New York City Ballet at Sadler's Wells Theatre, 7-10 March 2024

[Lizbie1]

5 minutes ago, tiltwithlips said:

First, a caveat - I slipped out at the second interval, missing Love Letter (on shuffle), due to a combination of a long day in the office and it being by far the piece on the programme that interested me least on paper. If I'd been less tired, I'd definitely have given it a chance - but I don't hugely regret not doing so and getting home earlier!

 

Oh how this resonates - I need to do it more often!

 

[alison]

9 hours ago, bridiem said:

I would, however, object to seeing Love Letter (on shuffle) again. I see it premièred at a fashion gala, and you can tell (and that's where it should have stayed). Appalling costumes, and the sort of pointless choreography that any dancers in the world could have performed. Why give NYCB dancers this to do??! All those years of training... I also hated the music. And it went on and on and on... The whole thing was a triumph of (apparent) style over (a complete dearth of real) substance.

 

Lying in bed this morning, I was musing on the work and wondering what it was I hadn't liked about it.  Firstly, it was yet another ballet to James Blake songs, and I think I've had enough of those to last me for a while, thank you very much.  It contained (lots of) ballet steps, and put together in some interesting combinations, and yet ultimately they didn't really seem to me to go anywhere.  Plus there's always the problem with "playlist" type works that there are constant changes in the music and mood which don't necessarily merge together well.  And the least said about some of the costumes the better - actually, I probably spent far too much time trying to deconstruct their fabrics rather than watching the dancing.  But the most frustrating thing of all was that, according to the cast sheet, there were a lot of major NYCB dancers in it who I would have liked to assess, but from the Second Circle I couldn't identify who they were due to the lighting and the lack of a programme (I'd tried to get one before the performance but the seller seemed to have run out - and I forgot later).

 

Talking of cast sheets, is there somewhere online we can find them?  I'd like something rather more official to keep than the not-great photo I took of the one pinned to the wall.

[bridiem]

4 minutes ago, alison said:

Talking of cast sheets, is there somewhere online we can find them?  I'd like something rather more official to keep than the not-great photo I took of the one pinned to the wall.

 

I didn't even see any cast sheets at SW - I'd have had no idea who was dancing if it wasn't for the sheet posted on this forum on Wednesday. I bought a programme but there was no reference in it (and no announcements) as to where cast sheets could be found.

[Henry]

Unfortunately, the costumes for the first piece didn't arrive.

Unfortunately, the costumes for the last piece did arrive...

 

Edited March 8 by Henry

[Henry]

24 minutes ago, bridiem said:

 

I didn't even see any cast sheets at SW - I'd have had no idea who was dancing if it wasn't for the sheet posted on this forum on Wednesday. I bought a programme but there was no reference in it (and no announcements) as to where cast sheets could be found.

 

At the Thursday matinee, there were cast sheets attached to a wall on each floor - apart from the second balcony level.  I was told that someone had taken it. 

[JNC]

44 minutes ago, bridiem said:

 

I didn't even see any cast sheets at SW - I'd have had no idea who was dancing if it wasn't for the sheet posted on this forum on Wednesday. I bought a programme but there was no reference in it (and no announcements) as to where cast sheets could be found.

same - at least in ROH they have QR codes, SW didn’t seem to be even advertising those.

 

will also say though that SW did a better pre performance speech about how the light from phones can be distracting for audience members around you so please don’t use them etc. unlike ROH’s generic announcement.

 

However they were less good at communicating the “pause” between DC and Gustave pieces - the curtain went down and lights didn’t go fully up but we’re on enough for people to start getting up thinking it was an interval. Ushers sent them back to their seats at the doors but still led to unnecessary disruption - they could have easily put something on the tannoy either before DC started or when it ended. 

 

[alison]

32 minutes ago, Henry said:

 

At the Thursday matinee, there were cast sheets attached to a wall on each floor - apart from the second balcony level.  I was told that someone had taken it. 

 

They were moved to the wall behind the ice cream kiosk, for some reason.

 

JNC: the pause was announced before the performance started, IIRC.  Certainly I knew it was going to happen.

[San Perregrino]

36 minutes ago, Henry said:

Unfortunately, the costumes for the first piece didn't arrive.

Unfortunately, the costumes for the last piece did arrive...

 

🙂 🙂 🙂 FOFL

[San Perregrino]

12 minutes ago, JNC said:

same - at least in ROH they have QR codes, SW didn’t seem to be even advertising those.

no QR codes, at SW yesterday (I asked) for NYCB.

printed cast lists were stuck on the walls in a few places. perhaps this goes hand in hand with Bruce's observation that dancers are sometimes thrown in at the deep end with little rehearsal time.  one way of keeping them, if you'll excuse the pun,  "on their toes". haha

 

[bridiem]

Just now, PeterS said:

no QR codes, at SW yesterday (I asked) for NYCB.

printed cast lists were stuck on the walls in a few places. perhaps this goes hand in hand with Bruce's observation that dancers are sometimes thrown in at the deep end with little rehearsal time.  one way of keeping them, if you'll excuse the pun,  "on their toes". haha

 

Really disrespectful imho (to both the dancers and the audience). It does matter that the audience knows who's dancing. 

