Chase Finlay returns to the team lineup during the last week of NYCB's Winter Season. He'll lace up a pair of comfy, supportive dress shoes to twirl the ladies around in Bal De Couture on Thursday, February 27, and Friday, February 28. Even though it seems like it's been an eternity since we've seen him on stage, it's only been four months or so since he broke his foot during the Fall Season. It looks like he'll be good-to-go for the Spring Season and maybe even for the Kennedy Center run in April.
There are a few others who we're hoping to see back by springtime: Wendy Whelan, Jennie Somogyi, and Ana Sophia Scheller.
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On March 7th and 8th at Symphony Space, the Gelsey Kirkland Ballet will present Raymonda Suite, The Leaves are Fading Pas de Deux, Ballebille from Napoli, Flames of Paris Pas de Deux, Pas De Quatre, and Cavalry Halt.
Kirkland, of course, danced the lead in the 1975 premiere of The Leaves Are Fading with Jonas Kage. It had been 25 years since Antony Tudor had made a ballet for ABT for whom he had been the founding choreographer, and Leaves became an instant classic. The Antony Tudor Trust owns the ballet and dispatched répétiteurs Amanda McKerrow and John Gardner, also renowned interpreters of the ballet, to set the PdD on Kirkland's dancers. But the Kirkland Company PR video makes it clear that Gelsey is passing down the ballet with her own coaching.
Take a look at this video which includes a lovely excerpt of Gelsey dancing the Leaves PdD with – be still, my beating heart – Ivan Nagy. Also, here is a video of the Mikhailovsky company's production of Petipa's The Cavalry Halt from 1978.
Tickets are $40 ($45 day of show; $35 for seniors and students) which may seem a bit much considering this is a relatively new studio company that sprang from Kirkland's academy, but here is one of those instances where the content could prove so rich that, in the end, $40 will seem to have been a bargain.
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On April 10th, Tiler Peck and Robert Fairchild will premiere Twyla Tharp's new creation, Cornbread Duet, to music performed by the Carolina Chocolate Drops at the BAM Opera House. Tickets start at $20.
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Lastly, those ice dancers Meryl Davis and Charlie White – wow, just wow.
32 responses to “observations 2/17”
I am a little surprised you are impressed with Davis and White, considering you are a champion of classicists like Lane and Abrera and abhor acrobatics (such as Osipova, Vasiliev and Simkin’s antics) over style and substance.
I would have thought Virtue and Moir would be more to your taste, as they are widely considered in the ice dance world to be the more “pure” dancers and skaters. They’ve done various dance rhythms and genres amazingly well. In my opinion, V/M have the better lines, extension, carriage and posture. I still go back to their 2010 gold medal FD as a palate cleanser: http://www.youtube.com/watch?v=3u9W6fkJxZo
Their free dance this season is not the best their coach has ever choreographed for them (some people say it’s too similar to the 2010 Mahler), but you could still see their marvelous edging, stroking, as well as their sublime upper body movement. I actually think their best performances of their programs this season were at the Grand Prix Final last December:
“Fitzgerald and Armstrong Medley” short dance: http://www.youtube.com/watch?v=gzUKvQBX8UI
“Seasons” free dance: http://www.youtube.com/watch?v=_FSAseScTHE They had to take out this variation of the amazing first lift last night because it was heinously difficult and would be costly with mistakes. I loved those gorgeous matching lines.
If I had to make a ballet analogy, I would compare V/M’s “bladework” (deep, clean, crisp edges with only minor stroking to gain amplitude) to the Paris Opera Ballet’s “footwork” (clean, clear feet).
While I find Davis and White’s speed impressive, I think that the clarity of their skating (the basic edging and stroking skills) suffer because of it. Davis has gotten better over the years, but she still sometimes has the tendency to not pay attention to line and extension (you can catch her not extending her free leg fully). I find D/W’s style to be big, dramatic (dramatic angsty, dramatic happy) and frenetic- I feel that it can be ‘go, go, go’ with no breathing space. They have little variation in phrasing. Their lift technique can sometimes look awkward, and they have a lot of hopping and skipping in a lot of programs to generate speed (which they should be doing with their edges). I am not convinced they can do subtle. To use another ballet analogy, they would fit in Le Corsaire and the Soviet dram-ballets, but would be totally out of place in Giselle, Swan Lake, and other ballets that would require more nuance.
I’m sorry to dump all of this on you, Haglund. I’m just a little (really) upset that the team I view as the best ice dance pair of their generation has not been rewarded for the qualities I believe true ice *dancers* should exhibit. Virtue and Moir are incredible technicians and artists, but when they started to push the envelope both technically and creatively last season with a modern dance-influenced ‘Carmen’ free dance( http://www.youtube.com/watch?v=1_UriVC7EAM ), the judges’ feedback was that they should go back to their vintage romantic/lyrical style.
