The casting for the London visit is now up on NYCB's website - would anyone like to take a look and point out any particular treats in store for us? (As well as Hubbe's appearance!)

I notice that Tess Reichlen is shown as making her debut in In Vento - who created that role? Kowroski? (who apparently isn't coming to London)

Especially good treats to see:

* Bouder and Ulbricht in Tarantella
* Hubbe in Zakouski
* Taylor in Serenade
* Bouder, Ulbricht in Fall of Four Seasons, and Millepied (if he's in the mood, and the tempi is not too fast...)


>I notice that Tess Reichlen is shown as making her debut in In Vento - who created that role? Kowroski?

Yes, Kowroski was the original lead female. In Vento is also a good treat on my list, but it's not my favorite. I do love the music and Millepied as the male lead. It would be worth seeing. And I'll be curious to hear what sort of style/chemistry the tall, long-limbed, cool, coltish beauty of Reichlen brings to the ballet.

p.s. And don't miss Alastair Macaulay's comments in the NYTimes tomorrow about NYCB. I'm in total agreement. It is a terrible pity that the director, Peter Martins, doesn't have the good judgment to make necessary decisions before such a publicly-shaming article must be written.

Oh, and if you've never seen Symphony in C, it's a fantastic ballet. Casting, overall, hasn't been ideal for awhile, but in London, there will be some gems to see: Peck, Mearns, Scheller, Garcia, Carmena.

Beyond sz's good recommendations, I can't urge you strongly enough to see Ashley Bouder. She is, IMO, The Ballerina of her generation.

Also, I like The Russian Seasons. It was commissioned by NYCB last year and is probably not widely performed -- yet. I think it was Michael who described it perfectly as Les Noces at a Gathering. Very Russian-folkloric, if you like that kind of thing. Unfortunately, I can't recommend the rest of that program. But it might be worth your while to buy a ticket just for the closing ballet.

Following sz's suggestion, I also recommend the Macaulay article in the 3/9 Times -- "Off to London, but not Packing their Best." I can't comment on the suggestion that some of the current NYCB rep is danced in a "virtually anti-Balanchinian" manner, but I have to admit being excited that this is the first NYCB visit in 24 years !!!



I hope this the first step of a process that turns the NYCB back into the truly international company it once was.

Jane -- I think your casting is quite good, in most instances better than how the same ballets were cast here this winter. The casting in Western has definitely improved from the State Theater. You've got the Taylor/Bouder/Gilliland cast of Serenade for the most part; I wish we could have seen that here. Mearns in Bizet 2d movement is an absolute must see. Both Fairchild and Sterling Hyltin too in 3d movement. Hyltin for spaciousness, strength, the raw movement quality -- she was not well utilized here this past season; she's really very fine. Ditto Mearns as spring in 4 Seasons (sorry you won't see Rebecca Krohn do summer in that ballet). I'd want to see Megan LeCrone in Agon -- she's got the intense, neo-classical, thing that Macauley thinks is often missing, only she carries it nearly to anti-classicism in a similar way to Whelan and for the same reason -- because the body is a bit anti-classical. LeCrone, if she can stay healthy, is a natural for much of Whelan's repertory. In Vento should look beautiful on Reichlen but it's an ensemble piece and will look good on everyone -- Tiler Peck is beautiful in it, dark, sexy, sunk into her hips, you'll be surprised it's the same girl who danced Carousel.

I envy you the season and generally they are putting their best foot forward.

I do think Martins is making a mistake (and asking for trouble from the critics) by taking Thou Swell there. He seems quite fond of that ballet (they took it to Copenhagen also three years ago) reinforcing my theory that the "inner editor" is what he often lacks.

Megan LeCrone is far more a young Karin von Aroldingen. She has an interesting upper body (wide shoulders and long arms), but her legs, technique and overall style cannot compare whatsoever to the gorgeous, elegant, strong, fierce energy, and bright, angular beauty that Wendy Whelan once brought to NYCB. Wendy now is at the end of her career, and most of her recent performances, for me, are a sad reminder of what once was.

Yes, there's room for another Karin type at NYCB, but I'd love to see LeCrone in Stravinsky Violin Concerto (Karin's old part) instead of Agon. Now that ballet would have been a far better choice to bring to London (among hundreds of others) than Peter's costume parade of Thou Swell.