[JNC]

13 minutes ago, alison said:

 

They were moved to the wall behind the ice cream kiosk, for some reason.

 

JNC: the pause was announced before the performance started, IIRC.  Certainly I knew it was going to happen.

I missed this/ or forgot the information as we had a whole interval before that. In any case lots of people in the second circle moved to the doors for a drink/toilet break so it could probably do with repeating! 

[FionaM]

A short review:

 

Justin Peck - dull.  Nice to have seen Danny Ulbricht live once in my life.  

 

Balanchine - delightful, despite challenging music by Stravinsky.  Megan Fairchild was especially fabulous. 

 

Tanowitz - brilliant,  best of the show for me.  Loved the costumes especially.  Red unitards with four tapered pieces of same colour soft fabric attached to shoulders and legs.  Mira Nadon has striking looks and technique that mark her out. 

 

Abrahams - I thought the costumes were fun and the whole was worth watching for the truly beautiful duet for 2 men near the end.  Names? 
 

In summary, super dancers, not enough good choreography.  The programme fits the Sadler’s remit of modern/new choreography.  Both the Tanowitz and Abrahams pieces were way better than the ones they’ve created for RB.  

[Roberta]

4 minutes ago, FionaM said:

The programme fits the Sadler’s remit of modern/new choreography.

 

I think this is exactly why those pieces were chosen, horses for courses. It's what Wells audiences are geared up to. 

 

Of course for ballet lovers it would be wonderful to see the company at the ROH with a 'proper' NYCB programme; however, I sadly can't see it happening, for reasons of history of performing in London in the past. No bums on seats isn't anything worth repeating.  

 

I only hope the dancers have enjoyed their time in the UK, short though it is. 

 

 

[JNC]

@Roberta surely if Australian ballet can sell in ROH NYCB would have no issue? They are a bigger “name” for sure. 

Edited March 8 by JNC

[Bruce Wall]

4 hours ago, annamk said:

@Bruce Wall I just wanted to clarify, do you mean this NYCB London visit was set up pre pandemic and Rotunda was commissioned by Sadlers Wells, and then was to be followed by Paris Opera Ballet ? 

 

The piece (i.e., Rotunda) was conceived/set-up for a three-segment programme by/for performance at Sadler's Wells (which had actually already beenannounced by Spalding/the Wells in advance.  I had been told that originally it was also later meant to be part of the International Festival in Birmingham).  The second item on that explicit bill was to be actioned by the POB and I can't remember now what the third was or if it was in fact announced. Again, Rotunda (opening February 2020 in NYC) was the only part of it that actually came to fruition in the end - understandably because of intervention of the pandemic.

I sincerely doubt you will see this kind of interaction again - or at least for the foreseeable future - because there have been so many changes in the interim.  But one of these are the prohibitively increased costs BOTH in the UK and US for foreign 'work' and 'unit company' visas.  On an corporate basis they rapidly can become overwhelming.  You certainly see this in NYC where the number of large foreign ballet company visits has been drastically cut.  I doubt that the Royal for example will play there any time in the near future.  I note too that the Ballet of Japan's visit to the ROH is 'independently' funded.  It's a different world ... at least for now.  

 

To respond about the cast change announcements - For NYCB at State Theatre there is one announcement by a man (not the one used at Sadler's Wells for the NYCB performances) that I have always assumed was recorded.  It begins 'Welcome to New York City Ballet ....'   When there is to be a cast change - which hasn't already been acknowledged by a slip in the programme - then a woman does the announcement.  I had to laugh.  In the past season in some performances where Tiler Peck was to be replaced they'd say 'So and So will dance in place of Tiler Peck in Such and such' .... Last weekend - IN HER INSTANCE - that was changed - I assume because of the almighty 'Awwww' you would hear after the announcement involving Tiler.  Then they simply said: 'The roles of Liberty Bell and El Capitan in Stars and Stripes will be danced by Mira Nadon (and glorious she was too) and Roman Mejia.   A mutt and jeff show if there ever was one - She towering over him by at least a head.  It all contributed to the fun.  This announcement received little in the away of the 'awwww' meter.  

 

Of course, at State Theatre everyone receives a free individual programme as part of their ticket price - and ALL contracted dancers MUST be listed in the programme - or suitable notification made.  I have always found it most disrespectful when, say, corps members of a company - who work so hard and play such a vital part - are not in fact named against the performance by certain companies - even so-called major ones.  