I’ll just curl up in a corner now… This must be like a lot of balletomanes feel when inexplicable promotions happen…
I am a little surprised you are impressed with Davis and White, considering you are a champion of classicists like Lane and Abrera and abhor acrobatics (such as Osipova, Vasiliev and Simkin’s antics) over style and substance.
I would have thought Virtue and Moir would be more to your taste, as they are widely considered in the ice dance world to be the more “pure” dancers and skaters. They’ve done various dance rhythms and genres amazingly well. In my opinion, V/M have the better lines, extension, carriage and posture. I still go back to their 2010 gold medal FD as a palate cleanser: http://www.youtube.com/watch?v=3u9W6fkJxZo
Their free dance this season is not the best their coach has ever choreographed for them (some people say it’s too similar to the 2010 Mahler), but you could still see their marvelous edging, stroking, as well as their sublime upper body movement. I actually think their best performances of their programs this season were at the Grand Prix Final last December:
“Fitzgerald and Armstrong Medley” short dance: http://www.youtube.com/watch?v=gzUKvQBX8UI
“Seasons” free dance: http://www.youtube.com/watch?v=_FSAseScTHE They had to take out this variation of the amazing first lift last night because it was heinously difficult and would be costly with mistakes. I loved those gorgeous matching lines.
If I had to make a ballet analogy, I would compare V/M’s “bladework” (deep, clean, crisp edges with only minor stroking to gain amplitude) to the Paris Opera Ballet’s “footwork” (clean, clear feet).
While I find Davis and White’s speed impressive, I think that the clarity of their skating (the basic edging and stroking skills) suffer because of it. Davis has gotten better over the years, but she still sometimes has the tendency to not pay attention to line and extension (you can catch her not extending her free leg fully). I find D/W’s style to be big, dramatic (dramatic angsty, dramatic happy) and frenetic- I feel that it can be ‘go, go, go’ with no breathing space. They have little variation in phrasing. Their lift technique can sometimes look awkward, and they have a lot of hopping and skipping in a lot of programs to generate speed (which they should be doing with their edges). I am not convinced they can do subtle. To use another ballet analogy, they would fit in Le Corsaire and the Soviet dram-ballets, but would be totally out of place in Giselle, Swan Lake, and other ballets that would require more nuance.
I’m sorry to dump all of this on you, Haglund. I’m just a little (really) upset that the team I view as the best ice dance pair of their generation has not been rewarded for the qualities I believe true ice *dancers* should exhibit. Virtue and Moir are incredible technicians and artists, but when they started to push the envelope both technically and creatively last season with a modern dance-influenced ‘Carmen’ free dance( http://www.youtube.com/watch?v=1_UriVC7EAM ), the judges’ feedback was that they should go back to their vintage romantic/lyrical style.
I’ll just curl up in a corner now… This must be like a lot of balletomanes feel when inexplicable promotions happen…
Hi, Meg. Thank you so much for the critique. I loved Virtue & Moir and Ilinykh & Katsalapov, too. I have little understanding how the points are awarded in skating (although I’ve been reading how V&M might have been unfairly dealt a “plus-one” penalty on their twizzles) but it probably didn’t make the judges feel bad to hear that emotionally powerful Scheherazade blasting across the ice while D&W skated – and she in that gorgeous costume. Judges must get a little tired of hearing Swan Lake, Don Q, Carmen, Frank Sinatra, and tinkly piano. Maybe with the scores so close, D&W actually won with their music and costume this time.
Your comparison to balletomanes fuming over inexplicable promotions/casting is right on target, probably even a bullseye. But at least in skating there are “points” handed out by multiple judges and the general appearance of fairness – although I know, I know, I know, I know …. In ballet, you have the poor taste and bad eyes of a single quasi-tenured person making all the decisions until he runs the whole shebang into the ground while burning up the donors’ and audience’s money.
Hi, Meg. Thank you so much for the critique. I loved Virtue & Moir and Ilinykh & Katsalapov, too. I have little understanding how the points are awarded in skating (although I’ve been reading how V&M might have been unfairly dealt a “plus-one” penalty on their twizzles) but it probably didn’t make the judges feel bad to hear that emotionally powerful Scheherazade blasting across the ice while D&W skated – and she in that gorgeous costume. Judges must get a little tired of hearing Swan Lake, Don Q, Carmen, Frank Sinatra, and tinkly piano. Maybe with the scores so close, D&W actually won with their music and costume this time.
