New York City Ballet, Tuesday Evening, February 9th

TUESDAY EVENING, FEBRUARY 9, 7:30 PM: NEW COMBINATIONS

POLARIS: Gerrity, Mann, Isaacs, *Finlay, Stanley, Applebaum, Kayali, Scordato
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THE BLUE OF DISTANCE: Woodward, Phelan, Adams, Catazaro, Carmena, Chamblee, Villarini-Velez [Solo Piano: Chelton]
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COMMON GROUND: Laracey, Maxwell, Reichlen, Ramasar, Huxley, Janzen, Gordon [Conductor: Sill]

ESTANCIA: T. Peck, T. Angle, Veyette [Conductor: Litton]

THE MOST INCREDIBLE THING: Stanley, Hyltin, Ramasar, la Cour, Janzen, *M. Fairchild [Conductor: Litton]

'Polaris', 'The Blue of Distance' and 'Common Ground':

'Polaris', 'The Blue of Distance' and 'Common Ground' were all new last fall.  You can read my comments about the ballets here:

http://zylopho.blogspot.com/2015/10/nyc-ballet-performance-on-friday.html

In this performance of Myles Thatcher's 'Polaris' Emily Gerrity and Chase Finlay replaced Tiler Peck and Craig Hall in the leading roles.  Ms. Gerrity offered a bold and vibrant view of the outsider. Mr. Finlay, newly returned from serious injury, seemed cautious and bland.

In Robert Binet's 'The Blue of Distance' only Antonio Carmena and Preston Chamblee remain from the starry original cast.  Of the new additions I felt that the three women -- Sara Adams, Unity Phelan and Indiana Woodward -- proved alluring as the three 'mermaids'.  They and Messrs. Catazaro and Villarini-Velez fulfilled my October prophecy that this is a work that could be danced by a less starry cast without losing its impact as a hypnotic ensemble piece.

'Common Ground' by Troy Schumacher remains troubling chiefly because the costumes are so distracting.  The commissioned score remains interesting and Troy's choreographic response to it is skillful and lively.  The original cast seemed even better at this performance -- Troy has brought out the best in each of the seven dancers.  Teresa Reichlen, Ashley Laracey, Anthony Huxley and Russell Janzen all caught my eye for the way they took advantage of the choreographic opportunities Troy provides them.

'Estancia': 

Christopher Wheeldon created 'Estancia' for the Company's 2010 Spring Season to a score by Alberto Ginastera, the great Argentine composer.  The Ginastera score and libretto had been commissioned by Lincoln Kirstein in 1941 for George Balanchine to choreograph on their American Ballet Caravan -- one of the earlier iterations of what became New York City Ballet.  That company disbanded, however, before Balanchine could undertake the project.

The scenic designs for Wheeldon's 'Estancia' are by the Spanish architect, Santiago Calatrava, who provided designs for several new ballets presented that season.  I believe that collaboration with Calatrava was a precursor of the Company's annual Art Series.  Calatrava is the architect of the recently opened Transportation Center at the World Trade Center which is featured in this video from Cole Haan featuring five NYCB dancers Sara Mearns, Megan Fairchild, Craig Hall, Adrian Danchig-Waring, and Gretchen Smith:

https://www.facebook.com/colehaan/videos/10153979285903518/

For 'Estancia' Calatrava created a front curtain that is an abstraction of a stampeding herd of longhorn cattle: 

Santiago Calatrava's design for the front curtain of 'Estancia' by Christopher Wheeldon.

and a backdrop that is an abstracted and layered landscape of the Argentine pampas.

The cast for this performance included most of the original 2010 cast -- Tiler Peck as the Country Girl, Tyler Angle as the City Boy, and Andrew Veyette as the Wild Horse.  I missed Gina Pazcoguin as another wild horse -- a role that seems diminished in this staging.  Perhaps Wheeldon has done some tinkering since 2010 or perhaps Ms. Pazcoguin wasn't available.

'Estancia' opens with a singer, Steven LaBrie, singing 'El Gaucho Martin Fierro', Ginastera's setting of a poem by Jose Hernandez that inspired him to develop the libretto and write the score.  It sets a contemplative mood which is echoed in the opening scene of ranch workers going about early morning chores on the estancia.
  