 

There is in the vast State Theater lobby a board against the back vast lobby wall - just before the access lift - which has the current updated casting at all times.  (In terms of space take Floral hall and multiply it one and a half times - and that's only on the ground floor.  You go up either set of a vast marble staircases and you have the marbled first floor promenade with those huge art works on either end - indeed there is substantive art work throughout.  Think almost three times Floral Hall and then some - and then look up and that is looked down upon by three more rounds of equal measure by the walkways on the levels between the Second and the Fourth Ring.  The theatre is a thrilling dramatic experience in and of itself - and it all looks out to the glorious Lincoln Center plaza so it is always in rightfully proportional perspective.  Thank you, yet again, Mr. Balanchine!)  One great thing about NYCB is they date their principal/soloist cast changes - even electronically - so you can tell if it is the most recent one you are reading.  Those casting boards are a long held NYCB tradition.  In the old days (i.e., long before the internet) they were on either side of the main interior entrance in boxes on those hallowed marble walls and would be initially typed and then updated by hand) ... Those days (i.e., the hand written changes) are certainly now gone.  

 

I was really disappointed by the Sadler's staff in that (a) they were actually letting people in AFTER the performance had begun - (in my own instance a women usher using her phone tourch was standing there in the centre of an aisle having a conversation with a late patron and blocking a lot of people's views at the opening of the Rotunda matinee.  I didn't - but felt I should have asked her name.  Shocking behaviour in my book.  During the pause between Duo and Gustave this staff member - nor any others - were to be seen helping to inform people.  I played that part in my second circle area.  One woman near me - who insisted on going down anyway (I assume because she saw so many others doing the same - said - on her return - 'It WAS a pause' .... Go figure!  So unprofessional the Sadler's staff behavour was.   

 

 

Edited March 8 by Bruce Wall

[Roberta]

7 minutes ago, JNC said:

 surely if Australian ballet can sell in ROH NYCB would have no issue? They are a bigger “name” for sure. 

 

Ask @Bruce Wall about the 2008 visit at the Coliseum, where bums weren't on seats?  Perhaps this smaller scale return could encourage further forays but who knows? 

 

 

 

 

[Bruce Wall]

57 minutes ago, FionaM said:

 

Abrahams - I thought the costumes were fun and the whole was worth watching for the truly beautiful duet for 2 men near the end.  Names? 
 

 

The one - the major principal in the work here - was Taylor Stanley (in the wonderful James Fahoury's original role) - the other (again not the original) - was a NYCB corps member named Jules Maibe.  This has been a break-out season for the latter - as it certainly has for David Gabriel - (Mr. Placement Plus I call him) - who is not on this tour.  Mr. Maibe (or 'Maybe Not' as some call him jokingly) seems to have really come into focus.  His performance when he was 'thrown into' 4T's recently was entirely impressive - Balanchine's dramatic architecture was gloriously weighted there.  Well done, Jules.  Thought he did well here too ... in spite of the cloth trappings.

 

 

 

Edited March 8 by Bruce Wall

[bridiem]

40 minutes ago, Roberta said:

I think this is exactly why those pieces were chosen, horses for courses. It's what Wells audiences are geared up to. 

 

Of course for ballet lovers it would be wonderful to see the company at the ROH with a 'proper' NYCB programme; however, I sadly can't see it happening, for reasons of history of performing in London in the past. No bums on seats isn't anything worth repeating.  

 

I thought SW was meant to be a 'dance house' (i.e. all forms of dance). It has a great history of ballet. There isn't really a similar-sized venue for ballet in London, so since when (and why) did SW re-designate itself primarily as a contemporary dance house? I no longer feel myself to be part of its natural audience, which is shocking really considering how often I used to go there.

 

NYCB's last proper season in London was at the Coliseum, which is only occasionally a dance house and (imho) is very poor at marketing its productions. I'd be surprised if a season at the ROH failed to sell.

[Bruce Wall]

50 minutes ago, bridiem said:

 

I thought SW was meant to be a 'dance house' (i.e. all forms of dance). It has a great history of ballet. There isn't really a similar-sized venue for ballet in London, so since when (and why) did SW re-designate itself primarily as a contemporary dance house? I no longer feel myself to be part of its natural audience, which is shocking really considering how often I used to go there.

 

NYCB's last proper season in London was at the Coliseum, which is only occasionally a dance house and (imho) is very poor at marketing its productions. I'd be surprised if a season at the ROH failed to sell.