Your comparison to balletomanes fuming over inexplicable promotions/casting is right on target, probably even a bullseye. But at least in skating there are “points” handed out by multiple judges and the general appearance of fairness – although I know, I know, I know, I know …. In ballet, you have the poor taste and bad eyes of a single quasi-tenured person making all the decisions until he runs the whole shebang into the ground while burning up the donors’ and audience’s money.
Hi Haglund. I would have to disagree about judges getting tired of hearing the classics. I mean, every season lots of ballet companies stage SL, Don Q etc., and it’s only tiresome if the production and the dancers make it so. We look forward to this or that ballerina’s interpretation of say, Odette/Odile; whether it’s her debut or her umpteenth take on the role, we wonder if she will bring something new/fresh, if she will show improvement from the last time, stuff like that.
In skating, I think the classics are only tedious if there is a) uninspired choreography, and/or b) uninspired skating (also, uninspired music cuts). Figure skating judges are, on the whole, conservative in their tastes. When Virtue and Moir’s ‘Carmen’ debuted last season, the reaction was immediate and visceral–you either hated it or you loved it. Skating fans, commentators, coaches, former and current ice dancers were in general, very impressed and very receptive. But the scoring pattern as the season went on pointed to the judges not looking as favorably on it. It was too modern (as in, modern dance-inspired), too sensual (or sexual, it’s Carmen after all), too daring. The feedback was that they preferred the lyrical style for VM. The powers that be usually frown on too much innovation, on anything avant-garde in choreography or music choice. In this case, it was familiar music, but the style was not received well by the judges.
As for the appearance of fairness (emphasis on appearance), I think on paper the judging system is promising, except for 2 major things. First, there is no accountability, as the judging is ANONYMOUS. Second, the rules looking good on paper doesn’t count for much when the implementation is arbitrary. I mean, if you ding one team because of a certain type of mistake, then you have to ding everyone who also makes the same mistake. The same for rewarding points.
Ice dance rules today are very complicated. But in essence, there’s what we call the technical and the components parts of the score. The technical spans things like lifts, spins, twizzles and step sequences with base values assigned. There’s a checklist of features, and depending on how many you fulfill, you can get a Level 1 (the lowest) to Level 4 (the highest). A lift with many changes of position, creative/difficult entry and/or exit would get a high level. It’s the job of the tech callers/specialists to say what level an element gets. The judges are the ones who award GoE (grade of execution) which can be negative, 0, or positive depending on how well done/clean the element is.
The components score is the present judging system’s incarnation of the old 2nd mark (the ‘artistic mark’). This covers 5 components including skating skills, performance/execution, interpretation/timing, transitions/linking footwork/movement, and composition/choreography. 10 is the perfect score per component. Tech and component scores are factored, highest and lowest scores are thrown out, deductions are given for rule violations etc etc. I suppose the closest Olympic sports skating would be similar to in terms of judging might be rhythmic gymnastics.
One frustrating thing about ice dance rules is that most commentators are seemingly allergic to too much in-depth discussion of the technicalities. Hockey/baseball/football analysts do not shy from stats or game play discussion; it is exasperating that what the public usually gets from skating ‘analysts’ are mostly fluff/surface discussion.
I have mixed feelings about costume. Costume is part of presentation, of what the skating world calls ‘packaging’. I know that it can help the audience (and the skaters themselves) get into the ‘mood’, especially if they’re portraying characters. But other than that, the judges should be looking at the actual ice dancing.
There was a long-standing suggestion that skaters compete in plain black tops and leggings; it would be somewhat akin to ballet auditions where everybody has to wear black/solid-colored leotards and tights. I actually would support that. There would be nothing to hide behind–no distracting artfully shredded dresses (which can give an illusion of speed), nothing to hide the body lines, the posture, the port de bras/epaulement etc. (or lack thereof). Only the skaters, the music and the ice. I mean, when we watch ballet dancers in their practice clothes, we still see the Swan Queen, Albrecht, Kitri, Basilio, or Giselle. The costume might complete the illusion, but quality dancing shines through even when wearing plain black leotards.
The controversy surrounding VM and DW has been long in the making. It would take a number of posts to explain it fully, and in detail. Figure skating judging in general (as well as allegations of cheating) on the other hand, would need a dedicated website, haha.
Ilinykh/Katsalapov are indeed a very promising team, naturally talented and charismatic, though they have frustrated many fans these past few years because of their inconsistent results (and rumors of laziness). They were quite ‘on’ in Sochi, but they also benefited a lot from skating at home to iconic music.
As for the AD thing, ballet has the likes of McKenzie and Gergiev; skating has ISU head Ottavio Cinquanta (former speed skater). The ISU really should have separated into 2 organizations–1 for speed skating, the other for figure skating. And judges. We have anonymous judges.
