Tag Archives: darci kistler

Muse musings

3 Jun

Despite being a mere forty some odd pages from finishing the book I’m reading, I couldn’t find the effort.  So I popped in Dancing for Mr. B: Six Balanchine Ballerinas, a documentary featuring interviews with Maria Tallchief, Mary Ellen Moylan, Melissa Hayden, Allegra Kent, Merrill Ashley and Darci Kistler.  I needed the break from reading because my eyes were going nuts and the DVD is actually due back at the library…today.  Now, I don’t want to get into a discussion comparing Balanchine’s muses because that’s a history far too convoluted for me to want to know.  When it comes down to it, they all have their place in history and that’s dandy enough for me.  Does it matter who gets the title of “greatest Balanchine dancer of all time?”  Will it ever matter?

At any rate, what the DVD did make me ponder was the relationship between dancer(s) and choreographer.  It seems as though the method for new works these days is to simply do what the choreographer asks (which sometimes comes across as a clandestine exercise in stroking his or her ego) or the “modern” thing to do, which is to collaborate.  I want to say with certain uncertainty that choreographing a ballet on a muse isn’t widely practiced anymore.  Or maybe it is and I just never hear about it…or maybe it’s the politics the higher ups are afraid of; it’s not as if Balanchine’s favoritism didn’t spark some strife here and there.  Merrill Ashley is pretty frank in the documentary that Suzanne Farrell’s departure and return to NYCB affected her career and she said so not with jealousy or contempt, just a plain statement of the truth.  Balanchine was in a funk when Farrell left, and certain roles Ashley had went back to Farrell when she returned.  To be fair though, Ashley did say Balanchine didn’t forget the dancers who “took over” in Farrell’s absence and Ashley even had the honor of having Ballo della Regina choreographed on her.  Is it any wonder that Balanchine’s muses get all sentimental and weepy when speaking of him?  Having a dance be inspired by you and subsequently choreographed for you by a genius is like the ultimate gift.  How can you top the gift of a legacy?  When in doubt, get something edible I always say…

While I can understand the desire to avoid politics, I still love the idea of muses.  What seems to separate Balanchine’s muses from those of other choreographers is how instrumental he was in their development.  I’m fascinated by how he picked so many women at such an early age; off the top of my head I can only think of Kenneth MacMillan having done the same for Darcey Bussell (I have yet to read too much about Frederick Ashton’s muses besides the obvious being Margot Fonteyn—I have a stack of books in queue for a self induced Ashton extravaganza.  Why?  I don’t know, but I may find out).  It seems simpler to admire a known entity from afar and if a choreographer is lucky, get the opportunity to create a work on the dancer of his or her choice…but to be the driving force in the cultivation of a dancer is something else.  Balanchine is heralded as one of the greatest choreographers of all time and the most influential teacher in American ballet but it’s that grey matter—the substance between choreographer and teacher that really interests me.  I can’t shake the feeling that the key to his continual success lies somewhere in there (intangible as it is).  There have of course been others who have studied the vocabulary, technique, worked with greats and have had precious quips passed down to them from previous generations but maybe, just maybe, nobody has made the connection between teacher-choreographer in the manner that Balanchine was so gifted in doing.

Overall I thought the documentary was lovely (the archived black and white footage is to DIE for and criminally short…there were a few seconds of a Melissa Hayden and Edward Villella Tchaikovsky Pas de Deux that had me writhing for more) and especially interesting because it has interviews with a very young Darci Kistler, soon to retire in just over three weeks, thus bringing the dynasty of Balanchine muses to a close.  Blah blah, it’s the end of an era…closing one door…open a window…Wheeldon…Martins…new beginnings for the NYCB.  I suppose NYCB is still in a post-Balanchine/Robbins transitional phase and I can’t even begin to imagine the mess it must be to balance the repertoire while trying to develop new facets of the company’s identity.  It’s that kind of pressure that probably influenced Monica Mason’s controversial decision to make Wayne McGregor the resident choreographer for the Royal Ballet.  Oy…who (besides Tamara Rojo and Johan Kobborg apparently) would ever want to be an Artistic Director?  One would almost have to list “Oracle of Delphi” under previous employment on his or her résumé.  Come to think of it, Balanchine must have been a clairvoyant…how else would he have known to pick the women he did and be right, every single time?  It’s not like he went for the same formula each time either (not all of them even trained at the School of American Ballet).

In the end, I find the biggest question I have about muses and ballet is that can a person aspire to be a muse?  Is there even a difference between dreaming of becoming a great dancer and dreaming of being somebody’s muse?  Can the desire to become a muse and to originate a role perhaps negate that it will ever happen?  Maybe serendipity is the cornerstone of supreme artistic inspiration and maybe today’s dancers and choreographers are bogged down by too much desire to achieve or be and thus constrict the potential output.  Or maybe, I’m really hungry and can’t write anything logical on an empty stomach.  Now that I’ve reread this entry, I’m thinking my writing muse did a hit and run.  Too bad.

