Mary Cargill

"Symphony in C", "Symphony in Three Movements", and "Western Symphony"
New York City Ballet
New York State Theater
New York, NY
May 3, 2008, matinee

One of the few-all Balanchine programs in this Robbins-fest season was also an all symphonic program, an immersion into Balanchine's astounding variety; three completely different responses to three different symphonies, all developed from the majestic geometry of the Russian classical ballet in which he grew up.  "Symphony in C" and "Western

Miami City Ballet
"Raymonda Variations", "Sonatine", "Tarantella", and "In the Upper Room"
Tilles Center for the Performing Arts
Long Island University, New York
April 25, 2008

The Miami City Ballet made one of its too rare and too brief visits to the New York vicinity, appearing for two days in the spacious and well-designed Tilles Center of Long Island University; the company has yet to appear in Manhattan.  This visit confirmed the virtues seen in earlier performances, and

"Suite from Mazurkas", "Jardin aux Lilas", "Little Improvisations", Pas de Deux from Romeo & Juliet", "Judgment of Paris"
New York Theatre Ballet
Florence Gould Hall
New York, NY
April 4, 2008

The enterprising New York Theatre Ballet celebrated two 100-year anniversaries in their recent performance of works by Jose Limon and Antony Tudor.  The company has long been known for its dignified revivals of Tudor works (Sallie Wilson, the famous Tudor dancer, has worked extensively with the

"Raymonda, Act 3", "Paquita, Grand Pas", La Bayadere, Act 3"
Kirov Ballet
New York City Center
New York, NY
April 1, 2008

A reduced contingent of the Kirov danced on the inconvenient and unfamiliar City Center stage offering  outtakes of three of Petipa's wonderful ballets; not the ideal way to judge a company's artistic strength.
But the opening scence of "Raymonda", with the magnificent Vladimir Ponomarev summoning the dancers with a majectic sweep of his arm, promised

Matters of the Heart
"Raymonda Variations", "The Steadfast Tin Soldier", "The Nightingale and the Rose", "Robert Schumann's 'Davidsbundlertanze' "
New York City Ballet
New York State Theater
New York, NY
February 14, 2008

Pity the poor marketing person who thought this program was a celebration of love--the audience saw tragedy, insanity, indifference, abandonment, and death.  The opening ballet, "Raymonda Variations", however, was more like it, a Valentine by Balanchine to the luscious Gazounov music.  Ashley Bouder danced

"Apollo", "Flower Festival in Genzano", "Zakouski", "Cool", "Western Symphony"
New York City Ballet
New York State Theater
New York, NY
February 10, 2008

 New York The packed and appreciative audience said goodbye to Nikolaj Hübbe in a cowboy hat, flirting with Maria Kowroski, while being saluted by his colleagues—the applause backstage could still be heard as the audience was leaving. This cheerful and cheeky final farewell was some compensation for the loss of that great artist. Loss

"Traditions"
"Square Dance", "Prodigal Son", "The Four Seasons"
New York City Ballet
New York State Theater
New York, NY
January 29, 2008

The marketing department has apparently decided there is more than one Tradition to be celebrated in the Balanchine and Robbins program, but the tradition of great choreography coherently danced is the most important tradition of all, and fortunately this program had that to offer. The inevitable tradition of dancers retiring was also, quietly, celebrated, as Nikolaj Hübbe gave

"Jewels"
New York City Ballet
New York State Theater
New York, NY
January 11, 2008

Each jewel on Friday night had a new facet, some glowing more than others. “Emeralds” saw Abi Stafford’s debut in the Mimi Paul role, a somewhat unexpected piece of casting, since she is a compact and rather un-lyrical dancer. She may improve with experience, but so far, she seemed to concentrate on the steps, with some rather deliberate arms (which while

“Jewels
New York City Ballet
New York State Theater
New York, NY
January 2, 2008

The evergreen Nutcracker was finally put to rest for another year, as NYCB opened the dance part of the Winter season with the even more evergreen Jewels. Green is the operative work for “Emeralds”, in the redesign (or re-redesign) by Peter Harvey; the slightly oppressive mass of green with its strings of gaudy baubles gives the impression that the miraculous

“Ballo della Regina”, “The Leaves are Fading”, “From Here on Out”
American Ballet Theatre
City Center
New York, NY
October 26, 2007 

 Effervescent, frivolous charm is a rare commodity in any art, and the most successful attempts tend to be underrated, since part of their success is the lighthearted ease they must present.  Balanchine’s "Ballo della Regina" is usually viewed as a female dancer’s technical tour de force, which of course it is.  But