I ran too long again, sorry for that. As for another item in your original post, I am very, very happy to see the Gelsey/Ivan clip; I only wish it was the full pas de deux. I’ve seen the one with Leslie Browne on Youtube and I loved it. Thanks for posting the link.
Hi Haglund. I would have to disagree about judges getting tired of hearing the classics. I mean, every season lots of ballet companies stage SL, Don Q etc., and it’s only tiresome if the production and the dancers make it so. We look forward to this or that ballerina’s interpretation of say, Odette/Odile; whether it’s her debut or her umpteenth take on the role, we wonder if she will bring something new/fresh, if she will show improvement from the last time, stuff like that.
In skating, I think the classics are only tedious if there is a) uninspired choreography, and/or b) uninspired skating (also, uninspired music cuts). Figure skating judges are, on the whole, conservative in their tastes. When Virtue and Moir’s ‘Carmen’ debuted last season, the reaction was immediate and visceral–you either hated it or you loved it. Skating fans, commentators, coaches, former and current ice dancers were in general, very impressed and very receptive. But the scoring pattern as the season went on pointed to the judges not looking as favorably on it. It was too modern (as in, modern dance-inspired), too sensual (or sexual, it’s Carmen after all), too daring. The feedback was that they preferred the lyrical style for VM. The powers that be usually frown on too much innovation, on anything avant-garde in choreography or music choice. In this case, it was familiar music, but the style was not received well by the judges.
As for the appearance of fairness (emphasis on appearance), I think on paper the judging system is promising, except for 2 major things. First, there is no accountability, as the judging is ANONYMOUS. Second, the rules looking good on paper doesn’t count for much when the implementation is arbitrary. I mean, if you ding one team because of a certain type of mistake, then you have to ding everyone who also makes the same mistake. The same for rewarding points.
Ice dance rules today are very complicated. But in essence, there’s what we call the technical and the components parts of the score. The technical spans things like lifts, spins, twizzles and step sequences with base values assigned. There’s a checklist of features, and depending on how many you fulfill, you can get a Level 1 (the lowest) to Level 4 (the highest). A lift with many changes of position, creative/difficult entry and/or exit would get a high level. It’s the job of the tech callers/specialists to say what level an element gets. The judges are the ones who award GoE (grade of execution) which can be negative, 0, or positive depending on how well done/clean the element is.
The components score is the present judging system’s incarnation of the old 2nd mark (the ‘artistic mark’). This covers 5 components including skating skills, performance/execution, interpretation/timing, transitions/linking footwork/movement, and composition/choreography. 10 is the perfect score per component. Tech and component scores are factored, highest and lowest scores are thrown out, deductions are given for rule violations etc etc. I suppose the closest Olympic sports skating would be similar to in terms of judging might be rhythmic gymnastics.
One frustrating thing about ice dance rules is that most commentators are seemingly allergic to too much in-depth discussion of the technicalities. Hockey/baseball/football analysts do not shy from stats or game play discussion; it is exasperating that what the public usually gets from skating ‘analysts’ are mostly fluff/surface discussion.
I have mixed feelings about costume. Costume is part of presentation, of what the skating world calls ‘packaging’. I know that it can help the audience (and the skaters themselves) get into the ‘mood’, especially if they’re portraying characters. But other than that, the judges should be looking at the actual ice dancing.
There was a long-standing suggestion that skaters compete in plain black tops and leggings; it would be somewhat akin to ballet auditions where everybody has to wear black/solid-colored leotards and tights. I actually would support that. There would be nothing to hide behind–no distracting artfully shredded dresses (which can give an illusion of speed), nothing to hide the body lines, the posture, the port de bras/epaulement etc. (or lack thereof). Only the skaters, the music and the ice. I mean, when we watch ballet dancers in their practice clothes, we still see the Swan Queen, Albrecht, Kitri, Basilio, or Giselle. The costume might complete the illusion, but quality dancing shines through even when wearing plain black leotards.
The controversy surrounding VM and DW has been long in the making. It would take a number of posts to explain it fully, and in detail. Figure skating judging in general (as well as allegations of cheating) on the other hand, would need a dedicated website, haha.
Ilinykh/Katsalapov are indeed a very promising team, naturally talented and charismatic, though they have frustrated many fans these past few years because of their inconsistent results (and rumors of laziness). They were quite ‘on’ in Sochi, but they also benefited a lot from skating at home to iconic music.
As for the AD thing, ballet has the likes of McKenzie and Gergiev; skating has ISU head Ottavio Cinquanta (former speed skater). The ISU really should have separated into 2 organizations–1 for speed skating, the other for figure skating. And judges. We have anonymous judges.