Tyler Angle, the City Boy, arrives at the estancia. Tile Peck, the Country Girl (center) and the Country Folk disdain his fancy dress and fine manners.  Photo by Paul Kolnik for NYC Ballet

The City Boy arrives and is awed by the simple ranch life and smitten by the Country Girl who scorns his refined dress and fine manners.  He watches while she catches and tames the Wild Horse.  Determined to impress her, the City Boy tries to capture a wild horse.  She grudgingly admires his determination and ultimate success.  By the time the sun sets they have fallen in love and with the next dawn the lovers are integrated with the country folk as they begin the next days chores.

I wasn't persuaded by Wheeldon's telling of this tale in 2010 and I'm not sold on 'Estancia' by this performance either.  He offers some interesting steps and motifs for the wild horses and uses four long poles effectively to suggest a corral.
  

Tiler Peck as the Country Girl tames the Wild Horse, Andrew Veyette, in Christopher Wheeldon's 'Estancia'.
Photo by Paul Kolnik for NYC Ballet

The dances for the country folk and the pas de deux for the Country Girl and City Boy seem generic rather than specific to the story.  Balanchine was probably right to pass this material by even though Kirstein had paid for it.  

'The Most Incredible Thing':

Justin Peck's new work 'The Most Incredible Thing' was obviously the big draw on this program.  With costumes and sets by Marcel Dzama and a commissioned score by Bryce Dessner, 'Incredible' is based on a fairy tale of the same name by Hans Christian Andersen.  

Marcel Dzama (sets & costumes), Justin Peck (choreography) and Bryce Dessner (music).

It tells the story of a King (both Ask la Cour and Russell Janzen) who offers his daughter (Sterling Hyltin) in marriage along with half of his kingdom to whoever can do the most incredible thing.

The Creator (Taylor Stanley) creates a fabulous clock that produces wonderful displays for each hour in the day.  He presents the clock to the King and his daughter.  Everyone agrees that the clock is the most incredible thing and they begin preparations for the wedding.

But, the Destroyer (Amar Ramasar) arrives just before the wedding of the Princess to the Creator.  He smashes the clock.  Everyone agrees that the destruction of the clock is the most incredible thing.  The King is forced to give the Destroyer the hand of the Princess in marriage.

But, the fantastical figures from the smashed clock rise up and vanquish the Destroyer -- and everyone agrees that the resurrection of the clock's figures to attack the Destroyer is the most incredible thing and they all celebrate the marriage of the Princess and the Creator.

We know the story because there is a synopsis printed in the program . . . and from a seemingly endless string of Facebook and YouTube postings from the Company.  Unfortunately, the ballet itself muddies the plot rather than clarifying it.  The first pas de deux for the Creator and the Princess, while lovely, precedes the creation and presentation of the clock.  In fact, there is almost no connection established between the Creator and the clock.

After the clock is presented there is a series of divertissements for each hour led off by a solo for the Cuckoo (Megan Fairchild) representing one o'clock.  

Tiler Peck as the Cuckoo.
Photo by Paul Kolnik for NYC Ballet

The original costume for the Cuckoo was covered in feathers including a feathered 'ski mask' that was modified and later discarded in favor of a single feather -- a la 'The Firebird'.  Unfortunately, Ms. Fairchild took a bad nose dive center stage at her second entrance which marred the overall impact of her Cuckoo.  

Rebecca Krohn & Adrian Danchig-Waring as Adam & Eve
Photo by Paul Kolnik for NYC Ballet

For two o'clock there is a duet for Adam and Eve (Rebecca Krohn and Adrian Danchig-Waring) -- a sort of nightclub adagio for dancers in nude body-stockings with strategically placed vines and leaves.

Three o'clock is a trio for The Three Kings (Jared Angle, Daniel Applebaum and Gonzalo Garcia).  It is unclear from their generic choreography and medieval armor if these are the biblical magi or some other kings.  There is no gold, frankincense and myrrh -- just the shiny gold and silver armor and helmets and long metal staffs.

Four o'clock is the Four Seasons represented by an Empty Nest for Autumn (Brittany Pollack), a Crow for Winter (Marika Andersen), a Spring Bird (Gwyneth Muller), and a Grasshopper for Summer (Andrew Scordato).  

Brittany Pollack as the Empty Nest and
Gwyneth Mullet as the Spring Bird.
Photo by Paul Kolnik for NYC Ballet

These are among Mr. Dzama's most successful costumes and Mr. Peck responds with inspired movement that take full advantage of their impact.