Well it's certainly a great compliment to LeCrone to be compared to Von Aroldingen. Though I think she's probably purer and and more classical, stronger and better trained as an academic dancer than Von Aroldingen was. (Probably doesn't make chicken soup as well, however). In any case, it will be interesting to see what the London audience thinks.

Might as well add to the cacophony here!

I can't say they're bringing their best to London either in rep or casting. I feel sorry for any Londoner who has never seen Kistler and is getting a first glimpse of her now. You're not going to see what we once saw - at all. They also don't have a great Symphony in C cast at present (I haven't seen Mearns, but I'm not completely sold on her yet; in many ballets she's blank.)

LeCrone in Agon is interesting - I fall somewhere between Michael and sz on this - I don't know that she's a von Aroldingen type, but she's not "classical" - she's unorthodox but fascinating for it and she does the pas de deux quite well.

If Bouder and Ulbricht in Tarantella don't start a five alarm blaze in the theater, demand your money back.

I've hated every Bigonzetti ballet I've seen (I'd sit through three Thou Swells painlessly if I could miss In Vento - but I find Thou Swell harmless) so pick your poison. Russian Seasons is worth seeing.

Now armed with these contradictions, Londoners, venture forth and tell us what you thought!

Thankyou for all these pointers - London and New York have often seen each others' dancers (and ballets) very differently so it will be interesting to read reactions this time! But I'm really looking forward to seeing some of the younger women we've heard so much about.

Like minds, Leigh. I was just commenting to someone that their pairing in Tarantella will likely make the house explode from all that energy! I'm very sorry I didn't get to see them perform together here. I had wondered if Bouder kept 'one upping' herself in Four Seasons this last season because she had to contend with Ulbricht in the same section (though, of course, she is always trying new things).

-amanda

Surely others were there last night.... I think Wendy Whelan was the highlight, in Agon. Breathtaking! (more later).

I had mixed feelings but agree about Wendy Whelan. The hideous costumes for Symphony in C were a shock and flattered almost no one; this is a ballet that is danced brilliantly by other companies now, particularly the Bolshoi. Liked Gonzalo Garcia though. Serenade was superb and I'd never seen it danced so fast but like most people of my generation I positively loathe all that long hair business.

Fascinating. "Most people of my generation" ?? And this remarkable figure comes from where? Does it include only the UK, or all of Europe, or everyone everywhere? If it's true, one can only wonder at "positively loathing" this particular "business" in such exceptional numbers and for just one generation. Why exactly? Because it's messy? cliched? romantic? anti-feminist? indecorous? low-class? an insult to hair-dressers? what?

Of the fast tempi, I'd suggest that too many companies slow them down for Balanchine ballets and possibly, seeing one danced at the speed Balanchine intended can be something of a shock.

[Moderator Beanie on]

I'm sure we can discuss this without a food fight, folks . Try and leave room in your reports for differing opinions.

[Moderator Beanie off]

My spies were fond of Mearns in second movement. Other comments? Has Bouder blasted onto stage yet?

Ami, if you don't report further I will not give you my recipe for sambar.

Okay, some more coherent thoughts, as promised to some of you.

Let me preface this by saying this is my first time seeing the entire company - I saw Danses Concertantes at the Wells a few years ago, but previously all of my knowledge of NYCB has been based on old books and videos that I could access in my small-town's public library. I've wanted to see NYCB since I was about 10. Thus last night's all-Balanchine programme was a special treat for me.... I thus put forth my thoughts very timidly, as most of you know the company very well.

It was also my first time seeing Serenade, led by Janie Taylor, Ashley Bouder, Kaitlyn Gilliland, Philip Neal, and Ask le Cour. I knew there was 'long hair coming' - but I must say I am impressed by the ability to make beautiful, big, ballet buns with just a few pins, and remove those pins so quickly! Here, I thought the musicality of the corps in general was fabulous - they were very together. However, as would also be evident in the later ballets, I noticed that some of them looked especially frantic in faster tempos - particularly their arms. Taylor is a wisp of a dancer, in the best possible sense, and the ending tableau emphasised this quality. Bouder was impressive - am pleased to have seen her live - although wish there was more of her dancing last night!

