Tuesday January 22, 2008 - I can't honestly say that I'm the #1 Faye Arthurs fan in the world because I think that distinction goes to Wei. We've been watching this ballerina for the last few seasons and whether she is alone onstage as NUTCRACKER's Arabian or in an eye-catching performance in Albert Evans' HAIKU or simply as one of the Capulet girls in ROMEO & JULIET, we are always drawn to her. Last season, it was really to see Faye and her fellow demi-soliste Ashley Laracey that I went to every performance of Tchaikovsky's PIANO CONCERTO #2. New York City Ballet has a bevy of beautiful dancers with more arriving from the School every year. Once in a while someone comes along who has that elusive quality that makes you focus on her. I can't define it, nor do I want to try. My very first "it" girl at City Ballet was Marnee Morris and it's no secret that I'm smitten with Pauline Golbin. We first saw Faye when she was still at SAB and was chosen to create the leading role in Christopher Wheeldon's SCENES DE BALLET. We've been following her ever since and so when her name appeared among the solo quartet in BALLO DELLA REGINA for tonight, Wei changed his teaching schedule so he could join me at the ballet.
The picture above of Faye relaxing backstage in Swan mode and the one at left of her with Ms. Laracey dressed for SLEEPING BEAUTY are a couple of my favorite photos from the Winger's Gwyneth Muller. Pictures tend to disappear rapidly on the busy Winger site so I like to have an opportunity to encore them from time to time. Gwyneth's backstage shots create a you-are-there feeling. Fortunately, Faye is one of her favorite subjects.
Well, I could devote this whole entry to remembering Faye in all her roles but there were ballets to be danced tonight and BALLO was one of four. Because Wei had never seen FANCY FREE we stayed for the whole programme and regretted it after about five minutes of the Robbins piece.
There was an unexpected extra bonus tonight: Ana Sophia Scheller replaced Megan Fairchild in the principal ballerina role of BALLO DELLA REGINA. Scheller made a wonderful impression in a performance that was both technically strong and superbly presented. Secure and polished in the bravura passages, she brings a very attractive lyrical quality to the more restrained moments and her deep femininity underlines everything she does. Scheller's face is so striking; her smile reads beautifully throughout the house and her eyes are captivating. She was splendidly partnered by the very handsome Gonzalo Garcia who had yet another fine evening; he seemed quite taken with his ballerina - understandably.
Alina Dronova and Lauren King (Kolnik headshots left) made soloist debuts in BALLO and both were very pleasing. Dronova was elegant with her footwork well-defined and an expansive airiness while King danced with flair and always makes a real contact with the audience; she's starting to put her own stamp on each role she dances. Ashley Laracey is such a pleasure to watch; she seems always to exude a shining spirit of joy when she's dancing. Faye was the Faye that we love; before the performance I switched our seats from house right to house left so we'd have a better view of her entrance and exit; she danced with her usual floated extension and beautifully executed a series of turns which sort of 'reach' towards the wing as she progresses. Of the four soloists, it's Faye who gets an extra 'encore' sailing back into view and polishing off her solo with a wonderful sustained balance: "She did that for US!" Wei whispered. The four girls then teamed up for some very fine dancing as the ballet moved to a conclusion.
As LITURGY, Christopher Wheeldon's setting of a miraculous score by Arvo Part (portrait left) unfolded tonight, I found myself feeling profoundly grateful to be witnessing such magnificent dancing: the other-worldly Wendy Whelan and the quietly intense Albert Evans danced in spell-binding harmony emphasizing the hypnotic quality of the score. It's a transfixing experience.
LES GENTILHOMMES (photo: Peter setting the work on SAB students) provides a panorama of the talented young men currently in the Company. Adrian Danchig-Waring is now back in the cast - a very interesting dancer to watch - and David Prottas again made a strong impression. Tyler Angle and Adam Hendrickson constantly draw the eye. Sean Suozzi, Allen Peiffer, Antonio Carmena, Amar Ramasar and Daniel Ulbricht show us the depth and range of talent in the Company's ranks. An enjoyable ballet.
FANCY FREE has never interested me much and it came and went tonight in a performance that didn't change my mind about it despite three spectacular sailors (Tyler A, Adam & Amar) and three luscious ladies (Rachel R, Gina Pazcoguin & the striking Briana Shepherd). If I never see it again it will be too soon. Wei hated it.
The evening was marred by a thoughtless woman who brought two very young daughters to the performance, one of whom could not have been more than five years old. Children that young cannot be expected to maintain their interest in a full evening of ballet and sure enough during LITURGY there was an outburst, seriously infringing on the mood of an audience enraptured by the music and dancing. Who gains anything from this sort of nonsense? The mother could not enjoy the ballet: she had to take the child out. Obviously the kids were not happy, and everyone else's evening was disturbed.
Though I unfortunately missed Ana Sophia Scheller's debut in Ballo Della Regina, I am not surprised that she gave such a sparkling performance. She is not only a consummate technician but grows in her artistry with each outing. I have greatly admired her dancing since I first saw her in a SAB Workshop Performance and she is well on her way toward becoming one of the future stars of the company.
It's funny how two people who love the ballet so much can perceive a particular ballet so differently. I obviously did not see last night's performance of Fancy Free but I have seen that ballet countless times and never ceased to enjoy it. In fact, it's one of those ballets that I recommend to people who are going to the ballet for the first time. And yet you would be quite content to never even see it again. The 13th century philosopher and theologian Thomas Aquinas defined beauty as "id quod visum placet," which literally means "that which, having been seen, pleases." But as is often the case, what pleases one pair of eyes disappoints another. Further confirmation of the old adage that "beauty is in the eye of the beholder."
Posted by: Bob | January 23, 2008 at 12:28 PM
A couple of weeks ago I was talking to a principal dancer who said he is deathly tired of FANCY. I asked him why specifically and he said that the music is trite and the dancing is 'ballroom'.
TJ, who introduced me to ballet, had an interesting idea as to why Bernstein and Robbins arranged it so the sailors don't get the girls.
I normally leave during intermission if FANCY is on the programme but Wei had never seen it. If we could have left without disturbing others last night we would have been home before the ballet ended.
Posted by: philip | January 23, 2008 at 01:57 PM
Dear Philip and Wei, I cannot thank you enough for your unwavering support over the years and also for the lovely flowers on Tuesday evening! Your bouquet found its way to me right before the performance and it certainly gave me an extra lift in spirits. Your blog is always impressive in its attention to detail and how eloquently you are able to articulate your reactions to such an ephemeral and often abstract art form. It is a great pleasure to me and my colleagues--and especially my dressing roommates--to read of your appreciation and your thoughtful, emotional responses to our work. Thank you again. Fondly, Faye
Posted by: Faye Arthurs | January 24, 2008 at 05:54 PM
Today has been a great day for me as a blogger. Not only am I getting more visits than on any previous day because people all over the world - literally! - want to read about OLTREMARE, but also two of my favorite dancers have contacted me: I heard from Edwaard Liang earlier today and now to get this note from Faye Arthurs...I just can't believe it!
This blog is a very humble way of attempting to express not just my admiration for the NYCB dancers but my great regard for their hard work and commitment which provides us with a source of beauty and inspiration in a world that often seems so desolate.
Over the years I have found that by concentrating on the hundred or so dancers of NYCB - rather than rushing madly from venue to venue - my evenings at the ballet are far more rewarding. The repertoire, the constant exploration of the new, and the incredible variety of dance personalities make every night an adventure.
Faye, Wei is going to be so happy to read your message. Thank you so much for taking the time to write. And - thanks for that big balance!
Posted by: philip | January 24, 2008 at 06:45 PM