 

@bridiem I think you will (or perhaps won't) be surprised to know that London is frequently now thought internationally of as a 'contemporary dance' fulcrum rather than a balletic one.  This is largely down to Mr. Spalding - who has been enormously successful in this lights - most certainly so - and the change with the Royal's focus leveraged by the last Director with the input of McGregor - in whose works the current Royal company looks SO comfortable and fine in - and that (i.e., focus) is fervently maintained by the new Director.  I assume that is what he promised - much like Balanchine made Martins promise that he would maintain the 'balletic idiom' - so vividly carried on now by Johnathan and Wendy.  The overall Royal definition has certainly and knowingly altered - and here I'm not referring to the war-horses and the core MacMillan rep - which, after all, many see as key to that transition.  

 

The problem with bringing NYCB to London is there REALLY there is no space appropriate to put their major work on.  Rotunda was created for the SPACE OF THE WELLS -and I will say - hand on heart - well done, Justin - it looks MUCH better there than it does hanging in the air of State Theater.  In the 70's when you probably saw NYCB in London, @bridiem,they (i.e., the Company) DID the City Center (i.e. original) versions of Balanchine's works THERE (I.E., IN THE UK) - because many of the company at that time had danced them in original productions at that venue.  (Remember - although the Metropolitan Opera and the then Avery Fisher Hall in Lincoln Center opened in 1964 - State Theater did not in fact open until 1966.)  WHY DID THEY DO THAT?  Because it was space appropriate - and because they could.  THAT IS NO LONGER THE CASE.  THOSE DAYS @bridiem ARE NOW GONE FOREVER.  I'm not certain, but I would not be surprised if the City Center stage is not smaller than Sadler's Wells.  Not at all.  The ROH stage is a fraction of that of State Theater.   This is why they go to Paris - or did when Les Etes de la Danse existed - which thanks to the pandemic no longer does.  Why?  Because Paris has at least six stages of appropriate size - and that actually includes the Palais Garnier (though they don't play there for practical reasons) whose auditorium is actually smaller than the ROH even though its lobbies - as I'm sure you know - are VAST.  That's why when you sit there in many instances the perspective is even more restricted than at Covent Garden.  They were built for VERY DIFFERENT circumstances.  There is no doubt WHY you feel to some degree left out or foreign, @bridiem.  I hate to say this - and to some degree I can share in your feelings although I have forced myself to alter in the spirit of 'if you can't beat them, join them' - you are I believe MEANT TO feel that way.  

 

When Balanchine was FINALLY able to move to the theatre of his dreams - one which he in part designed - and, boy, does it stand up - even now - he - as he no doubt had wanted to for so long - increased the measure of ALL but a very few of his productions - to suit the size of his new stage - one - in terms of size - based on the measure of the stages he had known in his youth in what we currently call St. Petersburg.  This is why ALL NYCB works (apart from a VERY few expressly made for other venues - and, myself, can only think of one and you've seen it) are just TOO LARGE AS NOW DANCED BY NYCB for, say, the ROH.  It's why when they are in Copenhagen now they play on that platform in the Tivoli Gardens rather than that City's fine opera house.  You really couldn't put any of the Ratmansky NYCB works on the ROH stage as they'd be entirely out of proportion.  I don't blame Justin Peck for feeling as he does about his work when it was squished onto the ROH stage without his knowing.  I would too I should think.  It would be like a fashion designer putting a suit built for a 6'3" man on someone who is 5'8".  It just wouldn't sit as it was intended.  The latter part is what is key.  Of course these things used to happen - but now people just feel that they shouldn't.  I agree - having had the luxury of seeing the difference for myself.  They need to breathe appropriately to be fair to their creators - to give them an equal chance - in terms of their original impact.  Something like Ratmansy's glorious Solitude that just opened would entirely lose the sweep to its overall and substantive tremour.  Moreover, it's why - as I've previously noted here - when the Royal Ballet (as then was) put on stunning shows of Ashton and early MacMillan at the Met in NYC - when they had regular seasons there - a false proscenium was constructed around that massive stage frame so that the NYC audiences could better see those stunningly intimate works within an appropriate perspective.  They entirely benefited from this.  How NYC audiences thrilled to the glories of Symphonic Variations.  This too, from his letters, was just one of the reasons (I think the music and its playing/interpretation was one of the primary others) that Robbins was not happy with the presentation of his works by the Royal Ballet as was - and heaven knows he didn't mince works - and why he settled for his European base on Paris.  

 

Must go or I won't get any work done before I head back to Sadler's.  

 

Edited March 8 by Bruce Wall

[bridiem]

That's interesting about stage sizes, @Bruce Wall. But there must surely be some flexibility about this. I see that there was a festival in 2018 at the City Center (Balanchine: The City Center Years) where 13 of his works were given at an appropriate scale. 13 works at the ROH would satisfy me!!

