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Gottlieb's Dancer: A Critique?

Decent Essays

Interesting that you think that Gottlieb's article is so historically-minded, Nanatchka. I think the opposite—that he criticized current casting policy without considering that of earlier days.

I can’t comment on Gottlieb’s evaluations of particular dancers, since I haven’t seen the company enough this past season. But I do have a problem with his tone and his arguments.

The most distressing thing about his article, to me, is its prevailing tone of hysteria. I don’t think this helps anyone and may do a good deal of harm. The hostility he evinces towards Peter Martins will surprise nobody who has followed his writing in recent years; in practical effect, however, all it’s likely to do will be to alienate those in power at NYCB, the very same …show more content…

This, too, is a problem everywhere. In NYCB history, there was the prolonged principal career of Karin von Aroldingen, a dancer whose talents were completely unsuited to Balanchines’s ballets but who was a close personal friend of his. Conversely, Balanchine was not overly fond of Violette Verdy, and did not cast her a great deal. He also had a very annoying (to me, at least) tendency to favor a few corps members at a time and give them demi-solo roles in EVERYTHING, year after year, when there were eager, talented youngsters who would have given their eyeteeth for a chance at one of their roles. Martins has abolished this practice and doles out those prized demisolo roles much more equitably. Then there was the case of Chris d’Amboise, who was pushed forward (he danced Apollo!!!) with absolutely nothing to recommend him besides his filial relationship with Jacques. He was, IMO, a much worse dancer than Nilas Martins. The NYCB followers of the time loathed him, and many of the company’s male dancers were outraged at the favoritism he received. And if Gottlieb mentions Darci Kistler as receiving special treatment by her husband, what about Tallchief, Le Clerq, Kent, and Farrell? He also complains that Carla Korbes wasn’t cast as Titania this year. I remember when I yearned to see Stephanie Saland dance her magnificent Swanilda, but Balanchine kept giving every performance of every season to Patricia McBride. The moral is: casting peculiarities will always …show more content…

She was confirmedly anti-Martins by this time, but her review was thoughtful and fair—and very positive. She may have been bitterly disappointed by his stewardship of the Balanchine legacy, but she was a true critic, able to give credit where it was due. If only her admirers would emulate her in that.

Finally, lest I come across as a Martins zealot, let me say that I am far from being one. My opinion of his tenure as BMiC is very mixed. I like the way he’s handled some situations and dislike others. But I think that if we’re going to have a productive dialogue on how Balanchine’s company is to develop without him, we will need to bury personal hatchets, lower the temperature, and discuss issues in a level-headed way. Criticism like Gottlieb’s makes this

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