Ballet Quibbles and Bits . . .

'Nutcracker' Featured in Elle:

Here's a nice series of backstage pictures from New York City Ballet's production of George Balanchine's 'The Nutcracker' that appeared in Elle magazine:

http://www.elle.com/pop-culture/best/behind-the-scenes-new-york-city-ballet-nycb-nutcracker#slide-1

Mouse heads ready for the court of the Mouse King in 'The Nutcracker'.  Photo from Elle

The series of 37 photos provides a lot of interesting and unusual angles on this holiday classic.

'Live from Lincoln Center' SAB Broadcast Still Available On-line:

If you missed last Sunday's broadcast of the SAB Workshop Performance on WNET, Channel 13, or on your local PBS station during the past week, you can still watch it online here:

http://video.pbs.org/video/2365385279/


It's a wonderful account of a lovely performance by the future stars of American ballet.

NYC Ballet Names New Music Director -- at last:

New York City Ballet has named a new Music Director, Andrew Litton.  Maestro Litton is currently the music director of the Colorado Symphony Orchestra and the Bergen (Norway) Philharmonic.  He was formerly the music director of the Dallas Symphony and chief conductor of the Bournemouth Symphony.  He will begin his duties at New York City Ballet with the start of the 2015-2016 season in September, 2015.

Maestro Andrew Litton, newly named Music Director-designate of New York City Ballet.
Photo by Steven J. Sherman

The company has been limping along without a music director since Faycal Karoui left at the end of May, 2012.  During that time, Andrews Sill has been 'Interim Music Director'.  Sill will continue with the company as Associate Music Director.  Maestro Litton will only be available for 13 weeks during the 2015-16 season and 16 weeks during the following season, so Sill will continue to play a significant role in the company's music program.

I think that the company performs 21 weeks in New York City each year, plus 2 weeks in Saratoga Springs and 1 week in Washington and the company usually has three or four weeks of either national or international touring.  Then there are four weeks of full company rehearsals prior to the fall, winter and spring seasons and the Nutcracker season.  That's a lot for a music director to cover in just 13 or even 16 weeks with the company.

Litton does appear to know the company and its repertory from his years studying at Julliard -- when he was dating a member of the company.  The New York Times article says that Litton will be only the company's sixth music director.  There have been three of distinction in the 50+ years we've been watching the company -- Robert Irving, Andrea Quinn and Faycal Karoui.  Let us hope that Andrew Litton will join that illustrious list by inspiring and challenging the musicians, the dancers and the choreographers so that we, the audience, really do 'see the music' and so that the music is consistently worthy of the Company of George Balanchine, Jerome Robbins and Lincoln Kirstein. 

SAB on 'Live from Lincoln Center'

We taped the School of American Ballet Workshop Performance shown on 'Live from Lincoln Center' on PBS on Sunday afternoon.  It seemed like a strange time to air it -- but maybe it was smart counter-programming for PBS to spotlight these graceful young athletes as an antidote to all of that football mayhem on other channels.  The broadcast was extremely well done.

We had seen two of the three Workshop performances back in June, so we had a pretty good idea of the shape of the performances.  What was truly exceptional, though, was how well they were filmed and pulled together as a coherent TV show.  Too often, dance on television is difficult to watch because the cameras insist on close-ups or tracking an individual dancer when there is a larger -- and usually better -- stage picture that is being ignored.  Here the cameras pulled back to include the entire stage (or at least the entire dancer), closing in for close-ups only when there were infrequent static moments.  Feet were not chopped off and there was also sufficient screen space around the dancers to allow them to move -- and boy can they move!

By the way, here's a link to Alistair Macaulay's review of the broadcast in last Friday's New York Times:

http://www.nytimes.com/2014/12/12/arts/dance/live-from-lincoln-center-to-air-curtain-up.html?


Beyond praising this broadcast, Macaulay bemoans the lack of American companies in the high-definition broadcast of dance performances.  I would add that this in part due to the intransigence of the various unions required to stage and broadcast dance -- they have allowed the market to shift to overseas dance companies.