[LACAD]

The evening of works that was to feature Rotunda and the Paris Opera Ballet and was cancelled due to the pandemic was curated as a programme of dance pieces to the compositions of Nico Muhly. The third piece was a work by Michael Keegan Dolan who has made some fabulous dance theatre works, and I hope we do get to see the piece he had planned one day.

 

I do think NYCB would fare better than they did in the past if they were to tour again in London. I get the impression that many people (at least where I was sitting) were people who went to see an iconic company that’s known in popular culture. To go and see the New York City Ballet was enough, regardless of what they were performing. 
 

Sadler’s and the ROH are relatively small theatres compared to some of the larger spaces across Europe i.e. the Opera Bastille, the Stopera in Amsterdam, the Teatro Real in Madrid. Unless they were given ample time to restage the only reasonable option is the Coliseum.
 

[Bruce Wall]

50 minutes ago, bridiem said:

That's interesting about stage sizes, @Bruce Wall. But there must surely be some flexibility about this. I see that there was a festival in 2018 at the City Center (Balanchine: The City Center Years) where 13 of his works were given at an appropriate scale. 13 works at the ROH would satisfy me!!

 

I saw ALL of those performances @bridiem - Wouldn't have missed them for the world.  It was such an exciting undertaking.  That was however - a one off - a very special anniversary programme - with MANY companies - including NYCB and the Royal - and even Russian ones - (how times have changed) - in the mix.  THAT was possible because it only involved each Company doing a small bit before coming together under the one famous (and now beautifully restored) roof.  They also had special programmes in the famed 'Studio 5' where Balanchine actually mounted many of his masterworks.  Even fewer people saw those of course.  NYCB bit off two major bits - For one they did the City Center staging of SiC.  It was fascinating to see - and I so envy @bridiem your seeing its original in 70's London.  I would have just got my PhD and been going to NYC at that time so saw them there - but only at State Theater and so those versions.  That must have been so special - what you saw.  Such a extraordinarily important piece of balletic history.  

 

When Villella revolutionised Miami City Ballet he did many of the City Center Balanchine stagings - many of the works Villella had of course done with Balanchine's direction himself.  He brought a tour of those same to City Center at the time.  It was a revelation.  4Ts had an even greater potency in that frame - at least to me - I well remember.  It was as if you could reach out and touch it.  

Sambe and O'Sullivan (replacing Hayward) were the Royal's only reps in the 2018 CC Anniversary special series.  They did Tschai PDD and Tarantella and were coached by both Patty McBride and Villella.  I so preferred their Tschai PDD there than the version they eventually gave of it at the ROH.  It was so much cleaner, musical and more focused.  The audience certainly roared their approval in NYC.  They were the only ones to be brought back a second time for their front curtain runs  at one of their performances.  I was actually heartily disappointed seeing them do the Tschai PDD at the ROH after having seen their stupendous effort in NYC.  They were but a shadow.  Sadly, it was only the latter that was filmed.  

 

 

Edited March 8 by Bruce Wall

[Emeralds]

It is interesting and quite refreshing to see such a variety of reactions to the programme, with Gustave le Gray no. 1 being the most "Marmite" of the pieces-  either love it or hate it seems to be the most common response! Perhaps this was Sadler's Wells director Alistair Spalding's intention- to get people debating, disagreeing and discussing rather than a universally popular perfect programme??

 

I hope the front of house staff weren't alarmed that I and my guest, like @tiltwithlips, also had to leave early on the first night (second show after the matinee) last night- my guest had to attend to something urgent and we had carpooled to the train station so we both had to go at the same time at the second interval.....and I'd actually been very keen to see the last ballet, Love Letter (On Shuffle)! No worries- I can see it at the second performance I booked. 

 

So out of the three ballets, in descending order....

 

1).Duo Concertant- a favourite of mine, and I'd been longing to see Megan Fairchild (sister of Robert Fairchild, who portrayed Jerry in An American in Paris at Dominion Theatre and at the ROH Spring Gala with Leanne Cope) and Anthony Huxley dance this for ages. Balanchine's compact little gem with its surprise touches and unusual format, was created on Kay Mazzo and Peter Martins, looks fresh and modern even though it's over 50 years old, and is full of invention, charm as well as pathos (as @bridiem) but never maudlin.

 

Fairchild and Huxley were sublime, musical and had great chemistry, and they made the virtuosity and speed look effortless. Sublime, magical perfection. Seeing them dancing with pianist Elaine Chelton and violinist Kurt Nikkanen alone would have more than justified the price of the ticket.

