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Gia Kourlas Interviews Janie Taylor

For TimeOut. A wonderful interview, in which Taylor speaks of what drives her to dance, as well as the illness that has made dancing so difficult in the past few years. She also talks about how Sébastien Marcovici proposed to her, backstage, in her Liebeslieder Walzer costume—who wouldn’t want to be proposed to in such a costume!

“We were dancing Liebeslieder [Walzer], and we both love that ballet. It was funny because he was nervous. I actually had strained my calf two days before and I didn’t know if I was going to do the show, but I was doing it and I remember right before we started—we all get into waltzing position while the curtain is down—he was like, “I feel like I’m going to forget all the steps!” I was like, “What are you talking about? I’m the one who can barely walk!” [Laughs] His parents were in town, and he had told me before the ballet, “Don’t get out of your costume, just come to the door, my parents are going to come back.” He was running around backstage, and he kept going, “Janie, come over here!” I was like, “I’m talking to somebody—what is wrong with you?” He pulled me over and my family was there, too. He had told them. And then he just started proposing and I think I was like, “What?” But it was exciting. He had been planning it for six months. He wanted me to be wearing the costume. [Laughs] We love those costumes. “

Lauren Lovette in “Rubies”

With Anthony Huxley, back on Oct. 20, at New York City Ballet. In the midst of a rather lackluster gala program, she shone out like a black pearl, with a mix of sultriness and delicacy.

photo by Paul Kolnik.

 

“Black and White” Ballets at NYCB (DanceTabs)

Here’s my of the Stravinsky/Balanchine “Black and White” program at NYCB (Stravinsky Violin Concerto, Monumentum Pro Gesualdo, Movements for Piano and Orchestra, Duo Concertant, Symphony in Three Movements.”

And here’s a little excerpt from the beginning:

“Ive noticed two troubling trends this season at New York City Ballet. Perhaps they are connected. The first is the creeping tendency toward stolid tempi from the pit, especially under the baton of Clotilde Otranto. The other is a kind of disconnect in the way different types of ballets are performed. The more percussive, high-intensity Modernist works (like Symphony in Three Movements and Agon) are as lively and focused as I’ve ever seen them, perhaps even more so. The dancers, across the ranks, are attacking them with a kind of hunger, engaging with the music, the audience, and each other. The audience feels it, too – applause erupts here and there, in lapping waves. But this electricity does not extend to the whole repertory. This unevenness might have something to do with the absence of some of the more vivid dancers in the company – Jenifer Ringer, Jennie Somogyi, Ashley Bouder, Sara Mearns, to name just a few – who are out on leave or injured or coming back from an injury. Some of the more delicate, subtle works, the ones that require the most imagination and nuance, don’t quite add up. The poetry remains elusive.”