PBS will be adding American Ballet Theatre to their American Masters series! Take a look at 75 years of magic. In the Wall Street Journal it was revealed that footage of Robbins, Balanchine, Agnes de Mille, Tharp, Baryshnikov, Alicia Alonso, and more will be a part of the documentary. Don’t forget, American Ballet Theatre’s 75th Annual Gala is May 18th at the Met.
If you are in NYC April 21 & 22, the Royal Ballet School Exchange and ABT Studio Company Performances are at the Ailey Citigroup Theatre. Tickets are only 20 bucks. Totally worth it. See rising ballet stars dance amazing choreography. Who wouldn’t want to go? Buy tickets here.
So, I have decided to launch a few big things for a Ballet Education, and I hope they are helpful… But, unfortunately it will take a little bit of capitol. If you have enjoyed reading my blog, minus the grammar mistakes, you can now donate so I can pay an editor to go back through and edit everything. I just don’t have the time. Even now, I am using SIRI to update this blog while driving to an event in Los Angeles.
Here is what I was thinking…
yes, I would like to publish a book…
and yes… I want to release digital books of things that are important…
And I would like to redesign the site.
And I would like to be able to start a youtube channel with how to do real ballet techniques…
Sooooo, if you are interested please donate or email me email@example.com
With Nutcracker in a frenzy and taking up my Facebook feed, I am always surprised by the wondrous NYCB, headed by Peter Martins. Don’t get me wrong, I don’t agree with everything Artistic Directors do, but Peter, if I can call him that, or Petie would be better, does a pretty good job at making dancers mature. While other people are against putting such young dancers on the stage, NYCB has a record of it. And because of that, we are able to watch dances mature and watch the entire span of a career. As we recently said goodbye to Wendy Whelan, we are left with a roster of principal women who are beyond stunning. So, as they are dying in a million shows of Nutcracker here is my ode to the current women of NYCB, and then some. (All of them in the same role…)
While Ashley Bouder hails as a CPYB alumna and has had praise for a bazillion different things, I think the thing I admire most, is she doesn’t fit the typical NYCB body type. In fact, if you look at the principal women of NYCB, they couldn’t be more different. But Ashley Bouder is like an American muscle car. Shiny, fast, flashy, and sleek. While she is short, and muscular and has usually been cast in power house roles, as she has matured she has developed into this soft leaf floating in the wind… Her in Emeralds was like … well, amazeballs.
Then there is another CPYB alumna, Abi Stafford, who is like the epitome of technical perfection. With her extended lines, her perfect positions, I think she is like the textbook for turnout and lines.
Tiler Peck, has become like America’s Ballerina. She is jazzy, fun, free spirited, but most of all relentless when tackling a role. While she sometimes irritates me with her facial expressions, she is the most fun to watch of the women of NYCB. She brings this light hearted energy that is quite charming. And I think as her career has progressed, she is the most changed dancer. From when she started, at SAB and we all got the welcome to SAB dvd with her on it… I mean come on… what a change!
Teresa Reichlen, is long, and leggy. Compared to Maria Kowroski, she uniquely stands out on her own. Watching her on stage is timeless. I feel like when people refer to our generation of American Ballet dancers she will be one to remember. Though it is sad because I think Kaitlyn Gilliland could have been a lot like her at NYCB.
Sara Mearns is a beast. I’m like is there anything she can’t do? As she has changed over the past three years, I wonder if her dancing will evolve, or plateau. It is a scary thing watching careers like hers… They boom so fast, and then kind of plateau. I mean I think Ashley Bouder went through the same thing, and then reinvented her dancing. Since her injury, she is more cautious on stage, and definitely more careful, versus when we first saw her premier as this fearless beast.
Sterling Hyltin has had to grow on me… At first, I wasn’t a really big fan. And then I saw her in Romeo and Juliet, and if you took away the awful costuming, you realized that she is a superb actress, which sometimes Balanchine ballerinas lack. Then I saw her as Sugar Plum in middle of no where Michigan while visiting a friend and that was pretty much off the chain. She is charming and dazzling, and I really like the way she uses her knees. Not just her plie, but the way she uses her knees to punctuate extensions is really nice.
Krohn, is basically the ballet dancer fashion loves. She is everything a model is, uniquely beautiful, and everything a ballerina is: legs, feet, musicality. I have only seen her dance once in person and she wasn’t a principal… so I don’t have that much to say.
Megan Fairchild is like this ball of yarn that is kind of wound a little tight, but once she lets go and unravels it is like she becomes someone completely different. While a lot of the time I am not her biggest fan, she is definitely gorgeous on stage. Vulnerability is a good thing for primas an I think she is more of a, I have to take control kind of a dancer.