 

2) Rotunda- to specially commissioned music by Nico Muhly, started off looking a bit "pose-y" and rather derivative (like a mix of Ratmansky and Robbins) but soon found its voice when the pas de deux and solos came along. The solo danced by Daniel Ulbricht is inventive and compelling, and both Ulbricht and Adrian Danchig-Waring, long time NYCB  principals enhance the ballet with their artistry and experience. Megan Fairchild (originally in the second cast and replacing an ill Sara Mearns at short notice), Unity Phelan and Indiana Woodward, brought virtuosity and exuberance to their roles. For me the ballet gradually gained momentum towards the end, and Peck gave us some exciting classical solos and pas de deux and it built up to a strong finish. 

 

The only pity was that the dancers were let down by the unattractive costumes which looked the skirts for the women had been stolen just before curtain up. I know Peck's intention had been for the ballet to look like dancers at rehearsal, but surely they could afford dark tights  instead of the most unflattering colours?

 

3) Gustave le Gray no. 1 - unfortunately I liked this the least. If you don't count the dancers- Mira Nadon, Naomi Corti, Ruby Lister, and Danchig-Waring again - who performed beautifully, the lighting and costume dyeing department fared best in this strange novelty made for the 2019 "Ballet Across America" festival at the Kennedy Center (a festival celebrating women leadership), made for a cast of two women and two men from Miami City Ballet and Dance Theater of Harlem- rehearsals and the creation process must have been short or challenging with the dancers living in two different cities over 1000 miles apart. Which might explain a lot about the choreography!

 

To put it plainly, the choreography looks like centre work exercises of a ballet class although the strange scarlet onesies (or what look like onesie!)  the dancers have to wear look nothing like class attire. Flared at the top like a poncho but with long trailing cutaway strands below the hip so that the legs and feet are completely covered but the lines can be seen, it feels like Tanowitz couldn't decide if she wanted to send then to space or stay on earth to do an RAD grade 4 class.

 

The steps are simplistic - many 13 year old professional students could do them- and there is no partnering nor pointe work. At one point Danchig-Waring holds a dancer as she jumps but it looks like she could easily jump by herself. In the second cast, the piece will be danced by four women. What separates the professionals from students was their beautiful line and unison in the synchronised steps.

 

At one point the dancers have to move the heavy Yamaha  piano across the stage and Naomi Corti doubles up as a porter to fetch the pianist a stool to sit on. (Was it to show what happens in company class on tour? - although they wouldn't move the piano while the pianist was still playing of course.)

 

It all felt rather like the dancers and audience were being pranked, with the dancers having serious (deadpan?) expressions. The choreography looked a lot like improvisations we did as students during class- but would have been greeted with derision if we suggested putting them on stage. Not sure why the piece was taken into the NYCB repertoire.

 

That said the dancers did it beautifully. I'm afraid our applause at the end was for the fact that it was finally over and the cheers were for the dancers' fortitude at getting through it so elegantly. I think RB got the better deal from Tanowitz with Dispatch Duet and Everybody Keeps Me (although I haven't seen her Bartok Ballet- a work actually made on NYCB dancers)  

 

Will report on the Kyle Abraham piece after seeing it next time. Despite my misgivings about the programming it was wonderful to have the outstanding dancers of NYCB back and I would have paid just to see Duo Concertant and to watch them do class and rehearsal - which some might say, is pretty much what I got last night! (What stunning dancing in rehearsal and class though.) 

Edited March 8 by Emeralds

[FionaM]

6 hours ago, Henry said:

Unfortunately, the costumes for the first piece didn't arrive.

Unfortunately, the costumes for the last piece did arrive...

 

Made me laugh out loud in a public space!  Hilarious.  Thank you! 

[AnneMarriott]

I attended the Thursday matinee and wonder if I was actually at the same show as many others here.  Without wishing to indulge in special pleading, my hearing is poor and I have to use hearing aids;  I also like music to have either some recognisable rhythm or melody (or even both) so the afternoon was musically challenging.  Anyhow, here's my contribution:

 

I had never seen anything by Tiler Peck so Rotunda came as a novelty.  I enjoyed the choreography, although I thought it had a strangely academic flavour in parts.  Hated the score (no surprise there).  Costumes (what costumes?) were unattractive, especially the leggings cut off just above the ankles with socks and jazz shoes - particularly unflattering to short-limbed dancers.  I thought it looked a bit untidy at times - perhaps unfamiliarity with the choreographer or (as has been discussed above) the downside of throwing dancers on at the last minute?

 

I had forgotten how much music and how little dancing there is in Duo Concertant.  Stravinsky is one of the more challenging composers for me and sadly my enjoyment of the piano is a thing of the past (Satie formerly one of my all-time favourites) so it was a relief when the dancing started.  I was knocked back in my seat by Anthony Huxley.  Such precision and clarity, and all delivered with a charming nonchalance.  Spellbinding!

