UPDATE: I went back to view SLOW DANCING again on Sunday 7/23 with Tonya and we met up with Monica Wellington and Matt Murphy as well as some very nice people who read our blogs and recognized us (blush!). Matt is starting to look like his charming self again after being under a nasty Carabosse-induced spell for several months.
If anything, the SLOW DANCING films seemed even more beautiful on second viewing and I was able to pry my eyes - at least a little - off the ballet dancers in the presentation and watch some dancers in other styles. Today I found this wonderful and informative link which includes a beautifully expressed tribute by Wendy Whelan to her fellow dancer Herman Cornejo. Herman's video is surely one of the most fascinating of a collection which is full of fascination. Wendy was there again, watching. I love her...it's that simple.
Sunday July 16, 2007 - I met Tonya down at Lincoln Center this evening to take a look at David Michalek's video installation SLOW DANCING which is being shown on the facade of the New York State Theatre as part of Lincoln Center Festival 2007. Dancers from various genres have been filmed at a rate of 1000 frames per second and then projected at standard speed, creating a feeling that they are moving VERY slowly.
Tonya has been over to watch these films more than once; you can read her initial impressions of the event from her blog entry here. As she states, the distractions of Midsummer Night's Swing and of the maintenance crew on the Plaza would surely interfere with enjoyment of Michalek's work. But tonight being Sunday there was nothing happening on the Midsummer Night's Swing stage. It was a balmy, overcast night with a couple of light rain showers. An ever-changing crowd lounged on the ground and on the fountain, watching the films in silence.
In the two boxes at left (click to enlarge) you can read David Michalek's notes about this project. It says a lot about David's creative vision that he was able to bring such an unusual and complex undertaking to fruition. It seems to me to be very much a labor of love.
This is how the screen arrangement looks about 1/2 hour before the films begin to roll. The projectors are atop Avery Fisher Hall. I did find that the stage set-up for Midsummer Night's Swing really got in the way of the far-right screen and found myself watching the dancers on that end less intently.
As darkness settled over the Plaza, the show caught my attention immediately when Wendy appeared on the extreme left screen. In a diaphanous dress of pale green, Wendy slowed-down is even more mesmerizing than Wendy at normal speed. The workings of individual muscles make us keenly aware of what goes into the simplest of dance combinations; the motion radiates thru every centimeter of Whelan's physique right to the ends of her silky blonde hair. I have to admit I ignored the other two screens while Wendy was dancing.
As in any art exhibit, there are going to be certain works which capture your interest more than others. Naturally I was drawn to the ballet dancers who were included. It was astonishing and heart-warming to see the enchanting Isabelle Guerin, former etoile of the Paris Opera Ballet and a frequent guest at NYC Ballet during the 1990s. Her immaculately pointed feet were a revelation. Speaking of pointed feet, Herman Cornejo's are quite extraordinary and his film clip has an almost voluptuous quality. Alexei Ratmansky's extension is breathtaking as we watch its slow unfolding. Near the end of the series, a wonderful experience is afforded of viewing Allegra Kent and Janie Taylor on neighboring screens. Outside the realm of classical ballet, the clarity and expressiveness of Shen Wei and the prayerful lyricism of the beautiful Japanese dancer Koma, in a soft cerise robe, were particularly appealing.
Here are some small stills taken from the Playbill of some of the dancers I particularly enjoyed: Koma, Guerin, Herman C, Janie, Shen Wei, and Wendy.
Shortly after her appearance on the big screen, Wendy strolled onto the Plaza and we had a chance to talk to her; she heads back to Saratoga on Monday for their final week there. When I mentioned looking forward to seeing Allegra Kent on the screen, Wendy told me that Allegra's segment opens as she turns away from the audience and makes an expansive gesture towards the State Theatre, a sort of homage to her home stage. It was one of the most beautiful moments of the evening, and then when Janie Taylor materialized on the adjoining screen their movements seemed to enhance one another visually. Janie's hair turns into a waterfall and then, as she whips her head back, into a display of golden fireworks.
Abi Stafford, Jared Angle and Jean-Pierre Frohlich were among the crowd.
It goes without saying that not every film segment is going to hold the attention of every viewer. We are each going to have our sphere of interest. I did find a couple of the clips a little bland, but other more interesting things were happening on the adjacent screens so you can easily shift focus. The two hours went by quickly and left me feeling hypnotized by the individual dancers and more deeply in awe - if that is possible - of the physical process and the rigorous demands on the body behind the power and beauty of dance.