Jennie Somogyi is the darker side of ballet. There is something super mysterious about her dancing, fluid and deep. I do think as beautiful as she is a ballet dancer, contemporary definitely suits her better.
The girl can turn, the girl can balance, the girl has everything. I think though it is time for her to move into a classical company because she was kind of born to do full length ballets, like she is amazing in Kitri and in Esmerelda.
And then there was Maria Kowroski. As the longest leading lady at NYCB, she is everything. The feet, the flexibility, the musicality, the legs, the flexibility, the face, the dancing, the flexibility, the back, the knees that bend and are soft, those long fingers, the flexibility… haha, yes, I am obsessed with her flexibility, and growing up she was one of the women of NYCB I looked up to. Now, most have retired, and most of the principals at NYCB are my age. She will forever live on as Barbie, and she will be immortalized for her dark angel in Serenade, and because of Chaccone she will always be this little slice of heaven that was given to us.
Now… beware ladies as a new crop of women in the ranks of soloist are bound to become principals very soon: Lauren Lovette, Savannah, Lowery, Lauren King, and Ashley Laracey are all probably bound for stardom, but I do think CPYB alumna Alexa Maxwell is going to be one as well.
ummm seriously… no one forced you to read my blog, or to follow it. So, take your comments somewhere else… thanks. Calling me names is quite funny. Now, I am just going to come up with offensive ballet blog posts.
And for those of you who continue to read my blog thanks.
On another note… I feel like I have seen 10 different versions of Swan Lake this month … 3 in Los Angeles alone, two of which I fell asleep in… hence no review.
I’m so over it… LIKE SOOOOOOO OVER IT. #killtheswans #justkidding #notreally
And so it begins… the 2014-2015 season of ballet is coming up, literally just a few months away which means two things: pre-ticket sales, and promotions. Okay, so if you don’t know the ballet calendar it goes something like the following, it kind of mirrors the academic school year:
2014 September – November (Fall/Winter Season)
2014 December – (Nutcracker Season)
2015 January – Mid March (Audition Season, for those who are going to summer programs or looking to join a company.)
2015 January – May (Spring Season)
2015 June – August (Summer Programs for those who are still students, and off season for those in a company, or touring season)
A large company will go through 8-20 different programs a season, a regional company may go through 4 programs. A program is basically a run of a ballet, like a mini show. For example: Nutcracker is a program which might run from November-December and have various casts.
Now, to the actual post… the 2014-2015 season has been announced across the board and well there are some pretty awesome things planned across the world in terms of ballet. American Ballet Theatre, also known as ABT is celebrating their 75 anniversary. For those NYCB (New York City Ballet) fans, a huge season is planned with tons of new premiers, as well as the retiring of the legendary Wendy Whelan. Oregon Ballet Theatre hits their 25th anniversary. Paris Opera Ballet is staging a massive repertory, like always. This time under Natalie Portman’s baby daddy Benjamin Millepied as director of dance…. If you haven’t purchased your season tickets, now is the time to do it, as they are discounted greatly.
Now it is time for the rant…. This was all started because Royal Ballet, that is housed at Covent Garden in London, released their promotions list, and to my surprise on the new hires… Natalia Osipova. Don’t get me wrong, I love her. She is a beast. She is crazy talented and beautiful. I just saw her and Ivan at OCPAC. Super beautiful… BUUUUUT really Royal Ballet? There are so many talented individuals in your company who have been waiting to be promoted… my personal favorite Yuhui Choe, and I am just not saying this because she is Korean. And yes, I was totally rooting for Hee Seo at ABT. Regardless, Royal Ballet, that holds their nose in the air to most ballet pedagogies, who prides themselves on being a part of tradition just sold out… The hiring of ballet superstars isn’t to increase the artists creativity, the reality is, it is to increase revenue sales (which I get, I am a business man). I am not blaming anyone in particular, aka the board, the politics within the company, I am actually blaming the artistic director… It is sad that an artistic director doesn’t have faith in their company members to be brilliant enough to fill seats. Shame on you. Kevin McKenzie at ABT, I have been over you since I was like 12. Now Royal Ballet’s fresh from 2012, Kevin O’Hare… that is just so depressing. Boo on you. I am totally bashing Royal Ballet right now because their lack of faith in their company members. This in turn goes into my praise to artistic director’s at Boston Ballet, Houston Ballet, San Francisco Ballet and I hope they make bigger Ballet Arizona. It is sad to think that in order to become a principal dancer you will have to change companies. Whether this is to step down a little and go to a smaller company, or to “trade” companies like a baseball player. How can you cultivate talent, and grow as an artist if you are never given the chance to prove yourself. And when you do get that chance, if you are torn apart by a critic, your chance will be shot to hell? (aka Sascha Redetsky, Jared Mathews, Stella Abrera, Kristi Boone, okay so maybe all of the older soloists at ABT..)