Mobile Ballet’s production of “Coppelia” is this weekend, and I’m returning to Mobile briefly to see my sister dance in the “Work pas de deux.” It will be strange to go back, especially since I hear the weather is quite pleasant.

I viewed 9 shows during Mercedes-Benz Fashion Week, and filed 7 reviews of them for NY Style Times. Two of my reviews finally made it to the site: my review of the Joanna Mastorianni  show and the Vivienne Tam  show.

I was kind of disenchanted by the latter, and I made the mistake of forgetting to write which celebrities were sitting front row, so my editor made sure to add some notes in about Genevieve Jones! I didn’t even know she was there that night!

My top five on-stage moments from the NYCB winter season:

5. Abi Stafford’s warm performance in “Russian Seasons.” For some reason, she glowed exceptionally the night I saw her in that work.

4. The colorful costumes, jazzy Gershwin score and easy style of Tiler Peckthat flavored Christopher Wheeldon’s “American in Paris.”

3. Nikolaj Hubbe’s pensive variation in Balanchine’s “Square Dance.”

2. The brief, but touching moment when Daniel Ulbricht climbs into his fathers arms in the climax of “Prodigal Son.”

1. Everything surrounding the world premiere of Bigonzetti’s “Oltremere.”

Top five off-stage moments from the NYCB winter season:

5. Chatting and hugging Albert Evans after the Jock Soto film (and all the other dancer sightings too).

4. Giggling and gossiping in the orchestra section with Philip.

3. Having seats in the viewing box (thanks Greg!)

2. Getting to stand on the State Theater stage during my backstage tour (thanks Daniel!)

1. Having State Theater all to myself during a rehearsal for “Romeo + Juliet” (thank you again Daniel).

Last Sunday an elderly woman asked for help to cross the street. I gave her my right arm, and we slowly waded across second avenue at 86th street.

“Do you have a boyfriend?” she asked, her accent was thick, but implacable.

“No,” I replied, while looking over my shoulder to smirk at my mother.

“I pray for you. I pray for you,” she said.

We left her on the corner to wait for the bus, and giggled at how movie-like the moment was. Who knew old ladies actually asked for help to cross the street?

Don’t forget–the NY Phil’s concert in North Korea airs in less than 30 minutes on PBS (channel 13 if you’re in New York City).

My mother and father are obsessed with jazz. Back in the mid-80’s they religiously attended Wynton Marsalis concerts, even taking me to a show when I was three. I recall the concert. It was on the lawn, the sun was setting, and I sat on the grass. Mother bought me a fake guitar from the gift shop and I looked at it while the band played.

Yesterday morning mother and I went shopping at the Time Warner Center, and I kept pointing upstairs towards the 6th floor.

“Jazz at Lincoln Center is up there,” I said. “Do you want to go take a peek?” Three or four times she said “no” so we continued to shop. On the fourth floor I pointed again a few flights up. “It’s right up there! Are you sure you don’t want to take a peek?” I asked. Wynton Marsalis rules the roost at Jazz at Lincoln Center, and I could see that the prospect of meeting him circling in her head.

“Maybe just a little peek.”

So we took an escalator up, went through a set of glass doors, and arrived upstairs in the front atrium of the center. There was a small gift shop and the clerk pointed us to the “hall of jazz” an educational exhibit room showcasing off the newly inducted members to the Jazz Hall of Fame. We both got a free book of jazz postcards, and watched a video on the inductees (my favorite is Max Roach).

Before leaving we looked out the atrium window to view Columbus Circle, spoke with a security guard, and recognized faces of famous musicians in their wall of vintage photographs.

Mom got a kick out of it for sure, and so did I.

It’s no secret: I love Tchaikovsky. When his melodies are used as the backdrop in ballets, it is a magical moment for me because my two loves dance and music, collide on stage.

My last city ballet performance of the season was an all Balanchine all-Tchaikovsky program “Russian Treasures,” opening with “Serenade,” followed by “Mozartina” and closing with “Tchaikovsky Piano Concerto 2.”

Of all the music Tchaikovsky wrote, he seemed most pleased with his “Serenade for Strings.” It is a striking piece, remembered most by it’s opening chorus of strings which pull the listener into a weaving melody. Balanchine’s work “Serenade” is set to this work and though the piece is darker and thought-provoking, it’s contrast to my own impressions were nice. There’s an obvious narrative between the leads, Darci Kistler, Charles Askegard and Yvonne Borree. Darci’s ascension into the cosmos at the end of the piece was transcendent. And that opening! I find the unified choreography so fitting and sharp for when the string players audibly retake their bows (it’s always so effective—and my favorite right arm pyrotechnic when playing violin).

