Excerpt of “Water Flowing Together” on You Tube

Someone uploaded an excerpt from the Jock Soto documentary, “Water Flowing Together” onto You Tube. I wish they’d upload the whole film!

TONY interviews David Hallberg, Michele Wiles, and Tom Gold.

I caught these today (I’m sure I’m late in noticing them), Time Out interviewed both Michele Wiles and David Hallberg, and Tom Gold in anticipation for his retirement. I guess my friend Greg was right when he said our loss might be Broadway’s gain–Gold mentions audition for some Broadway shows.

My quote on “Overheard in New York!”

I’ve been a fan of the website “Overheard in New York” before I even moved here. People send in conversations they’ve overheard in public places. It’s a little R-rated, because people tend to talk about everything. But its funny. Very funny.

I submitted a quote I heard a few weeks back, and they sent me an email because they posted it today!

Here it is:

The Invisible Hand Behind Subway “Accidents”

Wall Street guy #1: So I was watching A Shot at Love with Tila Tequila and my son asked: “Dad, what’s a lesbian?” I mean, I wish I could tell him about it when he’s ready.
Wall Street guy #2: Yeah, so anyway. They have these only boys and only girls birthday parties for the little kids down at Fire Island…
Wall Street guy #1: So you think the parties turn them into lesbians?
Wall Street guy #2: No, I’m just trying to Segway into talking about something other than… (looks around train suspiciously) lesbians.

–Downtown 6 Train
via Overheard in New York, Jun 29, 2008

The family still roots for David H.

When I told my mother that ABT was in season, and I had not raced out to see David Hallberg, she laughed.

“I thought maybe you bumped your head,” she said.

If ballet were a team sport, than the whole family would be in agreement in rooting for Mr. Hallberg. We usually have our differences about dancers, which often become the subject of family arguments. However, for David, we all agree. But since Philip  indoctrinated me into the cult of City Ballet, I hadn’t even thought to see ABT.

Early last week, Tonya invited me to see ABT on Thursday. Jose Carreno, Gillian Murphy, and Irina Dvorovenko were performing “La Bayadere.” I met her at 7:30 at the MET, and we chatted. She’d heard that Jose was injured, and when we received our programs, I was shocked to see him replaced by David Hallberg! I called my mother afterwards and told her that I saw him perform. Her voice lit up.

Gillian was as masterful as she always is. She’s always so blasé in film when she discusses her flawless turns. She flatly describes adding doubles onto her 32 fouettes in “Swan Lake” as if she’s telling someone about the weather. I kind of like that confidence—and it helps that she’s so nice in person.

Dancer’s Choice: Every dancer I’ve ever wanted to meet in one place.

I had the most unbelievable night! “Dancers Choice” was the best way to end to the NYCB season.

Waiting in the lobby for the show, I felt someone squeeze past in a glittery gown, it was none other than a very tall Darci Kistler moving through the crowd. Sighting her set the tone for the evening—dancers were everywhere, and spotting them was half the fun.

I was seated in the fourth row, a little in front of ABT’s David Hallberg (one of my absolute favorites, and the nicest guy around).

During intermission, I giggled with all the bloggers about the star-studded crowd. Tonya Plank probably had the most luck of all, she was seated next to the talented Nikolaj Hubbe. Critics were scattered in the first ring, and during intermission I watched as Joaquin DeLuz skirted beyond Tonya. Sophie, a friend and blog reader, spotted Christopher Wheeldon—which sent me into a huge panic. Sarah talked to Joaquin outside, which sent me into a further, but more jealous, panic.

After the show was when the real show began. Tonya wanted to meet by the stage door, where all the dancers enter and exit. When I walked outside I noticed Philip and Wei seated on a ledge, and as the dancers passed Philip announced them all. He knew everyone, even the corps girls. I was floored as some of my favorites drifted by. Philip introduced me to Teresa Reichlen’s mother, who surprisingly hugged me instead of shaking my hand, and later we met Teresa and Justin Peck.

Kathryn Morgan, the little star from Mobile, came by and we chatted. All my friends thought she was so gorgeous up close.

Philip said the words “Christopher Wheeldon” and I turned, a little shocked. He came out with a slew of dancers, Jonathan Stafford, and Abi (his sister) and they all drifted toward the street. We spoke for a second with Sophie Flack, Philip whistled at Ashley Bouder, Daniel Ulbricht hurried past, as did Sara Mearns, Amar Ramsar, and Robbie Fairchild (who playfully mimicked the dance from his “When we Were Young” video that they played during the show). Philip applauded Sterling Hyltin, one of my favorites, who smiled and thanked him.

Everyone was beautifully dressed for the after-party. Philip waited forever for Faye Arthurs, just when we’d given up waiting on her and walked toward Columbus, she suddenly appeared with Gwyneth Muller. We spoke with Gwyneth and Faye for a long while, they were both gorgeous and both exceptionally nice.

Tonya and I giggled about the night over dinner at P.J. Clarkes. We thought the excitement and dancer spotting had ended, until we saw Craig Hall walking by our table.

“More dancers! It’s still not over! The night is still young!” I said and we both erupted into laughter.