Andrew Scordato's colorful makeup for the Summer Grasshopper.
Photo by Barbara Anastacio for NYTimes

For five o'clock there are the Five Senses -- five women in identical silver satin whirling dervish costumes with embedded hula hoops that obscure any meaningful choreography.

The Five Senses (which is which?).
Photo by Andrea Mohin for NYTimes

At six o'clock there is The Gambler (Daniel Ulbricht).  I don't have a clue what he's doing here -- other than a few spectacular leaps and spins while wearing a black costume with six white dots on his chest -- oh, maybe he's trying to throw himself a good crap shoot.

Daniel Ulbricht as The Gambler.
Photo by Barbara Anastacio for NYTimes

The Seven Deadly Sins or The Seven Day of the Week.
Photo by Paul Kolnik for NYC Ballet

Seven o'clock brings either The Seven Deadly Sins or The Seven Days of the Week played by seven corps women identically dressed in streaky orange, red and purple leotards with red-orange wigs sprouting rams horns.  Despite the confusion over what they represent they do have interesting choreography.

The Eight Monks arrive at eight o'clock looking more like Harry Potter wizards in long robes and tall, peaked hats that bobble as they move.  They can't dance in these costumes, so they march around the stage looking frustrated and portentious.

The Nine Muses in 'The Most Incredible Thing'.  Photo by Andrea Mohin for NYTimes

At nine o'clock the Nine Muses arrive in stiff black and white tutus that kind of look like the rings of Saturn and black Louise Brooks wigs.  Their choreography is the best ensemble dance in the piece:

http://www.nytimes.com/video/arts/dance/100000004185824/excerpt-the-most-incredible-thing.html

Ten o'clock brings back the Cuckoo in nicely avian choreography.  But why does the Cuckoo get two of the twelve hours?  budgetary concerns?  appeasing a diva's demand for greater exposure?

Eleven children -- students of The School of American Ballet -- enter down a slide on the right of the clock.  They are adorable and Mr. Peck has given them wonderful choreography that neither condescends to their youth nor over taxes their ability.  More than doting family members in the audience will appreciate this section.

Finally, at twelve o'clock the entire cast of the divertissements assembles for a finale.  Mr. Peck usually has great finesse in dealing with odd numbers of dancers, but here he assembles the Seven Deadly Sins, the Eight Monks and the Nine Muses in a three by eight column with the extra Muse plunked in front of the line of Seven Sins.  He either ran out of time or inspiration or both for this recapitulation of themes from the divertissements.

Sterling Hyltin & Taylor Stanley as the Princess & the Creator lead the ensemble in the Twelve O'Clock finale.
Photo by Paul Kolnik for NYC Ballet

As the cast assembles for the wedding of the Princess and the Creator, the Destroyer suddenly appears.  He is wearing silver armor with a two-faced helmet and a silver club in place of one hand -- we've been told Mr. Dzama was inspired by Marcel Duchamp chess pieces for this club.  After using the club to smash the clock, the Destroyer forces himself on the Princess in an erotically-charged pas de deux:

https://www.facebook.com/nycballet/videos/10156551753810529/

Amar Ramasar & Sterling Hyltin as The Destroyer & the Princess.

This duet is Mr. Peck at his finest -- raising the difficulty by using the club/hand as both a complication and a threat -- and Ms. Hyltin and Mr. Ramasar seem inspired by the challenges.

As the pas de deux ends, the clock pieces arise from the rubble of the clock and attack the Destroyer -- in a whimsical touch some of the eleven children cling to his legs as he thrashes about and the Three Kings in their armor finally have a purpose.  The Destroyer is subdued and vanquished.  The Princess and the Creator are united in triumph.

'The Most Incredible Thing' is neither an unmitigated disaster nor an unparalleled success.  For me, Mr. Peck has placed too much faith in a strong-willed artistic partner (Mr. Dzama).  Some of the costumes work very well, while others are too unwieldy for ballet.  The overall effect of the costume and set designs is of clutter and distraction.  Mr. Dessner's music works well without being distinctive.