I ran too long again, sorry for that. As for another item in your original post, I am very, very happy to see the Gelsey/Ivan clip; I only wish it was the full pas de deux. I’ve seen the one with Leslie Browne on Youtube and I loved it. Thanks for posting the link.
Meg, thanks so much for these detailed explanations. I imagine that the VM & DW controversy will continue so long as they each are competing. Having the same coach/choreographer has got to feel strange at times.
Meg, thanks so much for these detailed explanations. I imagine that the VM & DW controversy will continue so long as they each are competing. Having the same coach/choreographer has got to feel strange at times.
Hi Haglund,
I’m not a figure skating or ice dancing expert. These are my impressions.
I hated the Russian bronze medalists, who did the ripoff Swan Lake. I do not call this “the classics” but a vulgar commercialization of a classical ballet.
Ice dancing is supposed to be ballroom dance on ice, not ballet, not pairs skating. The Russian girl in the tutu was, to me, simply outlandish.
Makarova has a video up on Youtube where she demonstrates her amazing Swan Lake arms. In the beginning of the video she mocks hack ballerinas flapping their arms. That’s what the pseudo-ballerina ice dancer looked like to me, when she imitated bourees with her skating boots. I cringed. Make up your own repertory instead of raiding ballet – that is not “the classics.”
Now, to Meryl & Charlie, no I didn’t think they won because of their costumes, I think they won because they were just a tad better, both nights than the marvelous Canadians. As I said, I am no expert, but their skating looked flawless and powerful to me. Tessa & Scott are great, great ice dancers, but Meryl and Charlie were better this time.
Meryl is truly an artist, a great dancer on ice, and Charlie is a powerhouse athlete, what you’d expect when you take a hockey playing kid and turn him into a figure skater. Fantastic!
Most of all, can a couple of wonderful kids PLEASE win without others raining on their parade? It’s an ice-dancing competition, not the Nobel prize for medicine, and fans of the other team should be gracious.
Now I’ll go watch the lunatics in snowboard cross and get ready for the ladies.
Hi Haglund,
I’m not a figure skating or ice dancing expert. These are my impressions.
I hated the Russian bronze medalists, who did the ripoff Swan Lake. I do not call this “the classics” but a vulgar commercialization of a classical ballet.
Ice dancing is supposed to be ballroom dance on ice, not ballet, not pairs skating. The Russian girl in the tutu was, to me, simply outlandish.
Makarova has a video up on Youtube where she demonstrates her amazing Swan Lake arms. In the beginning of the video she mocks hack ballerinas flapping their arms. That’s what the pseudo-ballerina ice dancer looked like to me, when she imitated bourees with her skating boots. I cringed. Make up your own repertory instead of raiding ballet – that is not “the classics.”
Now, to Meryl & Charlie, no I didn’t think they won because of their costumes, I think they won because they were just a tad better, both nights than the marvelous Canadians. As I said, I am no expert, but their skating looked flawless and powerful to me. Tessa & Scott are great, great ice dancers, but Meryl and Charlie were better this time.
Meryl is truly an artist, a great dancer on ice, and Charlie is a powerhouse athlete, what you’d expect when you take a hockey playing kid and turn him into a figure skater. Fantastic!
Most of all, can a couple of wonderful kids PLEASE win without others raining on their parade? It’s an ice-dancing competition, not the Nobel prize for medicine, and fans of the other team should be gracious.
Now I’ll go watch the lunatics in snowboard cross and get ready for the ladies.
Thanks, Diana.
Yes, those snowboard crossers are not like you and me. I’ve often thought that it might be worthwhile to have a combined winter/summer Olympics. I mean really combined. “Wrestling on ice” could be a real TV ratings monster of a sport. And what about “Downhill Running”in the snow? “Ice Water Swimming”!
Thanks, Diana.
Yes, those snowboard crossers are not like you and me. I’ve often thought that it might be worthwhile to have a combined winter/summer Olympics. I mean really combined. “Wrestling on ice” could be a real TV ratings monster of a sport. And what about “Downhill Running”in the snow? “Ice Water Swimming”!
Hi Diana,
I think you are quite correct about Ilinikh/Katsalapov’s routine being vulgar. I just looked at the program itself as a sort of entertaining parody (because the alternative is to gnash your teeth). When I said classic, I meant it mainly in the context of the music, because no matter what I/K’s press says about them working with Diana Vishneva, Elena Ilinykh’s arms are not swan-like at all.
I don’t think ice dance should purely be ballroom on ice, and you can be balletic without resorting to poor adaptations of ballet, but I do believe that ballroom should be the core. My opinion is that there is room for other dance styles/genres, and usually teams can express it in the free dance. If ice dance is confined merely to ballroom, then we would have missed seeing legendary programs such as Torvill and Dean’s ‘Bolero’.
