Humbled and Overwhelmed

Katharina and Petruchio, photo @ Jack Devant The Lincoln Center Festival chugged along with more Bolshoi Ballet -- this time they were dancing Jean-Christophe Maillot's Taming of the Shrew . After the excitement of Superjewels , this seemed anti-climactic. I went to see the opening night performance and while it was a perfectly pleasant way to spend a summer evening it's not something I'll rush to see again. The ballet has some virtues. One, its brevity. With an intermission and the prolonged Russian-style curtain calls you were still out of the theater within 1 hr 45 minutes. Two, the score. The music is piecemeal Shostakovich which meant it was always listenable and often very fun. Olga Smirnova and Semyon Chudin (Bianca and Lucentio) have two calm, glamorous pas de deux that establish these two remarkable dancers as the foremost classicists of the company. The role of Hortensio is one of those Bolshoi bravura cameos that gets the entire crowd yelling, especiall

Original Jewels cast, photo @ Martha Swope In 1967 George Balanchine decided to make a three-act plotless ballet. And then he hit upon marketing gold -- the three sections would be named after gemstones -- Emeralds, Rubies, and Diamonds. And voila! An indestructible cash cow was created. Jewels has in these 50 years filled the coffers of not just the NYCB but ballet companies across the world. It's a hit wherever it goes. Balletomanes love their jewelry and Diamonds are a ballet company's best friend. Lincoln Center Festival decided to capitalize on Balanchine's foundation by creating a One Time Only (!!!) Event -- a Very Special Jewels in which each section was danced by a different company. Ticket prices were through the roof but the event sold out anyway. The Paris Opera Ballet took Emeralds , while the NYCB and the Bolshoi took turns swapping between Rubies and Diamonds . I attended the first two performances so I saw both combos -- NYCB Rubies/Bolshoi Diam

Veronika receiving roses from the girls, photo @ Kent Becker Part in three of her major roles: Mozartiana, Odette and Myrtha This afternoon I attended an ABT performance that just a week ago didn't interest me at all. I have a real allergy to the way ABT does Balanchine and the program had one of his most sublime works -- Mozartiana . I wasn't in a hurry to see Gomes' AfterEffect, or   the pas de deux from Ratmansky's Nutcracker. I did want to see Ratmansky's Souvenir d'un lieu cher but it was something I suspect will work better in a smaller theater. So why, then, did I go? Actually, for a really unhappy reason: this was the last chance to see Veronika Part dance for ABT. She has been let go  after 15 years with the company. When word got out that Part's contract would not be renewed, fans created an online petition that garnered over 500 signatures. Then things got a little crazy. A particularly vehement fan started hatching all sorts of p