The introduction of the Princess as the King splits in half is a real coup de theatre, but it's effectiveness was diluted by the videos that came out before the first performance:

https://www.youtube.com/watch?v=FY_P1c4NJwU 

Here is a link to a piece where Mr. Dzama and Mr. Dessner discuss their creative process -- among other things, it attempts to justify the mess that Mr. Dzama installed on the Koch Theater promenade and throughout the Theater's public spaces:

http://thecreatorsproject.vice.com/show/marcel-dzamas-most-incredible-thing-ballet?utm_source=tcpfbus

Justin Peck with Marcel Dzama's backdrop for 'The Most Incredible Thing'.
Photo from The Last Magazine 

NYC Ballet Performance on Friday Evening, October 9th -- Part 1

FRIDAY EVENING, OCTOBER 9, 8:00 PM

POLARIS (new Myles Thatcher ballet): T. Peck, Gerrity, Isaacs, Smith, Hall, Applebaum, Kayali, Scordato, Stanley; costumes by Zuhair Murad;  music by William Walton, "Allegramente" movement of Piano Quartet in D minor.
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THE BLUE OF DISTANCE (new Robert Binet ballet): Hyltin, Krohn, Mearns, T. Angle, Ball, Chamblee, Garcia Carmena;  costumes by Hanako Maeda (of Adeam); music by Maurice Ravel, "Oiseaux Triste" and "Une Barque sur l'Ocean", [Solo Piano: Chelton]
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COMMON GROUND (new Troy Schumacher ballet): Laracey, Maxwell, Reichlen, Gordon, Huxley, Janzen, Ramasar; costumes by Marta Marques and Paulo Almeida of Marques'Almeida; music by Ellis Ludwig-Leone (commissioned score); [Conductor: Sill]
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NEW BLOOD (new Justin Peck ballet): Bouder, King, Kretzschmar, Pazcoguin, Pollack, Segin, Smith, Applebaum, Danchig-Waring, Prottas, Stanley, Veyette, Walker; costumes by Humberto Leon (of Opening Ceremony and Kenzo); music by Steve Reich, "Variations for Vibes, Piano and Strings" [Conductor: Sill]
     intermission
JEUX (new Kim Brandstrup Ballet): Mearns, Hyltin, Ramasar, Danchig-Waring; music by Claude Debussy, "Jeux"; [Conductor: Capps]

The first half of the New York City Ballet program on Friday evening October 9th consisted of the four new ballets that were premiered at the Company's 2015 Fall Fashion Gala on September 30th.  Here's a clip that explains the collaboration between the four choreographers and the four fashion designers -- it also includes a fifth collaboration between Peter Martins and Peter Topping of Oscar de la Renta on Martins' 'Thou Swell' which completed the gala program:

https://www.facebook.com/nycballet/videos/10156135274705529/

The clip describes the heroic efforts by Marc Happel and the Company's Costume Shop to interpret the designs and make them wearable as ballet costumes.  They are perhaps the most important element of the collaboration, because they know what will work for the dancers on the stage under stage lights and over many performances.

'Polaris' choreographed by Myles Thatcher uses the Allegramente movement from William Walton's Piano Quartet in D. Minor.  Both the music and the choreography are spacious and unhurried.  Polaris is, of course, the North Star, the brightest star in the constellation Ursa Minor (the Little Dipper) and really a cluster of several stars.  I suspect that these astronomical/astrological concepts figured in Thatcher's dance designs for the piece.

Ashly Isaacs in Zuhair Murad's costume for Myles Thatcher's 'Polaris'.  Photo from Elle.

The costumes for the three women and five men are by Zuhair Murad -- A-line dresses overlaid with lace and crystal sparkle for the women and sparkly sleeveless tunics with tights for the men.  The color is powder blue for all of the dancers except for Tiler Peck -- the outsider -- who is in a shade of pearl grey that reacts to the lighting and seems pale pink at times.  Craig Hall is in a lighter shade of blue than the others.

Myles Thatcher, the choreographer, is a corps dancer with San Francisco Ballet.  He has been mentored by Alexei Ratmansky under the 2014-15 Rolex Mentor & Protege Arts Initiative and has choreographed works for SFB and the Joffrey Ballet.  In 'Polaris' Mr. Thatcher introduces ideas that resonated through the first half of the program -- uneven numbers of women and men and same-sex partnering.