Agon. As I stated above, Wendy Whelan owned the night. What a marvelous technician, brilliant and exacting, accurate in her placement, use of space, and sense of purpose. Yes, you can dance that fast (or that slow) and be just so fabulously ON and perfect - no frantic arms here, but rather a magnificent commanding of the music and of the space. It was a majestic performance... I might get shot for saying this, but I think a great display of the clean, classical training that helps shapes a dancer's ability to move in non-classical ways. Albert Evans was her solid and reliable partner, but perhaps lacking the purpose of movement that Whelan displayed.

I last saw Amar Ramasar in London with Danses Concertantes. He's grown a lot as a performer, and in his flexiblity. At one brief moment at the beginning of Agon, I felt that he was dancing as if he had just rehearsed West Side Story - but thankfully that moment passed!

The first pas de trois was danced by Veyette, Krohn, and Tinsley-Williams. Unfortunately our programmes only had photos of principals, so I'm unsure who was who of the girls. Whomever the blonde was - stage right - was astounding in her command of the music, and again clear and accurate in presentation. Reichlen was equally as watchable in the second pas de trois with Ramasar and T. Angle - overall I feel that last night we really saw the strength of the NYCB women.

The evening ended with Symphony in C. As Mashinka noted - the costumes are not what we're used to seeing here with the Royal and the Russian companies. I was actually shocked by the women's costumes. What is the history of the different productions/what is used where? The S in C costumes were so lacking in grandeur that I felt it actually took away from the dancing to some extent... the first movement was led by the Stafford siblings, the second by Mearns and Askegard. While they were beautifully danced, to me, there was something rather bland about the presentations. The second movement was quicker than the Royal does it for sure, but somehow lacking dynamism of any sort. I do think it ends in a slightly different tableau than the Royal does - can anyone confirm? For me, the ballet really started in the third movement with a suitably perky performance by Megan Fairchild. Unlike Mashinka, I thought Fairchild wiped the floor with him! (ETA: I mean wiped the floor with Garcia!) She is so alive and radiant on stage, and he didn't seem to match her presence by a longshot. Tiler Peck's beginning of the fourth movement was the fastest I've seen - and again brilliantly executed - with no sense of franticness.

Overall, I'm glad I finally have seen NYCB dance live, and especially dancing Balanchine. While I was excited and provoked by some outstanding female dancers, none came close to Whelan - and the men, to me, were far behind most of the ladies. But then, these ballets don't really show off the men as much as the women! I do think there was a great distinction between most of the women who were dancing soloist/principal roles, and the rest of the corps - perhaps a worrying one. This isn't necessarily a clean distiction - I think some dancers who were in the corps last night fabulous, and vice versa... but with the few signs of franticness, and some signs of affected dancing (dancing in what you may think the style is/it should look like as opposed to dancing the style - if that makes sense) may be a bit worrying. But who am I to judge - I'm sure other NYCB watchers/knowers out there have many thoughts on that.... (or may want to take me apart for saying it as well...!)

That said.... I only have tickets for one more programme - the Broadway one (without Bouder in Tarantella, unfortunately). I might try to sneak in another one or two - but they are expensive and I don't live in London... but still... am tempted. Any suggestions if I could only go to one more?

Leigh - I was typing as you were demanding! ;)

I've got a good coconut chutney recipe for your sambhar and dosa, bhaiya.

Thank you Ami! More comments soon (I'm at work and need to pretend to do something for a few hours. . .)

Several people here and over at ballet.co.uk have commented unfavorably on the Symphony in C tutus. I always thought they were quite beautiful and am very fond of that softer Karinska style. But to each his or her own - I'll look again next time with a fresher eye.

Here in NYC, I have not been that impressed with Garcia. Usually he seems sloppy to me but it does take a few years to work into the NYCB style and schedule. So, let's give him time.

Blonde would be Tinsley-Williams. Glad to hear she did so well, as she's recently returned to the stage after an extended absence. I noticed a new authority and joy in her dancing this past season.

If you need to identify any more sub-principals, you can find (sometimes misleading) headshots -->here. But you have to search by name, so identifying an eye-catching corps dancer just might take a little time.

I wish I could recommend another date for you. If I did, it would be March 19, to see Bouder in a role that is truly her element, but I don't know if you'd think the program as a whole, especially at high prices, would be worth it.

Thanks so much for your review, ami, and I'm sure Leigh will keep his word on the recipe.