Balanchine's 'Serenade' at the 2014 SAB Workshop Performances.  Addie Tapp's grand jete among the corps.
Still from 'Live from Lincoln Center' broadcast.

Balanchine's 'Serenade' is really about all of the dancers -- the seventeen member corps as well as the five principals -- interacting and creating beautiful shifting patterns and perhaps telling a story or several stories or no story at all.  Suki Schorer's meticulous and vivid staging was beautifully captured on camera.  We got close enough to the student dancers to feel the adrenalin rush of their performance as well as their caring, careful execution of Mr. B's steps and never losing the beauty of his sweeping patterns.  And we got a brief snippet of Ms. Schorer preparing the students for the performance and another snippet of the leads, 16-year-old Dammiel Cruz, talking about his training and preparation.

In the excerpts from the Balanchine/Danilova 'Coppelia' we got close enough to see the solemnity and mischievous joy of 24 little girls dancing in one of Mr. B's great ballets for children.  And we could watch them interact with four lovely student ballerinas -- providing each with an animated frame of changing patterns for their solos.  Then we saw the concentration of 18 advanced students making the best case for the 'War and Discord' divertissement -- one of Mr. B's least persuasive pieces of choreography.

Finale tableau from Balanchine's 'Swan Lake' with Alston Macgill and Joshua Shutkind.
Still from PBS 'Live from Lincoln Center' broadcast.

Then in Balanchine's one-act 'Swan Lake' we saw the ballet cycle of life happening before our eyes -- Darci Kistler, who was coached in 'Swan Lake' by Alexandra Danilova for her Workshop performance in 1980, coaching Alston Macgill in 'Swan Lake' for the 2014 Workshop performances -- promising student taught by former star ballerina becomes a radiant star ballerina who becomes an inspiring teacher for the next generation of promising students.

One thing to note here is that the 'Live from Lincoln Center camerawork brought us close to the gallant partners, especially in 'Serenade' and 'Swan Lake', who allowed their ballerinas to shine.  Having watched them in Adagio Classes with Jock Soto and Darci Kistler, I've come to appreciate the special accomplishments of these self-effacing young men.  This broadcast allowed the entire viewing audience to see their strength, their poise, their determination to get beyond the mechanics of a partnership into the artistry and chemistry that make each pairing special.

The Fourth Movement of Balanchine's 'Western Symphony'.  Clara Miller wows the corps with her pointe work.
Still from PBS 'Live from Lincoln Center' broadcast.

Finally, we witnessed the exuberance of the final movement of Balanchine's 'Western Symphony'.  Susan Pilare, the wonderful SAB teacher and stager, drove her student cast hard in the months leading up to the June workshop, but then encouraged them to go on stage and have fun.  They obviously did -- and the PBS audience did, too.  It was a wonderful conclusion for a wonderful broadcast.  

Bravo, PBS 'Live from Lincoln Center'!  Bravo, SAB faculty and students!

PBS Airs SAB's Workshop Performance This Week

Here's another teaser for the School of American Ballet's Workshop Performances on Live from Lincoln Center PBS:

 visit the Live From Lincoln Center web site

or here on the School's Facebook page:

https://www.facebook.com/video.php?v=799921260069493&set=vb.221175451277413&type=2&theater

It will be 12:30pm to 2pm on Sunday, December 14th on WNET (Channel 13) in the New York area.

Mikayla Lambert, Bailee Jones, Dammiel Cruz and Addie Tapp in Balanchine's 'Serenade'.
Baily Jones is now an apprentice at New York City Ballet.
Addie Tapp is in the corps of Boston Ballet.
Dammiel Cruz is still a student in the Advanced Men's Class at SAB.
Photo from broadwayworld.com

You might want to do your homework before you watch the show on PBS.  I wrote about the SAB Workshop program shortly after it was announced here:

http://zylopho.blogspot.com/2014/04/2014-school-of-american-ballet-workshop.html

And I wrote about the actual Workshop performances here:

http://zylopho.blogspot.com/2014/06/school-of-american-ballet-workshop.html

That post on the performance has more page views than any other posts I've published during the past eleven months, so I know you guys are interested.

