New York City Ballet - Digital Spring - feedback thread

[Jeannette]

Dear Kbarber, I’m referring to programs taped or dvd’d off our televisions...our collections. Like so many balletomanes, I’ve never met a DVD/DVR remote control stick I didn’t love. Yeah, I know, it’s now ancient technology. Guilty as charged, since purchasing my first SONY Betamax many moons ago...then VHS recorder...then DVD recorder...now computers and flash drives. Of course our “private collections” must exist - our treasures! 💝 

[Bruce Wall]

Fascinating NYT interview with Silas Farley - who will remain on the Board of the Balanchine Foundation and teaching (when he can) at SAB - on his retirement from the NYCB Company at the age of 26 here:-

 

"My hope is that the company [NYCB] will live up to its foundational vision, which is that it would be half black and half white, which at the very least means epic leaps forward in terms of the racial representation and multi-ethnic nature of the company."

There is now a concerted effort for real work to be done. That you were not just seeing brown and black and Asian faces on the stage, but that these dancers were being cultivated to consistently anchor the repertory.

 

Edited June 24, 2020 by Bruce Wall

[alison]

14 hours ago, Bruce Wall said:

Fascinating NYT interview with Silas Farley - who will remain on the Board of the Balanchine Foundation and teaching (when he can) at SAB - on his retirement from the NYCB Company at the age of 26 here:-

 

"My hope is that the company [NYCB] will live up to its foundational vision, which is that it would be half black and half white,

 

 

Really?  I didn't know that.

[Bruce Wall]

6 hours ago, alison said:

 

Really?  I didn't know that.

 

Quite frankly, Alison, neither did I .... which is why I found it of sufficient intrigue to quote it (and indeed the article) here .. Would love to know Mr. Farley's source reference.  

[Jeannette]

Maybe he is mixing up NYCB and ABT? When founded, ABT had a “Negro Wing” along with “Russian Wing” and something else - can’t recall. I can’t believe that ABT even had that division. Shivers.

Edited June 25, 2020 by Jeannette

[DD Driver]

17 hours ago, Jeannette said:

Maybe he is mixing up NYCB and ABT? When founded, ABT had a “Negro Wing” along with “Russian Wing” and something else - can’t recall. I can’t believe that ABT even had that division. Shivers.

 

A post on the  US ballet forum Ballet Alert adds a bit of background info:

 

"When Ballet Theatre (precursor to ABT) was founded,  it was even planned to have a Latin American wing.  Lincoln Kirstein had intended for Ballet Society,  later NYCB,  to have equal numbers of black and white dancers,  but that idea fell by the wayside."

https://balletalert.invisionzone.com/topic/45559-sfb-2020-promotions-and-new-dancers/page/2/   (see last comment on that page)

[alison]

Something a bit more formal than a post from within the last 24 hours would be even better.  Is there a printed history of NYCB, for example?  Remembering how things were in the UK at the time, it just seems a little surprising to me that back in the days of Ballet Society there might have been the expectation of sufficient professional-level black ballet dancers to half-fill a company, but then of course I'm not exactly familiar with the US situation.

[Bruce Wall]

35 minutes ago, alison said:

Something a bit more formal than a post from within the last 24 hours would be even better.  Is there a printed history of NYCB, for example?  Remembering how things were in the UK at the time, it just seems a little surprising to me that back in the days of Ballet Society there might have been the expectation of sufficient professional-level black ballet dancers to half-fill a company, but then of course I'm not exactly familiar with the US situation.

 

This article from the NYT in May of 2007 sheds some light, Alison.  Perhaps you will be able to find a record of Kirstein's 16 page 1933 letter to 'Chick' Austin.  (Austin sponsored Balanchine's immigration to the US in the same year.)  The only other direct reference I can currently find to it is here.  I would dearly love to read it.  

 

https://www.nytimes.com/2007/05/04/arts/04iht-swans.1.5565827.html

 

To add:  I have just found that the letter in full is reprinted in Frances Mason's wonderful I remember Balanchine: Recollection of the Ballet Master by Those Who Knew Him, published April 1991.  Have just ordered a used copy here for under £4 ... I used to have one ... but gave it to Strand Books - along with so, so many others - when I finally sold my Manhattan flat in July 2001.  

 

 

 

 

 

Edited June 26, 2020 by Bruce Wall

[alison]

Thanks for that, Bruce.  The wording of the Janet Collins book seems to relate to the School more than the company, although having a 50-50 balance at the School would obviously have been a good starting-point for having the same in the company.

[Bruce Wall]

2 hours ago, alison said:

Thanks for that, Bruce.  The wording of the Janet Collins book seems to relate to the School more than the company, although having a 50-50 balance at the School would obviously have been a good starting-point for having the same in the company.

