Aw, Bruce Springsteen took his two kids to see New York City Ballet’s Nutcracker last week. He applauded “at all the right moments” and seemed “enthralled” according to the Post.
MARIE IN NYCB’S NUT IN W MAGAZINE
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)
AMERICAN BALLET THEATER’S NEW NUTCRACKER SEASON AT BAM
Yesterday morning at the Brooklyn Academy of Music, ABT announced their plan to hold an annual Nutcracker season at BAM. Above is SLSG favorite, soloist Craig Salstein, enthusiastically speaking to the crowd. He was the only dancer to address the crowd; David Hallberg was there too but stood in the back the whole time. A group of young dancers from the Jacqueline Kennedy Onassis School of Ballet (associated with ABT) was there as well — they’ll be dancing in the party scenes when the production opens next year, on December 23, 2010. For the first year, the season will be two weeks, but after that the company hopes to have a longer run.
ABT resident choreographer Alexei Ratmansky will be choreographing.
Here’s a slightly better picture of him, by Fabrizio Ferri. Someday I will get a pro camera, I swear!
This was the first time I’d heard Ratmansky speak. He is very soft-spoken and has a heavy Russian accent and seemed to know what he wanted to say but struggled a bit to get the words out in English. And he makes the same grammatical mistakes as Pasha and Baryshnikov (mainly leaving out articles — there are no definite or indefinite articles in Russian — a, an, the — so they tend to leave those out: “…is great score,” etc.) I think English must be the hardest language to learn, especially for Russians. I know Russian is the hardest language I ever tried to learn…
Anyway, Ratmansky seemed shy and soft-spoken but genuinely excited, especially when talking about Tchaikovsky’s score, which he called the greatest ballet music ever written. I felt vindicated 🙂
But Brooklyn Borough President Marty Markowitz really kind of stole the show with his little speech. He was so out of place in this crowd of rather gentle artists with that booming Brooklyn-accented voice! He of course praised ABT’s decision to hold the season in Brooklyn, then told Ratmansky he should move to the borough since it boasts the greatest Russian population in the U.S. He also called Brooklyn the dance capital of New York (in terms of studio space — which leads to the great number of companies rehearsing there), which is in turn the creative capital of the U.S. These politicians do kind of know how to make their constituencies proud. After bemoaning the fact that the last time ABT was in Brooklyn was before Baryshnikov defected, he called the ABT / BAM plan “a grand jete into the future for Brooklyn.”
The project is expected to cost $5 million and is being partly funded by David A. Koch (yes, of the Koch Theater — he’s matching dollar for dollar donations up to $2.5). ABT also plans to perform community outreach, particularly in Brooklyn schools, including pre-performance workshops for the children, attendance at dress rehearsals, and dance classes.
The rest of the production team includes Jennifer Tipton, lighting designer extraordinaire, and Richard Hudson, an award-winning theater designer, who will design costumes and scenes. Below are some of his sketches:
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.
RATED R NUTCRACKER
My friend, Michael Northrop, and I were invited to a rehearsal of a rated R Nutcracker on Sunday evening. I had to leave early but Michael kindly stayed and wrote up this review. I took the photo above with my iphone. Here’s Michael:
Did you see the movie Bad Santa? No, me neither, but you get the idea. Holiday traditions are familiar and tend toward the precious and that makes them excellent targets for parody and irreverence. The thing about parody in the dance world, of course, is that it has to be well danced. The examples that leap to mind, en pointe, are the bounding “ballerinos” of Les Ballets Trockadero de Monte Carlo. The modern ballet Nutcracker: Rated R fits the bill nicely, as well.
This raunchy, entertaining Nut is set in early 1980s New York, the era of subway trains tagged tip-to-tail with graffiti, collapsing tenements, and a drug dealer on every corner, rather than a Starbucks. I got an early Christmas present when I got to watch a rehearsal of Act I on Sunday night.
Choreographer/director Angela Harriell got right to business working through the kinks, so to speak, in an intricately choreographed fight scene pitting rats vs. the soiled soldiers of the Department of Sanitation. The rats knew martial arts, which was bound to happen in this city sooner or later. Hyosun Choi, a Mighty Mouse of a rat, flew over the top of a leaning Sanitation worker with a perfect miss of a kick only to take on another.
Harriell gave the dancers plenty of freedom to improvise: “And then it’s whatever you want,” she said. “Wrestle! wrestle! And then there’s the hitting sound.”
Many hitting sounds later, a quick run-through revealed a fun, feisty fight scene, and it was on to the next piece: the Party Scene. The Tchaikovsky was cued up and the partners took their places. A few more quotes from Harriell should give you a good idea of the action:
“Then there’s the moment when you pick up the dildo and you’re like, ‘Nobody needs to know about that,’ and you keep it for yourself.”
“So let’s get back to the drunk parents dance . . . Yeah, you’re totally easy.”
“Then it’s open step and closed step and open and shake-a, shake-a butt.”
Sometimes the dancers had questions:
“So on the second triple thing,” said Eddie Gutierrez, “there’s no butt at the end?”
Harriell had the answers and kept them on the music:
“And roll in, and throw up, and 1-2-3-4!”
The party scene ends on a late-night subway platform. [I’ll pause here so you can remember what that’s like.] And then there was a final run-through of “most of Act I.” The marked steps and questions were replaced by muscular lifts-at a few points, dancer Michael MacLaren was defending three women against the ground-dramatic extensions, and long stretches of seriously good dancing. The dancers were having fun, and it came through in the movement. It was a blast, even in an unadorned studio after two and a half hours. I don’t see what chance the audience has to resist it when the full production hits the stage.
Nutcracker: Rated R begins its fourth season, December 17-31, at New York’s Theater for the New City in the East Village.
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!
GELSEY KIRKLAND ON THE COVER OF TIME MAGAZINE
I was recently reunited with an old friend on Facebook and, on realizing I was now a bit of a dance fanatic (I know him from my lawyer life), he asked me what I thought of Gelsey Kirkland. Unfortunately, by the time I moved to New York all the major stars of yesteryear had retired. So I never got to see her or Nureyev or Baryshnikov or Makarova or any of the others dance live. He said Kirkland was his favorite, “pure magic.”
I love so many of today’s dancers of course, and, from what I’ve seen from videos of yesterday’s stars, many of today’s seem every bit as good. But of course they are nowhere near as famous.
I mean, when my friend told me Kirkland was on the cover of Time, I couldn’t believe it! A dancer on the cover of a major magazine, could it be? So, he sent me the cover article. Wow.
He also sent some videos: here is her Nutcracker, and here with Baryshnikov in Quebra Nozes (which I’ve never seen before; it is really beautiful), here her Don Quixote (also with Barysh). And here, her Juliet (MacMillan’s!, with Sir Anthony Dowell). Have also been ordered to read Dancing on my Grave, which looks rather fascinating and is next on my list.