors down from PJ Clarke’s and at the bottom of the Empire Hotel).
The dining area is nice, but the bar room (where you can get less expensive a la carte items — mostly fresh fish and chowders) is what really rocks. My friends and I always used to go to PJ Clarke’s, which is a bit cheaper, but it was always so crowded — both bar and resturant, the bar stools have no backs and are extremely uncomfortable, and the wait staff is always so pissy about seating you at a table if your party is not fully arrived or if you’re only getting appetizers or desserts — even if you get an expensive cocktail (or three) and a couple appetizers to share (which comes out to be far more money-wise than if you order one entree and a non-alcoholic drink). And then once you are seated the wait staff makes it their sole mission to get you out of there as soon as humanly possible, nearly opening your mouth for you and shoveling in the food. I once nearly had to smack a waiter on the hand for repeatedly trying to take my plate away… Plus, I was in there nearly every night last season, and could the hostess’s face ever register any recognition?…
Rosa Mexicano around the corner is lovely, but for me, it’s best in summer so you can sit outside. The bar is too cramped (though the chairs do have backs) and the restaurant area is not very interesting, imo, though the little swimmer guys diving down the waterfall-covered wall aligning the stairway are very dancerly and cute.
Anyway, we were extremely excited to find an excellent alternative in Ed’s! The bar area is spacious and there are multiple little tables behind the actual bar. Bar is made out of very cool material by the way — hard to describe — we weren’t sure if the objects underneath the glazed covering were sea shells, but they were very cool — do check it out! The restaurant area can get a bit pricey, but the bar serves really good a la carte items — oysters, various chowders, seafood appetizers like lobster rolls, scallop ravioli and mini crab cakes, and individually-ordered fish steaks and interesting sides like chili-glazed spinach and horseradish mashed potatoes. And they have a nice cocktail list and a pretty good wine selection. They made the best Tanqueray martini – which I now call the “Laura Jacobs martini” since she introduced me to it a few weeks ago when she and James Wolcott took us out for after-ABT dinner at Shun Lee — and it’s the best I’ve had since that evening.
And they have bowls full of chewy saltwater taffey on the way out 🙂
DWTS SEASON NINE WINNER
Okay, okay I know it was Donny Osmond, but in my mind it was Kelly Osbourne! Or Mya. I thought Mya was by far the best dancer on the show this season, but Kelly was the most improved and that’s what this show should ultimately be about, imo. And there was something so relatable about Kelly; even though her father is a hugely famous pop star, she was still so human, and somehow so normal. Which is where she got her fan base, I’m sure. And of course Louis is my favorite dancer on the show, so there’s that for me.
I thought Donny was fine though, and I’m glad someone over 50 won that ball. I do wonder what the demographic was like this season — whether it was different from the rest? Good lord, has Marie lost weight since she was on the show or what?!
Anyway, how cool was it that Paloma Herrera (above image from here) was on SYTYCD tonight? I loved her — loved the beautiful tip-toes en pointe. Unfortunately my upstairs neighbor, Godzilla, was making such a heinous racket (the girl / beast has ruined just about every holiday for me for the past two years) that I didn’t get the full effect, and didn’t hear her announcement or her reception, but I wonder how well that classical Don Quixote solo fared with this audience? I guess we’ll see.
I admit I didn’t see last night’s show (I was out at NYCB and taped DWTS; can only record one thing on my recorder), but intend to watch vids if they’re up on YouTube yet. I’d love to see how Victor and Karen fared as a partnership. I mean, obviously those two were kicked off tonight but that doesn’t mean they did badly, just that the audience for whatever reason doesn’t care much for them and perhaps the judges felt like for political reasons they had to go with the audience a bit. I mean, how many weeks can you keep the same dancer on when the audience isn’t voting for them? And how much is that going to hurt ticket sales to the live shows if you actually advance them into the top ten?
Anyway, I liked Karen and thought she brought her own thing to the show and I’m sorry to see her go, and I’m really sorry to see Victor go since he was one of my favorite males. Oh well. I guess I’ll watch for Jakob and Russell from here on out.
PHOTOS OF MARTINS’ NAIVE AND SENTIMENTAL MUSIC
Here are some photos of Peter Martins’ Naive and Sentimental Music, which premiered last night at NYCB. All photos are by Paul Kolnik.
Tiler Peck,
Charles Askegard and Maria Kowroski,
Darci Kistler and Jared Angle,
And cast of first section.
NYCBALLET OPENING NIGHT: NEW MARTINS’ NAIVE & SENTIMENTAL MUSIC A SUCCESS!
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.
PARIS OPERA BALLET STARS TO DANCE IN NYCBALLET OPENING NIGHT
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!
WINONA RYDER & NATALIE PORTMAN IN MOVIE BASED ON NYCB DANCER
Oh cool — apparently, Winona Ryder, Natalie Portman and Mila Kunis are to star in a film called Black Swan, a thriller that follows the story of a fictitious NYCBallet dancer who may or may not be having delusions about a rival. All actresses play dancers with the company, and supposedly, there is some kind of “extreme” sex scene between Portman and Kunis. Hmmm… Can any of them dance, or will they have doubles to do the dancing, I wonder. Or will there actually be much dancing?
Directing is Darren Aronofsky, who last directed The Wrestler, and filming is expected to begin in New York next month, with a release date sometime in 2010.
WAS THAT THE MOST BORING DANCING WITH THE STARS QUARTERFINAL OR WHAT?
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.
AMERICA DANCES HONORING PATRICK SWAYZE MONDAY NIGHT
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.
NEW YORK CITY BALLET PROMOTIONS
Practically all of SLSG’s NYCB favorites who were not already principal dancers in the company have just been promoted: the always magical Kathryn Morgan (above, with Seth Orza in Martins’ Romeo + Juliet), heartthrobs Robert Fairchild and Amar Ramasar, the always dramatically compelling Tiler Peck and Tyler Angle, and the statuesque Teresa Reichlen.
Here are Tiler Peck and Robert Fairchild rehearsing Robbins’ Afternoon of a Faun for the Vail International Dance Festival over the summer.
And here are Tiler Peck and Tyler Angle performing the adagio from Christopher Wheeldon’s Mercurial Manoeuvres at said festival:
All promos are from soloist to principal, except young ‘un Morgan who was moved up from corps member to soloist.
All of the new principals will make their debut as such at NYCB’s winter season opening night gala, on November 24th, in Peter Martins’s new ballet set to John Adams’s Naive and Sentimental Music, which will make its world premier that night.
Visit Oberon for more dancer pix and info.
Above photo by Paul Kolnik from Voice of Dance.
