Kiyon Gaines, Jordan Pacitti, Jeff Stanton, and Kylee Kitchens in Fancy Free
I’ve noticed with Robbins’ choreography that there is a simplicity to it that makes it so great. It’s comprehensive yet uncomplicated. In the Night is pure, calm, and literal (and not to mention beautiful), which allows the audience to ingest the full sentiment of each of the three couples. And although a completely different feel, in The Concert, the same is relevant. Each character has a clear nature to them. The life situations that that the characters are then put in makes for a humorous gathering. The moment one tries to add humor or antics to this peice, those funny moments are lost. Like many companies in the US, PNB is celebrating Jerome Robbins. I’m so happy to be able to experience and celebrate this amazing choreographer. Our program, All Robbins, has three of this American icon’s masterpeices. Here are some rehearsal pictures of The Concert, Fancy Free, and In The Night.
Miranda Weese, Jeff Stanton, and Seth and Sara Orza in In the Night
Famed pianist, Dianne Chilgren getting in on the fun in The Concert
We’ve been doing a series of simple video interviews with people who knew or worked with Jerome Robbins. Some of my favorite ballets to see and to dance are his. I had so much fun understudying ballets like 2 and 3 Part Inventions and of course Dances at Gathering, and one regret I have in retiring is never having the opportunity to actually perform them (not that my body would have let me anyway). There’s something so simple about viewing many his ballets. It often feels like you are just watching people dance with each other - looking in at their experience - as opposed to being performed to.
Anyhow, hearing about his work from individuals with varying perspectives has been a treat. The bit at the end where Ms. Lebowitz discusses what it would be like if words behaved like dancers has been my favorite quote so far.
It’s a hot steamy day in Saratoga, which equals lots of extra tired sweaty dancers. Luckily they provide free bottled water and a variety of Gatorade products in the office. I’m watching a bit of the orchestra rehearsal for Jerome Robbins’ Dybbuk, waiting for my 1:15 physical therapy appointment backstage with Michelle. Hip seems to have calmed down a bit since yesterday which is good… I can’t imagine the muggy weather is helping it much though. After that I’m heading back home to do some more editing on the Kyra Nichols video, as I just got my final interview with Peter Martins this morning.
The most recent audio podcast is an interview with Jean-Pierre Frohlich. A former NYCB dancer, he’s currently a resident Ballet Master with NYCB, responsible for setting a large percentage of the Jerome Robbins ballets in the company’s repertoire, and travels the world through the Jerome Robbins Trust and Foundation setting Robbins’ ballets on other dance companies. (He’s always been one of my favorite ballet masters at NYCB. He’s helped me so much throughout my career, in coaching, encouragement, and in giving me new opportunities, so it was fun to see him as one of their subjects for the podcast.)
Apparently he was recently at San Francisco Ballet to stage Fancy Free, and talks a lot about this ballet, as well as a few other Robbins works. Definitely take a few minutes to check it out.
Also, in the podcast previous to this one, is a discussion about the creation of Wayne MacGregor’s Eden/Eden, which Megan talked about it her last post.
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