The group: Ghaleb Kayali, Emily Gerrity, Craig Hall, Ashly Isaacs, Andrew Scordato, Daniel Applebaum and Taylor Stanley in 'Polaris' by Myles Thatcher.  
Photo by Paul Kolnik for NYC Ballet

In 'Polaris', Tiler Peck is the enigmatic outsider, intrigued by the group, but refusing to become part of it.  Craig Hall is the connector between Tiler and the rest of the group -- emerging from the group to partner Tiler and trying to integrate her into the group, but she keeps breaking away.  Here's a clip from NYC Ballet:

http://vp.nyt.com/video/2015/10/01/35851_1_nycb-polaris_wg_360p.mp4

Tiler and Craig are outstanding in the convoluted partnering of their encounters.  The rest of the cast are also wonderful -- dancing in various combinations and creating sculptural clusters that rotate and evolve.

For 'The Blue of Distance' Robert Binet uses two movements from Maurice Ravel's 'Miroirs' -- 'Oiseaux tristes' (sad birds) and 'Une Barque Sur' (a boat on the ocean) -- beautifully played by the pianist Elaine Chelton on the stage apron.  The costumes were designed by Hanao Maeda of ADEAM -- for the women tops covered in paillettes that segue from dark blue near the neck to white on the hips dissolving into tiered, pleated white skirts below, and for the men sleek dark blue sleeveless unitards.

Since 2013, Mr. Binet, a native of Canada, has been the Choreographic Associate of the National Ballet of Canada.  Prior to that he was the first Choreographic Apprentice at The Royal Ballet where he was mentored by Wayne McGregor.  In addition to the National Ballet of Canada and The Royal Ballet, Mr. Binet has created works for Wayne McGregor/Random Dance, Hamburg Ballet and several other international dance companies.

For 'The Blue of Distance' Mr. Binet uses three women -- Sterling Hyltin, Rebecca Krohn, and Sara Mearns  -- and four men -- Tyler Angle, Harrison Ball, Antonio Carmena (replacing Gonzalo Garcia) and Preston Chamblee.  
 

Harrison Ball (foreground) with other cast members in Robert Binet's 'The Blue of Distance'.
Photo by Andrea Mohin for the NY Times

The ballet could perhaps be subtitled 'three mermaids encounter four dolphins' -- watery, swimming movement motifs abound.  The ballet opens in atmospheric blue lighting with a pas de deux for Rebecca and Preston, while Sara and Sterling lean ever more precariously on Tyler and Antonio respectively, with Harrison, the odd-man-out observer.  A series of pas de deux for the three couples and solos for Harrison follow.  Harrison has some showy passages before briefly replacing Antonio as Sterling's partner.  Preston Chamblee, who just advanced from apprentice into the Company's corps in February, displays his strong partnering skills.  

Preston Chamblee and Rebecca Krohn in Robert Binet's 'The Blue of Distance'.
Photo by Paul Kolnik for NYC Ballet

In 'The Blue of Distance' music, costumes and movements combine to sustain an impressionistic atmosphere -- part seascape and wholly intriguing.  The choreography doesn't utilize the distinctive personas of these seven dancers, especially the three ballerinas, preferring to sustain an ensemble mood.  One is left with the feeling that other company dancers could easily fill these roles to achieve the same effect.

'Common Ground' by Troy Schumacher has a score by Ellis Ludwig-Leone which was commissioned by the Company for this work.  The music for full orchestra conducted by Andrews Sill is fractured and filled with silences, providing a quirky base customized for Troy's choreography.

Troy Schumacher is a member of New York City Ballet's corps de ballet.  Troy founded BalletCollective where as company director and resident choreographer he collaborates with composers and designers on original works.  He choreographed 'Clearing Dawn' for the Company's 2014 Fall Fashion Gala with costume designs by Thom Ford.

The costumes for 'Common Ground' were designed by Marta Marques and Paulo Almeida of Marques'Almeida.  They consist of loose pieces of fabric in many colors -- from bright scarlet, kelly green, and yellow to neutral taupe, grey and white -- which are loosely hung or draped on the dancers.  In the costume video clip referenced above, Troy seems so delighted with them, that it's a shame to report that they are the most distracting element of his ballet.