 

I had seen one Pam Tanowitz piece before.  Suffice it to say I don't remember anything about except that I didn't enjoy it so, unsurprisingly, Gustave Le Gray No. 1 had me stumped.  Won't bother to mention the score. Choreography very limited and repetitive.  Costumes nice to look at but surely hell to dance in - I thought the male dancer caught his left heel in the bottom of the batwing sleeve early on and was fixated on whether or not he would take a tumble.  Was it all supposed to be joke?  If so, at whose expense.  If not it came across as po-faced if not downright pretentious.  

 

More special pleading: my enjoyment of popular music tailed off dramatically after trad jazz (1950s-1960s) and trickled on through the 70s and 80s so I have no previous awareness of James Blake.  I loved Love Letter (on shuffle).  When the music started I thought "Oh God, I'm going to be deafened and  my teeth are going to vibrate",  but neither happened - instead the happy realisation that at last here was a score with both a defined rhythm and series of melodies; it was possible actually to imagine dancing to it!  Unlike most others posting here I appreciated the mix of street, ballet and Tudor styling in the costumes. The lighting didn't bother me, nor did the stop/start approach to the various tracks.  I loved the choreography and the story-telling, something of a surprise because my only experience of Kyle Abraham was something he made for the Royal Ballet which left me underwhelmed.  I didn't want it to end, despite having left two dogs alone for the afternoon and realising that the early train was not going to be an option.

 

There has been some comment about front of house staff conduct.  If there was an announcement about a pause between Duo Concertant and Gustave Le Gray No. 1, I missed it.  So did lots of others.  Having one of the ushers shouting "It's not a break, it's a pause" above the general hubbub didn't do a lot to resolve the issue.  It's also something of puzzle why, with ushers checking tickets at the entrances to the auditorium, an elderly couple, one of whom was disabled, finished up pushing their way through an entire row of seated audience members to take their places in the aisle seats on the opposite side of the theatre.

 

[alison]

Anne, you really need to see ENB in Playlist, then!

[AnneMarriott]

9 minutes ago, alison said:

Anne, you really need to see ENB in Playlist, then!

I have - and I loved it!

[AnneMarriott]

3 minutes ago, AnneMarriott said:

I have - and I loved it!

Crikey - was that James Blake, then?  

[annamk]

7 minutes ago, AnneMarriott said:

Crikey - was that James Blake, then?  

 

Playlist wasn't James Blake music. Blake Works 1 was and prior to seeing that at Paris Opera Ballet, like you Anne, I had no previous awareness of James Blake but I loved it. Very danceable. 

[Emeralds]

1 hour ago, AnneMarriott said:

I had never seen anything by Tiler Peck so Rotunda came as a novelty.  I enjoyed the choreography, although I thought it had a strangely academic flavour in parts.  Hated the score (no surprise there).  Costumes (what costumes?) were unattractive, especially the leggings cut off just above the ankles with socks and jazz shoes - particularly unflattering to short-limbed dancers.  I thought it looked a bit untidy at times - perhaps unfamiliarity with the choreographer or (as has been discussed above) the downside of throwing dancers on at the last minute?

 

Sorry to nudge you, @AnneMarriott, but Rotunda is choreographed by Justin Peck, not Tiler Peck (who made Concerto for Two Pianos for NYCB instead and still dances with the company). There was one last minute cast change due to illness but if you're referring to the group dances/movements, Justin Peck does like using "untidy" looking groups sometimes! (The two Pecks are not related.) 

[AnneMarriott]

Sorry - senior moment.  

[alison]

3 hours ago, annamk said:

 

Playlist wasn't James Blake music. Blake Works 1 was and prior to seeing that at Paris Opera Ballet, like you Anne, I had no previous awareness of James Blake but I loved it. Very danceable. 

 

My bad   Yes, you're right, Anna, it was Blake Works 1, sorry!

[Bruce Wall]

What a difference a night - and perhaps a little recovery from jet lag - makes.  It was almost as if this was a different show tonight.

 

Quickly - On the DANCING ONLY - 

 

Rotunda - KJ went in for Sebastian VV.  (I won't spell out last names because no one at Sadler's gets a programme let alone a cast list so what difference can it possibly make).  Roman had not danced any one of his assigned Rotunda performances - two I think - at NYCB this past season and certainly he was not in the original.  (Not surprisingly this season because he was the male lead - but of course - of Tiler's new ballet and that came next on the bill.)  This made a WORLD of difference.  KJ and Roman are basically the same height - (Danny is MUCH shorter than SVV) - and so the balance in their duets was riveting.  The emotion in Roman's final variation was thrilling - perhaps even more so because I hadn't expected it AT ALL.  Well done, Roman.  He is so growing as a dancer.  (He's always been a star - no question of that - but this work certainly is perhaps not his explicit metier.  (For a very similar reason it was glorious too to see him grow in Lieberlieder Waltzer - where he partnered the glamorously TALL Unity Phalen.  He grew in that too.  In his second performance at least he didn't step on Unity's hem.)   It was ALL so much more balanced because of this and ALL and you could see aspects of the choreography - some very clever - which hadn't been noticeable (at least to me) before.  Megan (now dancing her own performance)was here partnered - as at State Theater - by Peter Walker - and a very good fist they made of the PDD too.  It's so different from Gilbert and Sara - but that I think can only attest to the strength of the Peck's construct.  Perhaps it's a choreographic grower.  