As to Davis and White, no, they absolutely did not win because of their costumes; hers was lovely, BTW. I have to respectfully disagree that they were better than Virtue and Moir. Both teams performed the heck out of their programs, and we all have our preferences when it comes to style etc. My criticisms of DW’s posture/lines etc. aside, in skating skills I think VM are better. VM’s edging and stroking are cleaner, deeper, crisper; they also change edges with more ease and precision, which they get from great knee bend (good skating basics), while having wonderful upper body movement and maintaining great extension in their free legs. VM’s great skating basics generate good amplitude with minimal stroking. DW are good, but not IMO at VM’s level.
I respectfully disagree about Davis being a true artist (but that is my preference), but yes, White is indeed a powerhouse. As for turning a hockey-playing kid into a figure skater, that’s not as unique as one may think, as a lot of the figure skating guys start out with hockey. Moir also played hockey, and he and White have often talked of playing together.
I agree that by all reports, Davis and White are wonderful persons. Both are good students and active in educational programs for kids, IIRC. They are also engaging with fans on social media. They’ve been mostly politically correct in everything they said to the press, whether it’s about their coach, their rivals, and lots of things in general (except for the LGBT issue, which they handled as well as could be expected under the circumstances.) Please notice that my criticisms are directed towards their dance and skating technique, not on themselves as people.
As for my ‘raining on their parade’ (as I believe this is rightfully directed at me), I have directed my displeasure and disappointment about what I saw as unequal judging at DW, and for that I am sorry. I wrote in fresh anger and DW have borne the brunt of it, when I should have focused solely on the irregularities these past few seasons in ice dance. When all is said and done, DW and VM both gave their best under the constraints of an opaque and fickle system, and the scores were ultimately decided by others. Towards DW, I should have been more gracious concerning their competitive spirit, athleticism, and sportsmanship.
I do, however, reserve the right to criticize the judging as I see fit, to point out the qualities in ice dance that I think are overlooked, and to point out when I think certain things are not penalized as they should be according to the rules. I reserve the right to point out when I think the powers that be are favoring certain teams over others for their own agendas, and to point out things that I believe are to the detriment of the sport. In these things I would rather be a critic than just let things lie and not voice my opinions, ineffectual though I may be. If this classes me as a debbie-downer, then so be it. I do this because I love ice dance. In the big scheme of things, a lot of other stuff do, and should come before it. You are right that it’s not the Nobel prize for medicine, but it *is* something that I care deeply about. Some people might say the same of ballet. “It’s just ballet.” But to many people, ballet is something they care deeply about. I don’t think it’s so different when people point out why they think certain promotions in ballet companies are unfair, and when people think certain dancers are being held back, and when artistic directors do things in their own interests instead of the company or the art.
I hope I have explained myself adequately. As for the ladies, I hope everyone has a good showing. I have no particular horse in this race, so it’ll be interesting to see how the young ones go up against the veterans.
Hi Diana,
I think you are quite correct about Ilinikh/Katsalapov’s routine being vulgar. I just looked at the program itself as a sort of entertaining parody (because the alternative is to gnash your teeth). When I said classic, I meant it mainly in the context of the music, because no matter what I/K’s press says about them working with Diana Vishneva, Elena Ilinykh’s arms are not swan-like at all.
I don’t think ice dance should purely be ballroom on ice, and you can be balletic without resorting to poor adaptations of ballet, but I do believe that ballroom should be the core. My opinion is that there is room for other dance styles/genres, and usually teams can express it in the free dance. If ice dance is confined merely to ballroom, then we would have missed seeing legendary programs such as Torvill and Dean’s ‘Bolero’.
As to Davis and White, no, they absolutely did not win because of their costumes; hers was lovely, BTW. I have to respectfully disagree that they were better than Virtue and Moir. Both teams performed the heck out of their programs, and we all have our preferences when it comes to style etc. My criticisms of DW’s posture/lines etc. aside, in skating skills I think VM are better. VM’s edging and stroking are cleaner, deeper, crisper; they also change edges with more ease and precision, which they get from great knee bend (good skating basics), while having wonderful upper body movement and maintaining great extension in their free legs. VM’s great skating basics generate good amplitude with minimal stroking. DW are good, but not IMO at VM’s level.
I respectfully disagree about Davis being a true artist (but that is my preference), but yes, White is indeed a powerhouse. As for turning a hockey-playing kid into a figure skater, that’s not as unique as one may think, as a lot of the figure skating guys start out with hockey. Moir also played hockey, and he and White have often talked of playing together.
