February 17, 2006
Some of what is so beloved about NYCB isn’t on the stage. It’s the sense of family in the audience. My friend Chuck and I had dinner before; when we got there Juliet and Eric were there, and Michael was there with his mom, aged 93. Nina came running up to me to say hello; I caught a glimpse of Frankie at intermission; we hugged and joked. It’s mishpocheh, and this is our hometown team.
I don’t have anything more to say about Baiser de la Fée than I’ve said before. I still haven’t figured out what Balanchine was after; the mood and even the vocabulary of the ballet is inconsistent.
I have some new theories about Tālā Gaisma or as I think of it, “Love For Three Hairstyles”. Perhaps the best was my friend Nancy’s. She thinks the male protagonist surrounded by his three differently coiffed beauties is Warren Beatty and this is a dramatization of Shampoo. Here’s my alternate. The costume for the man is a relatively simple brown unitard, but with some sort of gold design across the chest. I realized today that it looks like Pi. I believe that the man is in fact a Cheerleader for Pi. Go Pi! Let’s hear it for Pi! Miranda Weese showed her usual razor-sharp timing and tight turns; Sofiane Sylve did so many turns in an en dedans pirouette that I lost count. And then there’s Sebastien Marcovici. Let’s just say he redefines partnering.
Ashley Bouder did not debut in the second movement of Western Symphony; Megan Fairchild went in instead. She hasn’t yet worked out the role; she was pleasant enough but didn’t let the audience in on the jokes; Albert Evans has been doing the part long enough he’s got all the jokes down. Jenifer Ringer is starting to develop a new specialty; slumming roles. She does the first movement a lot like the Costermonger pas de deux from Union Jack; she’s a good girl who wants to play at being bad. Her usual Pearly King, Nilas Martins, is also her partner here and he looks his best in these loose informal parts. Teresa Reichlen keeps getting more and more interesting. She’s a little too sharp by nature for her debut in the fourth movement and not yet comfortable with fouettés, but she made the sharpness fascinating and she’s certainly got the legs for the famous diagonal of extensions. Damien Woetzel made a welcome appearance in a role that’s one of his best. The facility and technique is just starting to fade (did he take ballet class up at Harvard?) but the energy he brings to the part is still there.
Posted by Leigh Witchel at February 17, 2006 12:22 AM
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