Stiefel – Closure

Before Ethan Stiefel became a brilliant ballet dancer, he was a founding member and front man for The Eagles.  (Shush - we're creating folklore here.)  But all he wanted to do was dance.  He led a Life in the Fast Lane, often chased by Twyla Tharp and Stevie Nicks, which took him to Hotel California and down to The Sunset Grill where he was easily recognizable with his hair combed back and sunglasses on.  He never stopped a moment to Take It Easy, and all too soon it was the End of Innocence along with a couple of joints and vertebrae. 

Stiefel's performances became fewer and fewer and sometimes he cancelled full seasons in New York.  His performing career at ABT has wound down close to a stop for the past few years, and this week marks its closure with two scheduled performances of Ali in Le Corsaire along with some of our other favorite Boys of Summer.  It will truly be the end of an era as ABT finally turns the role of Ali over to the competition circuit with its smileys and grins and constipated pace. 

This week many will reflect on Stiefel's memorable performances not only at ABT but also at NYCB where he danced much of that company's famed repertory including Apollo, The Four Temperaments, and Symphony in Three Movements.  His ABT Tharpian chapters will live on in memory as will individual pages in his career such as his Albrecht to Amanda McKerrow's final Giselle, his Oberon to Alessandra Ferri's Titania, his Ballet Review cover where he held the American flag during bows right after 9/11.

Now Artistic Director at The Royal New Zealand Ballet, Stiefel is in the midst of a moderate length contract that will probably keep him mostly out of town – but not off our radar – for the next couple of years.  Meanwhile, ABT seems to be sinking under the sludge of imports and uninspired artistic direction.  But as we all know in this city, all that could change in a New York Minute.

 

Comments

[Ted]

"Meanwhile, ABT seems to be sinking under the sludge of imports and uninspired artistic direction. "

What are you talking about. The sludge as you cal it included Cojocaru who I saw in The Dancer and I thought she was great. As for home grown. I saw the Boylston/Simkin debut in Swan Lake and I liked that too. I saw The Pirate tonight with Stiefel. What a stupid ballet. But it was still fun in parts. Except that boring third part with the kids and the flowers. That sucked.

[Haglund]

Hi Ted! Glad to hear that you were able to get to S.L., B.S., and Le C.

ABT has plenty of ballerinas who exceed Cojocaru technically and would easily do so artistically in roles like Giselle and R&J if they were given as much stage time as Cojocaru has been given by her employer. Frankly, I found her technical compromises in Giselle made it embarrassing for ABT to put her on stage instead of one of its own dancers regardless of the media attention she garners. Nobody should be able to walk into ABT as a so-called guest artist and not be at the top of his/her game and not be at the pinnacle of classical ballet. Osipova is as much a classical dancer as Olive Oyl.

[Ted]

I don't know much about the technical aspects of ballet.

So whether I like someone or not isn't usually a function of comparing the technical moves of one world class dancer verse another. So Cojocaru stood out for me for other reasons that I'm not sure I can articulate. Something about her...Or maybe I just liked my seat that night. Or the fact the no one near me was clearing their throat incessantly. Or clapping at every twist and turn and yelling Brava (even more annoying than Bravo). Or the music. Just a few of the things having a greater impact on my enjoyment then what you might be looking at.

Osipova I saw in Firebird, Onegin, Le Bayadere and The Bright Stream. She makes weird faces.

[Haglund]

Hi Ted. All of those things you mention seriously impact anyone's enjoyment. Let me add to your list: children wearing flashing sneakers. What are their parents thinking?

[Ted]

Like tonight. I has an otherwise nice seat in the orchestra. But the guy in front of me was very tall. That is real world factor effecting the show for me. Apart from that, good show except for the last act which I don't care for. Maybe not as good as last night though.

[Ted]

I forgot to add. Sarah Lane should be promoted to principal on looks alone. That girl is hawt. She can dance too.

[Haglund]

Hi Ted. Lots of people avoid the orchestra for just those types of reasons. You never know what kind of head or big hair will be right in front of you.