Here's a brief summary of what's happened to many of the leads since the Workshop performances last June:

Addie Tapp ('Serenade', Waltz Girl) Boston Ballet, corps
Preston Chamblee ('Serenade') New York City Ballet, apprentice
Baily Jones ('Serenade', Russian Girl) New York City Ballet, apprentice
Lyrica Blankfein ('Coppelia', Waltz of the Golden Hours) Dresden Opera Ballet
Sarah Anne Perel ('Coppelia', Spinner) Los Angeles Ballet, company
Jasmine Perry ('Coppelia', Discord and War) Los Angeles Ballet, company
Taylor Carrasco  ('Coppelia', Discord and War) Cincinnati Ballet II
Clara Miller ('Western Symphony', Lead Dance Hall Girl) New York City Ballet, apprentice

Many of the rest are back at the School this year continuing to perfect their artistry.

December 6th Matinee of The Nutcracker at NYC Ballet

Poster for this year's 60th Anniversary of 'George Balanchine's The Nutcracker'.

This is the 60th anniversary of 'George Balanchine's The Nutcracker' which was first produced in February, 1954.  Maria Tallchief and Nicholas Magallanes were the Sugarplum and her Cavalier and Tanaquil Le Clercq was the Dewdrop.  Michael Arshansky played Herr Drosselmeier.

The end of the Party Scene in the 1954 production with Michael Arshansky, Paul Nickel and Roberta Grant.
Photo by Frederick Melton from the Dance Division of the NY Public Library for the Performing Arts

Every year as part of our holiday season we take our nephew and his wife and daughter to see 'George Balanchine's The Nutcracker' performed by New York City Ballet.  Because it is always sold out, to get decent seats we order the tickets in mid-summer.  So you always get luck-of-the-draw on casting.

SATURDAY MATINEE, DECEMBER 6, 2:00 PM
(Conductor: Otranto)
SUGARPLUM: Pereira; CAVALIER: De Luz; DEWDROP: Reichlen; HERR DROSSELMEIER: Suozzi;
MARZIPAN: Dronova; HOT CHOCOLATE: Muller, Scordato; COFFEE: Mann; TEA: *Bachman; CANDY CANE: Ball;
MOTHER GINGER: Thew; FLOWERS: King, Laracey; DOLLS: Villwock, Adams; SOLDIER: Hoxha;
MOUSE KING: Sanz; DR & FRAU STAHLBAUM: Arthurs, Catazaro

On paper this was not a cast that I was thrilled with, but in the theater they were remarkably good.

In general, the lighting cues sometimes seemed to be out of sync with the Tschaikovsky music emanating from the pit and the pace of the production on stage.  Clotilde Otranto conducted at a brisk pace throughout, keeping the ballet moving forward, but sacrificing nuance for impetus.

In the first act, the School of American Ballet students in the party scene seemed a bit stiff and lacking in spontaneity -- although Sawyer Reo as Fritz, the naughty little brother was outstanding.  I don't believe I've ever been so aware that the motivation for his outbursts is that his older sister Marie is getting all of the presents and attention.  By the way, Marie's party dress has turned a nasty shade of slush grey and needs to be renewed or replaced.  Zachary Catazaro as Dr. Stahlbaum, the host, seemed too flamboyant, but Faye Arthurs as Frau Stahlbaum looked gorgeous and played the concerned mother and hostess perfectly.  Sean Suozzi's Herr Drosselmeier didn't have enough eccentricity or mystery or flamboyance to carry him convincingly into the vital transition scene between the party and the battle of the mice.

Balanchine's snow scene is so exquisitely designed that even indifferent dancing can never bring it down.  Here the dancing by the 16 snowflakes was brilliant -- etching Balanchine's patterns with crystalline perfection.  Bravo, women of the corps (including the four SAB apprentices)!