Kathryn Morgan–don’t think I’ve forgotten about the little star from my hometown and former ballet company! She danced twice in the corps of both “Serenade” and “Tchaikovsky Piano Concerto No. 2.”

It’s always intriguing to me that Tchaikovsky’s favorite composer was Mozart, a man who’s metric music is a definite opposite to Tchaikovsky’s unrestrained, excessive emotion. This influence is seen in one or two of Tchaikovsky’s pieces, and when present it’s unmistakable. “Mozartina” is staged to his “Suite no. 4,” one of these Mozartish Tchiakovsky works.

Balanchine’s created a ballet just as metric and retrained as the music, but not to the point of boredom. Wendy Whelan danced the lead, and watching her was as beautiful as watching the snow storm from mid-morning: steady, calm, and soft. After viewing Whelan in different roles this season, I’ve learned to appreciate her versatility. She can be anything on stage, and it is a gift to audiences.

Wendy alternated a marathon of variations with Benjamin Millepied, who gave a strong showing. In one variation he whipped out 10 pirouettes (unexpected and incongruous to the choreography perhaps) and a few people in the viewing box exchanged glances with their mouths gaping wide. I viewed Tom Gold for the first time, and everyone cooed at the four little SAB dancers who also performed in “Mozartina.”

Teresa Reichlen’s debut in “Tchaikovsky’s Piano Concerto No. 2″ was commanding, but in retrospect every performance I’ve seen her in she was commanding. She danced in the final piece with Jonathan Stafford, who’s height, thin frame, and princely demeanor reminded me of David Hallberg. Savannah Lowery impressed me with her even turns and lower body strength. Philip must of rubbed off on me–I was also impressed by Faye Arthurs, who among the demi soloists stood out for her balmy gestures.  

Dione and I, by a stroke of luck, were offered the tickets from my friend and boss Greg, from one of the City Ballet soloists. We sat for the first time in the orchestra level viewing box, and giggled excitedly, “I can’t believe our tickets are from her!” During intermission I let Dione meet Philip, Wei and their friend. Dancers were all over the Promenade.

I’ll admit that I got a little teary-eyed during “Serenade” especially since it was my last viewing until spring. Dione and I chatted excessively about the ballet at a post-show desert at Cafe Mozart while a pianist played salon tunes. She gushed about Benjamin Millepied (”Everything he does connects,” she said) and Wendy Whelan. I’ll have to write Greg a “Thank you” card.

The Arts et al apologizes for the sudden lag in posts. My family is in the city, and I have been visiting with them! Posting should continue daily after Monday.

However, I will post briefly to say this: I had a job interview near ABT studios yesterday and saw many, many dancers! I spotted a very dashing looking Kevin McKenziein the snow, and ABT principal dancer Michele Wiles!

If that wasn’t enough for one day, I spent the evening at the ballet with my sister (a post coming on Monday about that too)!

Tonya introduced me to the concept of Google Page Rank last night. By some odd formula, Google has created a way to “rank” sites based on their importance in the internet. Wikipedia outlines the formula in huge detail, and I have yet to look it over.

Scores are only on a scale of 1 to 10, 10 being the highest and 1 the lowest. I’m used to being in the bottom of every ranking system there is (Technorati etc) but have been checking mine since last night and was shocked to find that I’m a five. I think it has something to do with WordPress making this site so search-able (is that a word?). I’m sure it’s an asset to find this blog easily through a search term, but for me it makes me cringe to think that all this nonsense is so accessible!

The concept is interesting to me, because I’m always trying to figure out how arts organizations can increase their visitors, up their importance, and make their sites easy to navigate. I’m going to spend the next few days looking over the factors that effect a page rank, and then look at some of the arts websites in my hometown.

This might be old news for a lot of people, but I just stumbled upon New York City Ballet’s You Tube page! They have this awesome video of all the dancers talking about what it’s like to be a member of City Ballet! My favorite part is when Andrew Veyette pretends to be Nikolaj Hubbe! And of course I’m thrilled that my favorite Abi Stafford is in the video (as is her brother, Jonathan).

Update: I was so right when I was telling Tonya about the You Tube page last night, I was telling her that I wasn’t going to post about it if everyone already knew! It was old news–Evan and Philip had both found it too before! O.K. now I can commence feeling like an idiot.

You can watch the video below!