Anthony Huxley, Alexa Maxwell, Teresa Reichlen, Joseph Gordon and Russell Janzen in Troy Schumacher's 'Common Ground' (aka 'Help, a clothes dryer just exploded on us!').  
Photo by Paul Kolnik for NYC Ballet

Troy also uses three women and four men for 'Common Ground' -- Ashley Laracey, Alexa Maxwell and Teresa Reichlen with Joseph Gordon, Anthony Huxley, Russell Janzen and Amar Ramasar.  The choreography deploys them in skittering, overlapping solos, duets and ensembles.  Partnering is ambisexual, with women partnering women, men partnering men, women partnering men and men partnering women.  This format allows Troy to utilize and expand the dance personalities of his cast.  Here's a brief clip from the Company of Alexa Maxwell, Joe Gordon and Tess Reichlen in 'Common Ground':  

https://www.facebook.com/nycballet/videos/10156152125490529/

There's some exciting dancing in Troy's new work -- too bad that it's obscured by the distracting costumes.

Alexa Maxwell thrown into Russell Janzen's arms by Amar Ramasar and Joseph Gordon in Troy Schumacher's 'Common Ground'.   Photo by Paul Kolnik for NYC Ballet

Justin Peck's new work for the 2015 Fall Fashion Gala is 'New Blood' costumed by Humberto Leon of Opening Ceremony and Kenzo and danced to Steve Reich's 'Variations for Vibes, Piano and Strings'.  The music -- scored for four vibrophones, two pianos and strings -- is in a three movement format (fast, slow, fast) with typical propulsive Reich repeating harmonic phrases providing clangorous energy for the dancers.

Steve Reich and Justin Peck during curtain calls for 'New Blood' with Brittany Pollack, David Prottas and Claire Kretchmer.

When the curtain rises the thirteen dancers (six men and seven women) are lined up at center stage from front to back.  They break out of the line to move forward and also I think to change their sequence.  There is a brief group dance and then as they exit the stage one man (Peter Walker) falls to the floor.  Peter is resuscitated by Brittany Pollack and they dance together.  Peter departs and Taylor Stanley enters and dances with Brittany; Brittany departs and David Prottas comes on to dance with Taylor; Taylor departs and Kristen Segin joins David; David departs and Claire Kretzschmar enters to dance with Kristen; Kristen leaves and Lauren King appears to dance with Claire; Claire leaves and Daniel Applebaum joins Lauren; Lauren leaves and Andrew Veyette comes on to dance with Daniel; Daniel goes off and is replaced by Georgina Pazcoguin who dances with Andrew; Andrew leaves and Meagan Mann shows up to dance with Gina; Gina goes off and Ashley Bouder appears to dance with Meagan; Meagan is replaced by Adrian Danchig-Waring who dances a duet with Ashley (part of which is shown in this clip from the Company):

https://www.facebook.com/nycballet/videos/vb.112319735528/10156138975260529/?type=2&theater


Then the entire cast returns for another brief ensemble and Peter Walker collapses again and resuscitation commences as the curtain falls. 

Somewhere during the course of the 'progression' (Justin Peck's apt term) you become aware that the colors of the dancers patchwork unitards morph with each pairing from primarily red and white with dashes of pink for Peter and Brittany, then adding grey with less red for Taylor -- then on and on with each new dancer until finally Ashley and Adrian are in salmon, taupe and black.

Brittany Pollack and Taylor Stanley in Justin Peck's 'New Blood'.  
Photo by Andrea Mohin for the NY Times

And if you're particularly observant (or paid attention during the costume video) you'll note that there are flesh colored patches on each dancer's unitard where they connect with each other.

The progression provides opportunities for male-female, male-male, and female-female pairings.  The progression of the dances also varies from inventive partnering through challenge dancing, mirroring and much more.  Justin engages each of these dancers in unique ways; he obviously enjoys solving the complex puzzle he has posed for himself and his dancers obviously relish the challenges he gives them to display new combinations in new relationships.  I found the combination of Meagan Mann and Ashley Bouder revelatory -- both women displaying secure technique and cheeky flair.  And Claire Kretzschmar was blazing in her encounters with Kristen Segin and Lauren King.

Each of the four new works comprising the first half of this program are relatively short.  The choreographic and visual variety speaks to the wealth of talent that these young -- all in their mid 20's -- choreographers display.  And their dancers took on their challenges with their usual stellar focus and unparalleled technique.

My comments about Kim Bradstrup's 'Jeux' which comprised the second half of the program will come in a separate post.