I would prefer for you to see Bouder/Ulbricht in Tarantella over Hyltin/Garcia if you can manage it. I'd say any chance to see, in addition to those two firecrackers, dancers like Woetzel, Taylor, Whelan, Reichlin, and Hubbe is worth taking. I would have added Kowroski, but I don't see her name announced anywhere.

Like several others here, I'm somewhat disappointed in the choice of repertoire you've been given. Of all the great things we could have sent you - Prodigal Son, Fancy Free, Four Temperaments, Firebird, any or all of Jewels - you're getting some less than stellar ballets. But it's great that you're getting Agon, Serenade, Bizet Symphony - some of my favorite ballets of all time.

Thanks carbro and klavier, for your suggestions. I am going to London on the 19th, but to see the Royal! I might see if I can convince my friend to switch times for the 22nd (we have matinee tickets, I wonder if we could now get evening ones?). It might be tough (she has a sweet little baby at home, so matinees are best....). I might even stay in the evening just through Tarantella if I can find a ticket.... A shame, as the evening casting is the same except for Tarantella. Overall I do think I prefer the casting of the 19th... I would try to run between the Coliseum and ROH, but I don't think it woudl work!

I am very glad about the programming for the first bill - Serenade, Agon, S. in C. - I heard some moans about it, as these are not new ballets to the London audience, but I think it was fabulous to be able to compare and contrast. RB is doing Serenade next month, and having done Jewels last year, I would love to see NYCB in Jewels... Considering NYCB's over-all quickness, I also wouldn't mind seeing Theme and Variations, or Ballo.... along with the other recommendations above! I guess I should move to NYC for a while!

To answer your question I'd like to say that I first saw Serenade either in 1964 or 65, roughly 45 years ago and hair was always pinned up as a matter of course back then, in fact the only dancer with loose hair was Giselle when mad. Modern dance of course was another matter. As Serenade was created back in the 1930's and is in the repertoire of most of the major companies I'm inclined to regard it as a classic and it is therefore the only ballet of its kind that makes a feature of hair hanging loose. Of those that remember Serenade without hair whipping around, sweeping the floor and so on, I've not yet spoken to anyone that likes it. Most share my view that it is seriously distracting.



Not a shock, but a delightful surprise. Balanchine has always been the choreographer most faithful to a composer's intentions and as Serenade can sound incredibly dreary when slowed down, Wednesday's performance was a real listening pleasure.

Not to argue with you, Mashinka, and this may actually be a big enough topic for its own thread, but I think B was faithful to a "composer's intentions" as they were imagined at the time he choreographed. In other words, he was well-versed in the performance practices of his day, which had its own take on how music should be played. Today, much of that tradition has been questioned, especially on the earlier music side. Balanchine's Bach, for instance, is not the Bach most musicians would play today; same with Mozart. His listening tradition emerged from the era of the great post-Romantic players and conductors, and their protoges. (I think this is a fascinatingly under-studied area of Balanchine's practice.)

Also, I think sometimes tempos are slowed down because dancers today dance bigger, sacrificing speed. Probably something they need to examine!

Agreed - to an extent. I think the best of what I saw on Weds were those dancers who danced big and accurate - Whelan especially. And although it's all from video, I never thought of the 'original' NYCB ballerinas as *not* dancing big - in fact what was so fabulous about them was their use of space regardless of tempo. To some extent, what I've liked about some Balanchine ballets (or shall I say, casting for Balanchine ballets), is a bit of the challenge to usual senses of dancer 'types' - here we see some tall, leggy dancers whipping through quick allegro. When done right, it can be absolutely brilliant.

But again, I don't know enough about NYCB or Balanchine performances writ-large!

Your comments on music, Ray, are fascinating! Thanks.

I've been cooking Indian food pretty much every day for over 10 years now so I know my way around a masala but I cooked idli for the first time yesterday and totally screwed it up. You could use the damn things for brick mortar!


Back on topic I'm pleased to read these reports from our London members. It gives a fresh perpective on my favorite topic. I am confused by the Brit repulsion for the Karinska Symphony In C tutus. You have to see these costumes close up to really appreciate how stunning and well constructed they are. I think they're gorqeous but to each her own.

A note from New York:

The hair-down business was a change Balanchine made in the late 1970s. A lot of us never quite got used to it, either. To me, it feels contrived.