 

Well, Balanchine insisted (quite rightly as it was to turn out) that the School had to come first  ..... and in a short period of time ... so too did Serenade for his students!  

[Jeannette]

On 25/04/2020 at 17:18, Bruce Wall said:

...

 fabulous sneaker ballet, The Times are Racing and .... 

 

 

I had to dig deep into this thread to find this. Bruce is certainly not alone - perhaps even in the majority  - in liking or loving The Times Are Racing. I had to dig it out when I had a revelation a couple of days ago as to why I so dislike this work...while watching crowds of angry anti-establishment types burn the US flag and spit at police this past weekend.

 

Justin Peck perfectly encapsulates the spirit of anti-establishment in this ballet. No wonder I absolutely hate it - the loud “music,” dingy costumes some with political messages, and total lack of respect for traditional ballet. So ladies and gentlemen, may I propose a new title? The CHOP Ballet! Peck and NYCB can run and market it once the pandemic is over and theatres reopen. The times are indeed racing and The CHOP Ballet can lead the way. 

[Bruce Wall]

1 hour ago, Jeannette said:

 

I had to dig deep into this thread to find this. Bruce is certainly not alone - perhaps even in the majority  - in liking or loving The Times Are Racing. I had to dig it out when I had a revelation a couple of days ago as to why I so dislike this work...while watching crowds of angry anti-establishment types burn the US flag and spit at police this past weekend.

 

Justin Peck perfectly encapsulates the spirit of anti-establishment in this ballet. No wonder I absolutely hate it - the loud “music,” dingy costumes some with political messages, and total lack of respect for traditional ballet. So ladies and gentlemen, may I propose a new title? The CHOP Ballet! Peck and NYCB can run and market it once the pandemic is over and theatres reopen. The times are indeed racing and The CHOP Ballet can lead the way. 

 

Personally I would have preferred if you had preserved my words in their original sequence, Jeanette.   T'was to a series of Peck's dance works I was referencing (including Rodeo, Belle Lettres, etc.,) to express my admiration for the overall breadth of his stylistic scope; each being rooted in a dedicated sense of community.  For anyone hereabouts who wishes to witness Mr. Peck's 'respect for traditional ballet' - which certainly he HAS vividly eschewed - indeed so much so that he can aptly apply that same with original creatively - might I suggest  In Creases - his second NYCB ballet - which will be performed as part of the SAB Workshop online assembly on 9th July here. 

 

I must say, Jeanette, I feel - for my own part - and it might very well just be 'my own part' - that it is a tad unfair to publish such commentary here when BcoF readers can ONLY see (as far as I am aware) selected - and very small sequences of The Times Are Racing - which Mr. Peck himself identifies as a 'sneaker ballet' - and not the entire piece so that they might at least be able to come to a fair evaluation for themselves.  Do you have a link to the entire piece that you could share with us?  Certainly I would be eager to see it if you do.  I assume it may well have been whilst viewing that same that you had your 'revelation'.  

 

 

 

 

 

 

Edited July 6, 2020 by Bruce Wall

[Jeannette]

I enjoy most other Peck ballets that I’ve seen & I think I’ve seen most at NYCB or Kennedy Center on tour.  We agree on 90%. Even his other “sneaker ballets” are more pleasant to me. But this one is sooo dark, loud and grungy, with the exception of the nice “tap soft shoe dance-off” that was featured in the NYCB digital excerpt. 

[Bruce Wall]

Know members have complimented Anthony Huxley on this strand.  Here he is in an animated chat with Megan Fairchild (briefly interrupted by 4th July fireworks) in which he beguilingly addresses his own 'shyness' and each have fascinating pointers - (both being SAB teachers) - for 'shorter' dancers, amongst much else.

 

 

[Jeannette]

 SAB is not strictly NYCB but...

 

The lovely SAB Workshop Celebration program opened last night and can be rewatched through July 13. Robbins’ brief Circus Polka with cute kids, Peck’s In-Creases (Love it! My kind of Peck!), a carefully delivered Agon pdd, and the piece de resistance - Balanchine’s complete Scotch Symphony starring a heavenly Mira Nadon, David Riccardo and Kristina Hadjipetkov.

 

I was in the audience that 2017 weekend and was among the “Bravo” screamers at the end...and doesn’t it say something that it was this Saturday matinee Scotch Symphony cast, rather than the cast shown on the Sat night and Monday-gala evening, that was selected for the stream? The night cast was fine but this one was extra-special.

 

Special kudos to now-NYCB corps member LaJeromeny (“LJ”) Brown, who was featured in three of the four streamed works, including Agon pdd from 2019!