The Nacho Project: Diagnosis

24 May

One of my ducklings (number five in the row, if I recall correctly) is headed to New York this summer and is in need of your help!  “Nacho,” as I call her, has never been there before and will be doing some kind of an internship this summer but more importantly, will have access to the splendiferous wonder that is NYCB and ABT.  Not only will this be her first time in Manhattan, she has yet to see such prestigious ballet companies (she has seen smaller dance performances before though).  Needless to say this is a crucial moment in her development as a human being and as my ducklings tend to do, she sought advice from me but there are many ballets on the programs I haven’t a clue about.  So I thought I’d pose the question to more knowledgeable folk.  We’re always wanting ballet to reach new audiences and this is our chance to tinker a la Frankenstein with one young woman’s perception of it!  The challenge here is that funds are not entirely limitless (she’s not the type to see five Swan Lakes) and yet between NYCB and ABT there’s an abundance of things to see.  She’s going to be a kid in a candy store, but she has to make the Big Apple her pie.  Selectiveness is key, so here is what I feel you need to know about Nacho:

  • She may be short, but she has a lot of angst.  She likes pretty, romantic ballets but if not that then they have to be pretty…raging
  • She’s one of those “danced since I was three” jazz babies.  Showing off big flashy jumps and fouettés go in the plus column, as do Fred & Ginger
  • This is educated conjecture, but she probably has no appreciation for classical music.  This isn’t to say she hates it, only that she’ll like what sounds pleasing to her ear, without deeper understanding of the finer details.
  • She has questionable taste in men (mostly because she dates people I disapprove of)
  • She’s Italian and her mom makes good sauce
  • She likes the Pittsburgh Steelers, Andy Roddick and Sex and the City (she thinks she’s Carrie Bradshaw if that means anything to you)
  • Her phone number is…

So those are some things about Nacho and after looking at NYCB calendar (link) I’ve convinced her that attending NYCB’s program on June 25th with After the Rain, The Lady with the Little Dog and Who Cares? would be an ideal choice (she will be in New York June 18th to August 18th).  There’s a short preview of After the Rain on YouTube I sent her and she likes the tragicalyricalness and I also sent her a clip of Who Cares? which she loved.  I have no idea about Little Dog, but I figured two out of three is more than sufficient for a happy evening.  Glancing at the other programs, the chances of her liking Prodigal Son are slim to none but I do think she would enjoy Western Symphony.  June 26th has a program with La Source, a new Martins ballet and Western Symphony but I don’t know what Peter Martins choreography is like and I’ve only heard of La Source in passing…so what say you, fellow balletomanes?  Then there’s the added allure of farewell performances including that of Darci Kistler, the last ballerina to be selected by Balanchine himself…do you miss the opportunity to witness something so epically historical?  I’m almost completely unfamiliar with the Kistler farewell program (minus Swan Lake of course) so suggestions para Nacho por favor!

She could watch Kistler in an excerpt from Swan Lake, but it turns out ABT (calendar link) will be doing Swan Lake the previous week as well so I say go all out and see the whole shebang.  But the casting!  Decisions, decisions…I’m thinking she should cat fight with the rest of the audience in attendance for the June 21st show with Roberto Bolle so she can fall madly in love with him (she does like them tall…and he’s Italian too) in addition to seeing the beautiful Veronika Part, but there are so many great casting options like Julie Kent/Marcelo Gomes or Jose Carreño/Gillian Murphy.  Now I don’t know if she’ll make it in time for Sleeping Beauty, but good heavens!  It’s the battle of the guest stars…do you opt for the saccharine innocence of Alina Cojocaru or the flight of the Osipova?  Then ABT does a week of mixed bills and I’m more obsessive about watching ballet than Nacho is but even I’m finding the selection overwhelming.  If it were me, I’d go with the All Ashton program on June 30th to sort of round out the experience and diversify the choreographers, but it’s Nacho and not me, so I would only strongly suggest/force that idea upon her if I had a legion of people who agreed with me (also keeping in mind she’s never seen a MacMillan and the Manon pas de deux is just…to DIE for).  ABT then does a week of Romeo and Juliet in early July before heading off to Los Angeles, and you know I’m a grouch when it comes to Romeo and Juliet so I’m in no position to be suggesting which casting I think would be lovely to see.

So friends, I beseech thee to diagnose Nacho and help her get the most out of her summer in New York!  Here’s a short interview I did with her which might help figure out which ballets/casts she should see:

YDF:  Do you like Roberto Bolle?

Nacho:  Sure.

YDF:  Liar.  Do you wear clothes from the Gap?

Nacho:  Roberto Bolle is fine…don’t really have an opinion of him and no I do not.

YDF:  Not the answer I was looking for.

Nacho:  Sorry friend.

YDF:  Do you even know who he is?

Nacho:  Yes, I YouTube’d him.

YDF:  Just now?

Nacho:  Yes…I’m not a little ballet freak remember? (oh NO she didn’t!)

YDF:  Did you know he’s Italian?

Nacho:  I kinda got that

YDF:  You’re Italian.

Nacho:  Indeed I am.  What was the answer you were looking for?

YDF:  The answer should have been yes, so I could tell you that he was a model for a Gap ad, and then you’d have something in common…but you ruined it.

Nacho: Sorry Charlie 🙂

YDF:  How do you like your male dancers?

Nacho:  Good?

YDF:  Fascinating.  Now describe your ideal ballerina.

Nacho:  Traditional yet not stiff?  I don’t know.  These are hard!

YDF:  Okay so final question (and this SHOULD be easy) what do you love about dance?

Nacho:  The expression through movement…the story that can be told without any word use.  The different interpretations of pieces, the emotion, the passion…I don’t know.

YDF:  Okay I lied, the REAL final question is, what are some characteristics of dances you like or dislike?

Nacho:  You know I don’t like too modern/abstract pieces… but I do like originality… generic pieces make me wanna scream.

And there you have it.  I’ll be sure to update on her progress as the summer progresses!