 

Duo Concertant - This was Indiana and Taylor's first bash at these roles and stunning they were in them too.  It was really VERY different from Megan and Huxley - but then that's the gift of Balanchine.  Indiana swept with a ravishingly innocent French chic.  Taylor was buoyant and playful in their response.  A thrill - and the audience responded in turn.  

 

Gustave - Tonight the effervescent Emily Kikta was in for Adrian DW.  Love Caroline Shaw's music (so hope one day someone makes a ballet to it) and tonight's grouping enhanced the pleasure of this conceit.  It was glorious to have four tallish girls - with Kikta (such a phenomenal dancer) with the already legendary Ms. Nadon - being here an equal match in both stealth and size.  It sang (at least for me) in a way it hadn't previously.  That said I'm not certain I'd rush to see it again.

 

Love Letter - THIS CHANGED THE MOST.  Why?  Because Sebastian Villarini-Velez (there I've typed it) or SVV as I have often typed before hereabouts was dancing the role HE ORIGINATED.  It made sense tonight in a manner it just didn't with Roman.  Roman was trying to make it into a showpiece.  It isn't.  SVV was telling the story he had helped form.  I have to confess - SVV is FAR from my favourite NYCB dancer - but credit where credit is due - He was excellent tonight - and deserved the reception he received.  It really altered the construct of the overall piece itself for me.  I'm now really looking forward to seeing it again at the Sunday matinee with this cast.  It was here just so much MORE of a whole because of it.  Olivia Boisson (such a lovely NYCB corps dancer) was in for her fellow colleague, Quinn Starner.  She too was incandescent.  (Both of these ladies have yet to receive any significant soloist responsibilities in New York.)  Softer than Starner (who had originated her role) I ADORED the SASS Boisson added to her second variation - and how she built the overall effect.  Well done, Olivia.  Because of this balance - Alexa Maxwell - who is such a find - (and will - alongside the vivacious Emma Von Enck clearly be the next female NYCB principals just because of their current castings) - was even MORE vivid.  This is the role that Tiler would have danced and I'm sure she would have been VERY proud of Alexa's work.  Also the lanky Peter Walker was blistering together with Olivia in that PDD.  When Walker IS good, he is VERY good.  (I type that having seen him be far less than good in other things - and having seen him once ALMOST dangerously DROP MIRA NADON - A crime against balletic history's nature.)  Loved the duet between him and Christopher Grant - (and doesn't Grant look potent in this - he manages to make that costume sing - now THERE's an achievement).  Watching them together with their now added Indian headdresses in that one section I came to realise that they are in fact there to symbolise the vibrancy of NYC street life.  They do so brilliantly - and AT LAST it makes total sense of the wit of the duet's end.  I've seen such reactions on the street myself.  IT IS INSPIRED, MR. ABRAHAMS!!!!  TOTALLY.   Because of the new-found overall balance this work actually ended tonight - rather than just stopped with the track as it certainly appeared to do at its Sadler's opening.  It was profoundly moving at that juncture when the lithe Taylor Stanley now heavily - at least here - ambled forward towards his amour.  Jules Maibe again was entirely sensitive in that portrayal - and I have a feeling this is quite a stretch for this lad - which may well have been part of the reason for casting him in it.  Watching it tonight - with all the meaningful changes - I'd love to have seen the very tall McKenzie Bernadino-Soares (how's that for name) have a bash in this role.  He's only in this ballet here.  He's that very tall svelte guy with frizzy hair who is ALL legs.  He never gets a chance to dance any - even small - soloist roles and I've seen him often picked out (or is that on) in rehearsals for correction.  'Oh, Mckenie' they'll call.  Something tells me he would be very good in this.  He always appears to be just so very vulnerable yet has and maintains the sweetest smile going.  Due to those gargantuan gams  he has - when fully stretched - the most stunning legato line - plus its clear he just so LOVES dancing.  It might have served this very well ... certainly given it a different twist - but, that said, I was HUGELY appreciative for Maibe's reserve and also his thrilling balance with the always intoxicating Stanley.  For me, tonight, this WAS a different work.  Thank you, SVV (and, again, I don't often say that believe you me) and ALL.  

 

 

Edited March 8 by Bruce Wall