The final moments of the Act I Snow Scene as the Little Prince and Princess walk among the Snowflakes.
Photo by Paul Kolnik for NYC Ballet

Act II opens with 12 of the youngest SAB students as tiny Angels. Balanchine understood how to give children steps and patterns that were effective on stage, but not too difficult to learn and perform.  Here the little girls floated across the stage in skimming steps that looked effortless.  Even the tricky criss-crossing diagonals didn't phase them -- they stayed in line and in motion without any hesitations or collisions.

Students from the School of American Ballets as Angels in 'George Balanchine's The Nutcracker'.
Photo by Paul Kolnik for NYC Ballet

Erica Pereira's solo as the Sugarplum was well danced, but she lacks empathy with her adoring 'court' of little angels -- the eye contact and flirtatious interactions that the best Sugarplums create with them was missing.

Philip Henry Duclos as the Little Prince didn't quite pull together the mimed passage recounting the battle with the mice to get the audience ovation that it often receives.

Hot Chocolate, lead by Gwyneth Muller and Andrew Scordato, seemed merely proficient, without the flash and panache that this Spanish-flavored divertissement should have.  Meagan Mann had the right sensuality for Coffee and used the music's pulse effectively.

A highlight of the divertissements was Austin Bachman's debut in Tea.  His split jumps were astonishing and rightly cheered by the audience.  Harrison Ball lead the Candy Canes with a sense of confidence and brio, but missed the mischievous quality that can make this part especially appealing.

Alina Dronova as the lead Marzipan Shepherdess is a proficient dancer, but almost totally devoid of stage presence.  Fortunately, my eyes kept straying to Megan Johnson and Sara Adams who looked especially lovely in her backup shepherdess quartet.

Joshua Thew nicely underplayed the role of Mother Ginger and didn't distract from the dancing of the eight little Polichinelles that emerge from her giant hoop skirt.  I'm sure that their parents appreciated him ceding the spotlight to their little darlings.

The Waltz of the Flowers is the other Balanchine choreographic masterpiece in 'The Nutcracker'.  With Teresa Reichlen's sparkling Dewdrop, Lauren King and Ashley Laracey as the graceful demi-soloists, and a lovely bouquet of twelve corps flowers it was danced with clarity and musicality.  Reichlen has the technical prowess and stamina for the Dewdrop.  More importantly, she imbues it with daring musical freedom -- sustaining balances, curling through pirouettes, challenging the boundaries of time and space with exploding leaps and grand jetes. 

Teresa Reichlen as Dewdrop with corps in Waltz of the Flowers.  Photo by Andrea Mohin for NYTimes

In the grand pas de deux for the Sugarplum and her Cavalier, Erica Pereira was joined by Joaquin De Luz.  Erica is a wonderful partner for Joaquin (who has temporarily lost his regular Sugarplum, Megan Fairchild, to the Broadway revival of 'On the Town').  Erica is slender and petite with a dark beauty that complements Joaquin's short stature and fiery Latin demeanor.

They carried off the difficult adagio with assurance -- missing the timing on the second multiple supported pirouette into backbend, but doing a beautiful arabesque and balance on the slide across the back of the stage and ending with a lovely promenade into Erica's unsupported balance followed by a spectacular fishdive.  Joaquin's performed his variation with extraordinary precision and panache.  Erica's circle of pique turns into Joaquin's waiting arms showed finesse, daring and exquisite timing.

The final coda, which brings all of the characters from the Act II 'Land of the Sweets' back for brief reprises, is always lots of fun.  It gives the Dewdrop one last chance to show off a beautiful series of pirouettes into arabesque and the Sugarplum and her Cavalier a few more bravura lifts before the Little Prince and Princess are sent flying off in a sleigh pulled by reindeer.

The Little Prince & Princess depart in the sleigh in the final scene of George Balanchine's The Nutcracker.

Since we used to see 'The Nutcracker' twice each season, we've probably seen this production at least 75 times since 1967.  With Tschaikovsky's lovely music, Balanchine's indelible choreography, and casts of dancers at every stage of development -- from beginning students to seasoned principals -- it is always a wonderful holiday treat.