As much as we like to think of favorite NYCB dancers of yore as dancing big, there is video evidence that, by today's standards, even the leggiest dancers danced "small." The dancers in an old video I saw once of Barocco looked positively demure.

Yes, he did that in 1977. Balanchine did a lot of tinkering in the 70s, some of it very weird (anyone remember Karen von Aroldingen's batty white-winged Firebird with that long train?). However, I have to admit the loose hair in the last movement of Serenade never bothered me, though it certainly is a contrivance to emphasize the final section's internal, somewhat symbolic quality. What his motives were besides restlessness and boredom with old productions I don't know. Maybe he just wanted everyone to look like Farrell with her lion's mane down. Whatever, I don't mind it and sometimes I even find the intimacy and vulnerability of it rather moving. Does anyone remember if there was any critical comment at the time - say, from Arlene Croce or her colleagues?

Where were they dancing? The films done specifically for TV were done on very cramped sound stages that could account for some of that. I also wonder if things didn't get far bigger out of a need to fill the stage at the State Theater.

perky, you're lucky your idlis only taste like bricks. The times I have made them (and from a mix - no rice pounding here) they tasted like packing material. Mmmmmm.

Croce wrote in '77 that the loose hair
She also laments a couple of minor changes in the Elegy.

Alastair MacCauley has made several blog posts in the New York Times about NYCB's London season. In one he writes that the second program with "The Concert" has


Can anyone describe these, or say where they can be found in print or online? I could swear the Steinberg curtains are what I saw in D.C. a couple of weeks ago, but perhaps I'm mistaken.

More later - but I took all of your advice and saw Tarantella last night!!!!!!!!!!!!!!!!!

Will write more once I've collected my jaw from the Coliseum's Orchestra Pit......

Another subdued and pallid performance by Bouder and Ulbricht?

In New York, we keep hoping the two of them will finally come out of their shells . . .

the quote from macaulay's blog w/ reference to the gorey drops for THE CONCERT given above as <<They have never seen in New York but are superior in drawing, in fantasy and in wit to those by Saul Steinberg, used by City Ballet.>> is likely missing a word or two - i suspect macaulay meant that gorey's drops "ave never BEEN seen in New York," which is true.
the royal ballet has not brought its staging of THE CONCERT to nyc so far as i can tell. thus it has not shown gorey's work for the ballet to US audiences - i'm not aware of the royal ballet's touring this robbins ballet anywhere outside the UK. NYCB has consistently used its steinberg drops at home and on tour. i don't know if history records robbins's own admiration or preference for the different designs.

Thanks, rg. I see that I read MacCauley too quickly, and what he said was that the Royal uses Gorey's backdrops, not that NYCB did in London.

ami1436 and mashinka, thanks so much for your reviews!

Unfortunately I do not have as much time today to write as I wished! At the last minute yesterday I decided that seeing this Tarantella might be a once-in-a-lifetime thing, and as I was in London, I should see if there were tickets... lo and behold. Yes, I missed the RB I had been scheduled to see.... but I'll be seeing them again soon!

Thou Swell.... Um. Yeah. Unfortunately to me, this felt like it would never end. The waitress girls seemed really under-rehearsed to me, and should they have really been carrying trays, well, some of them were very funnily shaped, and somehow managed to have superhero abilities in fighting gravity regardless of the angle at which they were held! Sarah Mearns began the piece and seemed to be dancing similarly to her Symphony in C... this changed though and she became sassier - I think this more blatantly jazzy style suits her well. And to Ramasar's credit, despite his rising shoulders, he was totally acting the part, looking seriously smitten. But the biggest thing this piece seemed to lack was the sense of real chemistry between the couples. And that sense of chemistry might be the only thing that saves the ballet! I think Kistler danced the main pdd in it (to Bewitched...?), and Faye Arthurs is the one who goes for the 6'o'clock secondes? I was a bit surprised (not because of her extensions) that she is only a corps member - she had some lovely lines overall. I don't know what more to say though... by the end of this, I was more than ready for it to be over.