I agree that by all reports, Davis and White are wonderful persons. Both are good students and active in educational programs for kids, IIRC. They are also engaging with fans on social media. They’ve been mostly politically correct in everything they said to the press, whether it’s about their coach, their rivals, and lots of things in general (except for the LGBT issue, which they handled as well as could be expected under the circumstances.) Please notice that my criticisms are directed towards their dance and skating technique, not on themselves as people.
As for my ‘raining on their parade’ (as I believe this is rightfully directed at me), I have directed my displeasure and disappointment about what I saw as unequal judging at DW, and for that I am sorry. I wrote in fresh anger and DW have borne the brunt of it, when I should have focused solely on the irregularities these past few seasons in ice dance. When all is said and done, DW and VM both gave their best under the constraints of an opaque and fickle system, and the scores were ultimately decided by others. Towards DW, I should have been more gracious concerning their competitive spirit, athleticism, and sportsmanship.
I do, however, reserve the right to criticize the judging as I see fit, to point out the qualities in ice dance that I think are overlooked, and to point out when I think certain things are not penalized as they should be according to the rules. I reserve the right to point out when I think the powers that be are favoring certain teams over others for their own agendas, and to point out things that I believe are to the detriment of the sport. In these things I would rather be a critic than just let things lie and not voice my opinions, ineffectual though I may be. If this classes me as a debbie-downer, then so be it. I do this because I love ice dance. In the big scheme of things, a lot of other stuff do, and should come before it. You are right that it’s not the Nobel prize for medicine, but it *is* something that I care deeply about. Some people might say the same of ballet. “It’s just ballet.” But to many people, ballet is something they care deeply about. I don’t think it’s so different when people point out why they think certain promotions in ballet companies are unfair, and when people think certain dancers are being held back, and when artistic directors do things in their own interests instead of the company or the art.
I hope I have explained myself adequately. As for the ladies, I hope everyone has a good showing. I have no particular horse in this race, so it’ll be interesting to see how the young ones go up against the veterans.
Hi Haglund,
I thank you for being understanding that I basically hijacked your post (and it was just a mention in passing about Davis and White!). In hindsight I needed to vent about it, and I knew if anyone could understand the frustrations concerning the ‘dance’ part of ice dance, it would be you.
I am glad that Gelsey is passing on her treasure-trove of knowledge. I frequently return, time and again, to the Theme and Variations she danced with Misha on Youtube. I remember reading Misha’s remark in some interview that it was good there was record of her dancing. I was under the impression that she is even better than what the measly number of available videos show, and I can hardly fathom how she could dance T&V any better. Unfortunately I don’t live in NY, so I will never be able to see her rumored sound-less Giselle in the public library. That first act variation on YT is not enough! I want to see the second act…
I have not read about Joaquin de Luz lately here. Has he reitred?
Hi Haglund,
I thank you for being understanding that I basically hijacked your post (and it was just a mention in passing about Davis and White!). In hindsight I needed to vent about it, and I knew if anyone could understand the frustrations concerning the ‘dance’ part of ice dance, it would be you.
I am glad that Gelsey is passing on her treasure-trove of knowledge. I frequently return, time and again, to the Theme and Variations she danced with Misha on Youtube. I remember reading Misha’s remark in some interview that it was good there was record of her dancing. I was under the impression that she is even better than what the measly number of available videos show, and I can hardly fathom how she could dance T&V any better. Unfortunately I don’t live in NY, so I will never be able to see her rumored sound-less Giselle in the public library. That first act variation on YT is not enough! I want to see the second act…
I have not read about Joaquin de Luz lately here. Has he reitred?
Meg, I completely understand your need to vent about the ice skating situation – there seem to be others venting across the internet, too.
I actually saw Kirkland and Baryshnikov in Giselle in Minneapolis in the late 70s or early 80s. Burned into memory is the picture of her leaning her back against him in Act II to protect him from Myrtha. What a memory.
Joaquin De Luz got injured a couple of weeks ago, but before that, he was dancing superbly as always.
Meg, I completely understand your need to vent about the ice skating situation – there seem to be others venting across the internet, too.
I actually saw Kirkland and Baryshnikov in Giselle in Minneapolis in the late 70s or early 80s. Burned into memory is the picture of her leaning her back against him in Act II to protect him from Myrtha. What a memory.
Joaquin De Luz got injured a couple of weeks ago, but before that, he was dancing superbly as always.
Hi Haglund, I think an award has to be given to Andrew Veyette for dancing four consecutive Franzes (Fri eve, Sat mat, Sat eve, Sun mat) because of de Luzs’s injury. I saw him Sat mat and he already looked tired. But still, guy deserves an award, and I hope he made it out of his marathon schedule okay.