Edited July 10, 2020 by Jeannette

[Bruce Wall]

59 minutes ago, Jeannette said:

 SAB is not strictly NYCB but...

 

 

Not 'strictly' perhaps, Jeanette, but certainly 'official' ...    Enjoyed the programme very much myself - as well as the Alumnae memories.  Nadon is radiant ... and to think - only 16!  ...  Great fun too to see Arch Higgins as the Ringmaster.  I so remember Robbins doing it and delighting in poking fun at himself.  So many memories from decades of SAB Workshops and so pleased that the vast majority are still available to view in the invaluable Robbins collection at the NYPL, Lincoln Center and open to anyone who wishes to watch and benefit from them.  

 

 

Edited July 10, 2020 by Bruce Wall

[Ivy Lin]

I loved the SAB workshop. Wow at Mira Nadon. I remember not being able to go to that performance and people telling me "you missed a perfromance of a lifetime." Now I get to see it!

[Bruce Wall]

Enjoyed these three brief pieces from the SPAC Reimagined Festival;  ... each choreographed by a participating NYCB artist  ... and each celebrating not only the dancers involved (including NYCB principal Anthony Huxley who does not choreograph - although his partner - who is also participating  - does) but also the artistry of the film makers and the glorious physical environment they are sharing in that particular moment of time.  ..  A veritable kaleidoscope.   

 

https://www.facebook.com/126637230700921/videos/1259531601058730

https://www.facebook.com/126637230700921/videos/208802447131662

 

 

Edited July 24, 2020 by Bruce Wall

[Bruce Wall]

 

NYCB have posted a link to this original dance piece entitled “Ces noms que nous portons” ('These Names That We Bear').  It is another solo choreographed by Kyle Abraham for NYCB principal Taylor Stanley shot on the Lincoln Center plaza.  (You may remember seeing one of the solos that Abraham did for Stanley - excerpted from 'The Runaway' - in the last programme of NYCB's Digital Spring Season.)  This film ends with a 'message' from both Kyle Abraham and Taylor Stanley such as is quoted below: 

 

 

A message from Kyle Abraham and Taylor Stanley

 

When we first worked together on “The Runaway” for NYCB in 2018, an instant bond was created. There was a synergy of shared experiences and shared narratives. And although our pathways and audiences may differ, we share a united sense of a weighted experience that holds our history and our art form alike.

 

This collaboration aims to celebrate our queerness and our color in a way that hopefully stresses its importance, its fragility, and its strength. We dance, and create dances for those who have yet to see themselves on a stage. We dance, and create dances for our community and beyond. We dance, and create dances to nourish our souls. We make dances to reflect, to ask, to heal.

 

We want to honor the lives of those who we have lost due to the color of their skin or their identity. May they remain close to our hearts and at the forefront of our actions as we continue to create, reflect, and dance. For the both of us, we commemorate our history….in PRIDE.

 

Love,

 

Kyle Abraham and Taylor Stanley

Edited July 24, 2020 by Bruce Wall

[nycitybird]

This is stunning.

[SheilaC]

One of my favourite dancers, one of the places I love most in the world, some of my favourite music, and such poignant choreography and dancing. 

Thank you, Bruce.

[Bruce Wall]

Not strictly NYCB - is this year's (sadly only virtual) 51 minute Nantucket Atheneum Dance Festival - but there is NO question that is anything other than the vision and heart of its Artistic Director, the NYCB principal Tyler Angle.  It is filled with NYCB dancers and Metropolitan Opera singers.  (There's even a video with brothers Tyler and Jared Angle and Lauren King - all NYCB artists - talking about putting it all together under the Festival's Friday Tab.)  The energy is distinctly NYCB - i.e., both original and celebratory. 

 

My heart cheered hearing the divine Met mezzo Stephanie Blythe sing Bernstein's Something's Coming from her front room and then watching ex-NYCB principal Robbie Fairchild searingly inhabit Robbins' choreography for that glorious same from the roof-top of his mid-Manhattan apartment.  Its cinematic capture was stunning.  It so reminded me of that home movie clip of a young Jerome Robbins - then with ABT - dancing with abandon on the rooftop of his own Brooklyn flat - looking across to 40's Manhattan - and even at one point affectionately partnering his own mother and accompanying his father in an attempted jig.  It had been on a loop at the start of that very moving centenary exhibition at the NYPL in Lincoln Center.  (You can see segments from that historic coil in this NYT article.)  I remember standing there mesmerised by its silent rapture.  The energy of the City below and beyond was palpable.  You might (if you are anything like me) find a similar sense in the Nantucket Festival segment quoted above.  

 

 

Edited July 26, 2020 by Bruce Wall