I didn't stay for West Side (and am seeing this bill on Saturday matinee), but overall I enjoyed Western Symphony. Although I'm distinctly aware that Albert Evans may be approaching the end of his career, I dare say the other men have a lot to learn from him, especially in terms of stage presence/gravitas/acting. He acted from beginning to end while he was on stage, which made everything the more enjoyable. Poor Martins seemed to act for a second when it was choreographed, and then slip into 'it's time to concentrate'.... hmmm. I was impressed by Hyltin, his partner, in the second movement - and especially by her arms. She had a nice lyrical quality to her, which makes me wonder what she will be like in the Tarantella on Saturday. I'm afraid I'm not necessarily moved by the Staffords, but suitably enjoyed Reichlen and Hanna. Again, however, I thought some of the corps looked slightly under-rehearsed... and some of the arabesques were not even secondbesques... but very clearly turned in secondes attempting to be arabesques.... really unsightly.

Alright, enough for the bread, time for the meat: Tarantella. I'm so glad I went. I was scared, because I think 2 years ago now we had a local performance to Gottshalk and there were 4 boys and a girl in the Tarantella. The Tarantella was the most over-rehearsed piece in our little performance, and I was seriously haunted by the music and felt that it was too long (I wasn't in it!). Literally, a few of us would have nightmares to the music. I was hoping I could put it aside - and now I could listen to the music quite happily!

I think Daniel Ulbricht stole the show, and upstaged Bouder. He worked his tambourine so hard that the little metal discs went flying off, and he and Bouder danced with so much attitude and cheek - again, so nice to see that kind of presence! (Side note - Bouder actually looked fab in that little tutu - work it, girl!). Ulbricht can't really be that tall? But he could jump so high! His first jump I was like (my speak becomes all teenager-y when I'm in awe) 'What, huh? No way!'. But as it went on, I continued to be surprised by everything he did. I've never seen such slow, clean, articulate jete entournant entrelace before. Such fast grand jetes en menage... Really spectacular. Boy could school Acosta in ballon. Bouder... well... she just makes it all seem so fabulously fun and easy. It goes without saying that these two are real virtuousos (sp?), but underneath that bravura is so much lightness, quick and accurate. Does this girl *need* a preparation to jump? It's like she just thinks 'up' and she's there.

Wow wow wow. I'm still rather inarticulate. I'm looking forward to see what Sat's cast make out of it.

Question 1: Is there a video of Villella and McBride in Tarantella? Please please please say yes!

Question 2: Re: the women's curtsies. This has been bothering me since last week. But when the women bow, they stand as usual, in a b+ position, with the gesturing foot pointed. Most dancers I've seen, when they bow in this position, regardless of whether they go down to the knee or not, keep the foot pointed as it slides along the floor. This is also how I've always been taught.... But the women of NYCB seem to swithch their foot to a demi-pointe... ? Is this something that's always been? It's a small detail I know, but something that was so blatantly obvious to me...

Right... I'm off to find a tambourine...

editted to add: Unfortunately I'm only seeing Programme 1 and 4... hopefully others will comment on 2 and 3!
eta, part 2: Hyltin was Evan's partner, not Martins'! and changing the second question 1 to question 2....

this is part of the balanchine style--they always curtsy like this. If someone knows why or when this developed I would be very interested. It literally drives me nuts (I believe I've commented on this before here, sorry!) as I think it is incredibly ugly.

I guess I'm asking if it is a stylistic choice 'on purpose' - and what purpose it serves? I'm trying to remember if I've seen Ansanelli do this here. I don't remember this from other companies like DTH, SFB, PNB...

Now that's the way one SHOULD feel after this ballet! Ami1436, thank you for your reports. And please keep us informed as to how the tambourining goes!

eep clearly i meant "interested" not "interesting" as I don't think having an answer to this question would have any effect on how interesting I am ;)

I would be interested if the other Balanchine-oriented companies do it, but I don't know the answer. I'd imagine Ansanelli does NOT do it at the Royal--for one I'm sure you would have noticed as it would stick out oddly (as it did when I saw Kowrowski perform with stars of the 21st c--and i noticed she transitioned to the standard curtsy by the 2nd time they took their bows).

It has to be on purpose, or at least enforced as they all do it. As for what purpose... I'd love an answer too!

The curtsey: Yep that's how they do it there. I actually asked Alexandra A. to point her foot when she worked with me in '03, and she seemed quite happy! She points her foot at the Royal.

Ulbricht and the tambourine: OK, he's now done this three times I know of. I thought it was accidental, now I'm very unsure.

