We All Fall Down
To fell a tree, after determining the fall path, you need to make a notch in the side of the trunk with your chainsaw.
FREE ARTICLEWorld-class review of ballet and dance.
The elegant woman seated next to me at the Sunday matinee was excited to see Sara Mearns in “Slaughter on Tenth Avenue.” This was high praise, as she had fond memories of Suzanne Farrell and Arthur Mitchell in the piece—the ballet’s original 1968 cast. The New York City Ballet’s 75th anniversary season has included several dancer celebrations, but I’d like to take a moment to toast the audience, which, on any given Sunday, is full of avid and incredibly knowledgeable Balanchine fans. I often discover that a random seatmate or a stranger behind me on the concessions line is drawing on half a century of ardent viewership. Frequently, ballet legends like Eddie Vilella and Kay Mazzo are in attendance. At that same show, I sat behind the dance historian Alastair Macaulay. I’d also brought my mother along, who would never claim to be an expert though she has watched literally hundreds of shows over the years while supporting me. There are no pennants or Patty McBride bobbleheads for these balletomanes, they come for the love of the players or the game. Maybe because I’ve logged time on both sides of the curtain now, I feel compelled to fête their allegiance to the company too. Without them, there would be no 75th anything. Like that old tree-falling-in-the-woods conundrum, does a ballet exist without spectators? It would just be fancy exercise.
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To fell a tree, after determining the fall path, you need to make a notch in the side of the trunk with your chainsaw.
FREE ARTICLEParis Opera Ballet presented an all-Robbins program at the Garnier from October 24 to November 10: “En Sol,” “In the Night,” and “The Concert,” all works Jerome Robbins made for New York City Ballet.
PlusThis week at the Joyce, the Van Cleef & Arpels Dance Reflections Festival presented its starriest program yet: “Dancing with Glass: The Piano Etudes.”
PlusWatching George Balanchine’s “The Nutcracker” the other night at New York City Ballet, I was struck, once again, by the sense of balance it both portrays and embodies.
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Many kind words lately, thank you all. And thanks Martha for sharing your memories and this great story, and for proving my point about the wisdom of the City Ballet audience!
An interesting review and I would like to point out that Bourree Fantasque was also made by Balanchine as a vehicle for Janet Reed, who joined City Ballet at his invitation the same year as Jerome Robbins. When Balanchine took Reed and her husband out to dinner at the 21 Club to ask her to transfer from Ballet Theatre to City Ballet, she responded that she would love to but she wasn’t a Balanchine dancer. “We make something for you,” he said, and the Polonaise, which she led, was that “something.” She was also first cast in Western Symphony, and acquitted herself well in Symphony in C (I remember her in that), Concerto Barocco, Serenade. I too wish I could have seen this performance of Bourree.
Always, always enjoy Faye Arthurs’ reviews. Wish I could see as many performances as she does!