June 22nd - Christopher Caines “Spirits”

Christopher Caines described the making of “Spirits” as a “long pregnancy.” The ideas were churning and the music selected back in October, only to have its birth last Saturday and Sunday at Jazz at Lincoln Center. I find that, collectively, Caines work is a mystery. No “now I get it” moments, or light bulbs clicking on. Regardless it’s pretty, but illusive.

“Spirits” was a toast to Christoher’s late friend and mentor Alexandra Montano, six pieces appropriately named things like “Cognac” and “Champagne.”

The most memorable moments on Sunday afternoon were “Absinthe” a funny vignette in which Jamy Hzu and Justin Wigenwoth dance to exhaustion, while making the audience laugh in the process. However, I found the shapes and proficiency of the dancers in “Cognac” to be the most attractive. Lauren Englemen and Jacqueline McConnell were my favorites in the cast.

“Water and Salt” was also memorable, the narrative lost and muddled. Beside a writhing Michelle Vargo—who looked quite haunting in white—danced an old couple and a very young couple of twin girls (Olivia and Amelia Pinney and Rika Burnham and Ammon Dennis). Program notes would have helped immensely.

The last piece “Champagne,” was a favorite, and the CCDC ensemble, were decked in Moet-hued costumes. The music for “Champagne,” commissioned for the company and composed by Nicholas Stoia, (incidentally, Stoia was in attendance at Sunday’s matinee). The result was a cute waltz, arranged from its original version to be played by string quartet and saxophone. The dancers spun in time, making those ball like circles so the room looked as if it were spinning.

The only big issues with “Spirits” was the space—something that future donations can remedy. With the audience on the same level as the dancers, legs and feet were sadly cut off.

Coming soon…

Posts on my Sunday matinee viewing of the Christopher Caines Dance Company are coming soon. The big excitement for this week: my fourth row seats to City Ballet’s “Dancers Choice” on Friday night! And perhaps ABT on Thursday.

NYCB - June 21st Tom Gold says good-bye.

NYCB soloists’ Tom Gold’s final performance came and went without fanfare last night. He danced the “Gigue” in Balanchine’s “Mozartiana.” It wasn’t until the end of the piece, when the woman behind me told her friend that it was his finale performance, that I realized. A friend would tell me later that for soloists aren’t given the grand good-byes that the principal dancers are given. The thought saddened me.

Philip Neal danced with Wendy Whelan as the leads in “Mozartiana,” supported by Dena Abergel, Saskia Beskow, Dara Johnson and Gwyneth Muller.

I love Wendy in this role–compared to the other roles, I think it shows her skills in full range: she turns (not spins) and has such an impeccable lower body placement. The minute she was paired with Neal, she snuck him coy glances. They were unbelievably cute.

Balanchine’s “Le Tambeau de Couperin” was talked up by Alistair Macaulay in his last review of the piece. However, my reaction to it was further proof: too much hype is a bad thing.

The highlight for me, no doubt, was “Le Baiser de la Fee.” As a friend conveyed that afternoon, on the surface the ballet would seem transparent–and it does. But the moment in the male variation, performed last night by Joaquin De Luz, when our hero begins to slow down and to contemplate before exiting, we see that something else is at play.

The depth of he and Megan Fairchild’spas was so deliciously good I could watch it over and over again. And the ending when both of them look up to the heavens as light cascades across them is simple, but so well done. I applaud you Balanchine.

“La Sonnambula” closed the show, and it’s such a standard that a lot of the patrons seated next to me in the orchestra section got up and left. The ballet definitely has a different feel with Nikolaj Hubbe gone. To me he was perhaps the best poet because I always felt that he was so deep, even in the most simple roles. I do however, like Sebastian Marcovici in this role, he has such a sensitive face and endearing posture.

Sara Mearns was the coquette and always a pleasure to view. Amar Ramsar is being typecast as the villain these days (maybe because he has shifty eyes). Confidence radiated from Ana Sophia Scheller and Vincent Paradiso in their fun pas de deux, but I wanted to burn those costumes. And Daniel Ulbricht as the “Harlequin?” The crowd went wild for him.

Alastair spots Damian.

I love that Alastair Macaulay wrote about spotting Damian Woetzel in the opening lines of his farewell performance review. I can’t think of anything more depressing though, than having to spend the early parts of an integral day alone.

If I would have seen him there, I would of been floored, as I often am when spotting artists walking around. It’s funny, I saw dozens of celebrities at Fashion Week, but none of those sightings thrilled me more than seeing Damian that spring afternoon on the Plaza, which I posted about that very same day.

I am jealous of Alastair and his illustrious good luck. Imagine, when Damian is heralded years from now, he can tell people he saw him the day he retired. What a cool story that will be.

Friends blog Damian’s Farewell.

In case you missed it (like I did), a few of my blogging friends posted about the farewell performance of New York City Ballet’s Damian Woetzel. I spent all day yesterday crafting a plan to sneak in during intermission (if that’s even possible) and ended up sitting at home pouting, looking at the clock, and wondering how the night was going.

Evan at Dancing Perfectly Free posted some awesome photos from the evening, and Philip at Oberon’s Grove also posted a nice, detailed report.

Were any of my readers there?