Macbride/Villella video: There's a 1965 recording at the Library for the Performing Arts in Lincoln Center. I've seen it - it's looser than it's currently done in an ingratiating way.



Does Bouder need a preparation to jump: No.

Did A.A. say *why* they didn't pointe the foot?

Thanks for the video info Leigh (although curious as to why you find it ingratiating!); I will need to fly to NYCB, see this again live and on video, and sample your sambhar. I am able to make dosa from mix.

I don't think Bouder needs prep for anything. She was just born ready.

If you can find "The Man Who Dances" for sale, it has over 5 minutes of grainy color footage of Tarantella, but perhaps a minute of that is of Villella gasping in the wings, and of the bows afterwards.

Why they curtsey with a bent foot: You know, I recall that we discussed it - but unfortunately I can't recall the substance of the discussion. I apologize.

There's something about the '65 video that's very honest and not presentational. McBride and Villalla get ready to begin; they look at each other trying to be sure to start on the correct cue, and they bounce gently to keep time and smile. It's personal and unforced and a rather nice unguarded moment.

I do think you're due for a NY visit. Think of how nice it will be to spend dollars as dollars for a few days. We can go to Pongal and Minar if we don't feel like making dosa. I think a dosa is about $6-$8 at either place, depending on the fillings - and it comes with sambar and coconut chutney.

I'm hungry!

Leigh, you are always hungry.

Bent foot curtsey: It used to drive me nuts, but I'm embarrassed to say that I don't even see it any more. A survival technique?

The effect of it is to make the dancers less aristocratic, more "real-people"-ish. That may have been Balanchine's intention, a way to distinguish his dancers as American rather than European.

Wowsers, folks. Saturday was Holi, so I hope y'all got some dosa....

These are just some quick last notes...

I saw Programme 4 again, Saturday matinee. This time around, I disliked Thou Swell even more, although still impressed by Faye Arthurs, and had the delight of Janie Taylor in this cast. Tyler Angle also dance opposite Sarah Mearns. And I hate to say this and I don't feel that I should name names, but: DANCERS - when you are 'not dancing' and sitting at your tables in the back, you are still on stage, performing. Sitting slumped over, fast gestures, turning upstage to yawn, obsessively playing with your costume/accessories, etc... well, WE SEE IT, and it is distracting and really unprofessional...............................................

Tarantella: this time with Hyltin and Garcia, so a very different bag from Weds night... Very clean, very enjoyable, and Hyltin demonstrates great musicality... but just not the same. I do feel that the matinee audience was also really subdued, which didn't help the overall aura in the house.

Western Symphony - Tinsley-Williams in the first movement, was loads of fun, and Megan Fairchild was adorably ditzy (I don't think that's the word I want, but it's all I got right now...) in the adage. Woetzel, however, in the Rondo - fantastic. Is he really retiring? Le sigh.

West Side Story... don't have much to say here - a fun piece of dance theatre, especially for those of us who love the musical. Again Faye Arthurs stood out as Maria, and the head of the Jets (Veyette) did as well. I'm assuming the majority of the songs were lip-synched? There were teary-eyes all over the back of the balcony.

That's it from me - again, hopefully someone posts on the other two programmes. I do hope they return to London with greater frequency, and perhaps with better prices (and different ballets). I'd especially like to see them bring Jewels, and some Balanchine narratives. Please, leave Thou Swell at home!

eta: carbro: I don't think it makes them seem more 'real-people' at all! but that's just me....

Nope. The dancers do all their own singing live.

I found the reviews from London fascinating.

Some things I understood - NYCB is an inconsistent company (or at least the NYCB I know is) and I've trained myself on how to avoid (or ignore) the lows and seek out the highs. It's harder to do this on a limited tour.

Other things made me smile, such as reviewers complaining about the corps in Symphony in C not being in lines. Remind me to kvetch about Royal Ballet dancers not moving enough. That's how they do things, and that's how we do things, too. I thought that was established long ago.

I don't see nearly as much of the Royal as I do of NYCB, but for three years I have gone back and forth between the two companies. From personal experience, it takes a while to adjust your viewing to either company. When I go to London, the Royal dancers look unenergized until I reacclimate. When I come back, NYCB's dancers look sloppy. It takes time to see each company as it is.