Comments on: You Can Trust Your Car to the Man Who Wears a Star

By: Michael McDonagh

Michael McDonagh — Tue, 19 Feb 2008 10:08:56 +0000

Pls forgive . Should have been — ” The Stephen Sondheim of his time. “

By: Michael McDonagh

Michael McDonagh — Mon, 18 Feb 2008 20:22:02 +0000

I am. Balanchine was great, but over-rated. The Stephen Sondheim of our time. Sorry.

By: Helen R.

Helen R. — Mon, 18 Feb 2008 05:55:20 +0000

“Would that Balanchine’s 1967 mostly general dance, Diamonds, from Jewels, were as successful or interesting as the two dances which preceded it.”

You can’t be serious. My jaw is dropping.

By: Michael McDonagh

Michael McDonagh — Thu, 14 Feb 2008 21:53:23 +0000

Dear Andrew Thanks for your thoughtful comments. Though “Diamonds” was obviously an apotheosis of classicism in ballet, it seemed to belabor its points ( pointes ? ), and went on far too long. But Tchaikovsky is always a pleasure. Thomson’s music was always unique, and far more original than Copland’s, which is school of Stravinsky if you will, while his is school of Satie. Filling Station was, according to Virgil Thomson by Virgil Thomson, big hit in his lifetime, though I think you’re right in saying that it’s infrequently performed now. And this revival — my first enocunter with it — seemed to do it proud. All thanks agin. Michael McDonagh

By: Andrew

Andrew — Wed, 13 Feb 2008 18:37:16 +0000

Perhaps there was something wrong with the “Diamonds” performance?

The ballet itself is a miracle, a complex and multi-faceted exploration of classicism in ballet. It is one of Balanchine’s very greatest works, capturing his inspiration in peak form. It can be watched endlessly.

At NYCB, even when it is clear that the dancers are under-rehearsed, “Diamonds” always makes an overwhelming impact.

Two or three or four years ago, I attended a staging of “Filling Station”, conducted by David Alan Miller. I cannot recall whether the performance was in Minneapolis or Baltimore (I am at the office, and cannot consult old programs). However, it was immediately apparent why “Filling Station” is seldom staged now. It will always remain a curiosity, not a repertory work.

However, Aaron Copland was clearly familiar with the score for “Filling Station”, and used it as a model for his own “Americana” ballets (to the point of grand larceny, as Thomson himself was always keen to point out).