AFTER-IMAGE: The dancers appeared in my dreams, or at least in that foggy state between sleep and waking early this morning. I feel that these images will last forever in my sub-consciousness and are likely to spring up unbidden over the years to come. Obviously these films made a very deep impression, including some clips that didn't seem especially memorable at the time.
I have also been thinking this morning how fortunate I am to be living in the Era of Wendy Whelan. Here's a photo Tonya took of me & Wendy while we were enjoying the films last night. Living in New York City for the past decade while Wendy has been at the peak of her career and also has been Christopher Wheeldon's muse has been such an experience to treasure. And having the opportunity to meet her, first as a customer at Tower and later just casually as a fan, is one of those things that could only happen in Gotham.
Another, more shadowy shot of me & Wendy...and of the poster on the front of the State Theatre listing the dancers who appear in the films.
I'm hoping to have another chance to go down and watch this presentation again. I can easily see why Tonya is somewhat addicted to it.
i can't wait to see this...i saw the brief clip of herman in nytimes (amazing feet, like you said!), am particularly interested in watching wendy whelan, allegra kent, and william forsythe. "slow dancing" is coming to the music center plaza (in los angeles, ca) in the beginning of sept, can't wait!
Posted by: jennifer | July 16, 2007 at 02:43 AM
It is well worth setting aside a couple of hours to see this
fascinating production.
Posted by: Philip | July 16, 2007 at 07:48 AM
Aw, that's so sweet what you said about Wendy! "The era of Wendy" :) She is the NICEST person!
Posted by: tonya | July 18, 2007 at 12:56 PM
I learned this while working at Tower: the bigger the star, the nicer they are!
Posted by: Philip | July 18, 2007 at 03:53 PM
Philip, your saying may only pertain to the ballet world (and parts of the musical theater world as well...)
Posted by: jennifer | July 23, 2007 at 01:03 PM
I don't know, it may also be true of opera singers...over the years I've met hundreds of them and people like Susan Graham and Placido Domingo are remarkably kind while some very minor-league singers put on prima donna airs like crazy.
Posted by: Philip | July 23, 2007 at 04:15 PM
Wow Philip, great blog and great writing. All this ballet stuff is completely over my head, but I enjoyed reading about something I had an ounce of knowledge of: SLOW DANCING. It was great to meet you for just one second the other night with Matt and he told me post-script that you're a tennis fan. Check out my blog, I think you'll enjoy :) Cheers!
Posted by: Nicholas | July 25, 2007 at 03:00 PM
Hi Nick,
Yes, it is too bad that ballet completely dominated the conversation with Matt & Tonya on the night we met you. I did not realize until the next day that you were into tennis which would have provided us with endless hours of chat.
When Matt told me about your blog I was thinking you might want to go to the US Open qualifying tournament with me (I plan to go all four days, hopefully) but then he said your stint in NYC ends just before the Open starts. Maybe you can find a way to extend your time here to take in some of the Open. I love it out there in Flushing and will go at least two days during the first week once the actual Open gets under way...I get day passes and wander from court to court.
I want to devote some time to reading your blog, and hopefully we will be able to meet again. Next time we will exclude Matt and Tonya by discussing Ai Sugiyama and Bjorn Phau.
Posted by: Philip | July 25, 2007 at 05:38 PM
Philip, the Sugiyama/Phau discussion sounds just fine to me!
Yes, I am unfortunately leaving right before the USO - certainly disappointing, especially when the Magazine has great tickets, etc.
I am, however, headed to New Haven for the Pilot Pen for a day or two prior to my departure with my brother and I even got a press pass for it! So I have all access.
Cheers.
Posted by: Nicholas | July 25, 2007 at 09:21 PM
Hey, New Haven! Great little city. Try Hot Tomato next to the Schubert Theatre for lunch...
I'll be up there myself next week, en route to Jacob's Pillow.
But can't you find a way to hang on in NYC for the Open? The qualifying tournament is free and in a way more fun than the actual Open because you don't have to battle the crowds of cell-phone addicts, people who bring their indifferent brats, and long lines for the restroom.
By the way, do you know why Bjorn hasn't been playing?
Posted by: Philip | July 25, 2007 at 09:56 PM