Hi Haglund, I think an award has to be given to Andrew Veyette for dancing four consecutive Franzes (Fri eve, Sat mat, Sat eve, Sun mat) because of de Luzs’s injury. I saw him Sat mat and he already looked tired. But still, guy deserves an award, and I hope he made it out of his marathon schedule okay.
True, Ivy. There’s a lot of hard-driving dancing in that production for the two main principals. Four performances in fewer than 48 hours makes Veyette the Iron Franz. I see that Hyltin and Garcia are doing back-to-back Coppelias at the end of this week.
True, Ivy. There’s a lot of hard-driving dancing in that production for the two main principals. Four performances in fewer than 48 hours makes Veyette the Iron Franz. I see that Hyltin and Garcia are doing back-to-back Coppelias at the end of this week.
Hi Haglund,
I am very glad to hear that De Luz has not retired yet. I hope he gets better soon.
I am jealous that you got to see Gelsey/Misha in person. How would you compare Gelsey’s Giselle to Makarova’s? I’ve only seen the video of Natasha dancing it with ABT.
Hi Haglund,
I am very glad to hear that De Luz has not retired yet. I hope he gets better soon.
I am jealous that you got to see Gelsey/Misha in person. How would you compare Gelsey’s Giselle to Makarova’s? I’ve only seen the video of Natasha dancing it with ABT.
Hi Meg. I don’t recall seeing a live performance of Makarova’s Giselle. However, Gelsey’s dancing of the classics was always informed by her observations of Makarova and other Vaganova schooled artists.
Hi Meg. I don’t recall seeing a live performance of Makarova’s Giselle. However, Gelsey’s dancing of the classics was always informed by her observations of Makarova and other Vaganova schooled artists.
Hi Haglund, The following is in no way meant as a criticism of anyone but a matter of general interest regarding “the lunatics in snowboard cross.” I’ve read that there is actually a gene for risk-taking, and it runs in families. If you search “gene for risk-taking behavior” on Google, you find links to sites relating the gene to gambling, smoking, finances, and, closer to the subject at hand, the Flying Wallendas, one of whom walked a tightrope over Niagara Falls on June 15, 2012. It seems to me that many of the Olympic events require such a gene.
Hi Haglund, The following is in no way meant as a criticism of anyone but a matter of general interest regarding “the lunatics in snowboard cross.” I’ve read that there is actually a gene for risk-taking, and it runs in families. If you search “gene for risk-taking behavior” on Google, you find links to sites relating the gene to gambling, smoking, finances, and, closer to the subject at hand, the Flying Wallendas, one of whom walked a tightrope over Niagara Falls on June 15, 2012. It seems to me that many of the Olympic events require such a gene.
Hi Angelica.
That’s interesting that there is a risk-taking gene. The endorphins enjoyed from ultra high risk activities can, I understand, have the power of narcotics.
Hi Angelica.
That’s interesting that there is a risk-taking gene. The endorphins enjoyed from ultra high risk activities can, I understand, have the power of narcotics.
Thanks for the video of Ivan Nagy and Kirkland .. There is so little out there that shows Nagy .. Retired at 35 .. Way to young for me .. Undoubtably great for him .. I have seen him on youtube coaching .. He looks very different .. But still moved well..
What a dancer he was! I remember seeing him in The Moor’s Pavane with I think Bruhn doing the Moor. It is one of the best roles he ever did .. Another performance seared into my being never to be forgotten.
I was fortunate enough to see a Kirkland/Baryshnikov Giselle .. It was many years ago and I can still see it.. Kirkland gave an interview prior to performing in which she talked about her shoes for the second act. Apparently she took most of the stiffening out of the shoes so that her point work was basically done barefoot. I must admit it gave her a floaty, ethereal quality. Very effective but I found it a little grotesque at the time. I was sitting close enough to see her quite clearly and she truly did not seem to touch the ground
Thanks for the video of Ivan Nagy and Kirkland .. There is so little out there that shows Nagy .. Retired at 35 .. Way to young for me .. Undoubtably great for him .. I have seen him on youtube coaching .. He looks very different .. But still moved well..
What a dancer he was! I remember seeing him in The Moor’s Pavane with I think Bruhn doing the Moor. It is one of the best roles he ever did .. Another performance seared into my being never to be forgotten.
I was fortunate enough to see a Kirkland/Baryshnikov Giselle .. It was many years ago and I can still see it.. Kirkland gave an interview prior to performing in which she talked about her shoes for the second act. Apparently she took most of the stiffening out of the shoes so that her point work was basically done barefoot. I must admit it gave her a floaty, ethereal quality. Very effective but I found it a little grotesque at the time. I was sitting close enough to see her quite clearly and she truly did not seem to touch the ground