Curtain Up: The School of American Ballet Workshop Performances
Friday, December 12, 2014
The New York City Ballet and Live From Lincoln Center are old friends and colleagues. The Company made its first appearance on our series in January 1978, exactly two years after our launch with a concert by the New York Philharmonic. Since then we have been fortunate to count the New York City Ballet among our most cherished collaborators, beginning with “Coppelia” and continuing with many of the beloved classics of the ballet repertoire. Our next program, on the evening of Friday, December 12, will offer a different aspect of the Balanchine legend, the 50th Annual Workshop performance of the renowned School of American Ballet.
Lincoln Kirstein, Rochester-born scion of an American department store family, was a lover of ballet from his early adulthood. He harbored many dreams: the creation of a great new ballet company; the infusion of new works into the performing repertoire; the creation of a school in which highly talented dancers would be taught by the greatest dancers and choreographers of the era. He undoubtedly did not know it at the time, but all his dreams would eventually come true starting the day in 1933 when he met choreographer George Balanchine in Paris. Russian-born and trained, Balanchine was already a force in the ballet world. And by force of his own personality Kirstein persuaded Balanchine to join forces with him, come to America, and create a world class ballet company together.
But before a ballet company could take hold, Balanchine needed the talent to fulfill his ambitious vision. The first product of the Kirstein-Balanchine collaboration was in fact the creation, in 1934, of the School of American Ballet. True to Kirstein's vision, the School quickly became the magnet for aspiring young dancers. And Balanchine, for his part, created his first choreography in the United States, “Serenade,” as a workshop piece for students at the School. The following year the team of Kirstein and Balanchine brought together a company of dancers who toured the U.S.A. under the group name The American Ballet. For three seasons the group was also the resident ballet company of the Metropolitan Opera. It was during that period that Balanchine presented his choreography for three scores by Stravinsky, the living composer for whom he created three of his most enduring ballets: “Apollo,” “Le baiser de la Fee” and “Card Game.”
The team of Balanchine and Kirstein came together once again, this time in 1946, to form Ballet Society, out of which----two years later and in collaboration with New York's City Center---emerged the New York City Ballet, with its home at New York's City Center (formerly the Mecca Temple) on West 55th Street. For more than 35 years, until his death in 1983, Balanchine served as the Company's Ballet Master in Chief, creating dozens of new works set to the music of history's finest composers. A signal event in the history of the Company occurred in 1954 when Balanchine introduced his choreography for Tchaikovsky's “The Nutcracker” as a Holiday celebration for the Christmas Season. This was an instant success and served to inspire ballet companies all over the country---indeed all over the world---to follow suit. “The Nutcracker” and the New York City Ballet are inextricably tied together and the nearly month-long series of performances have long since been a highlight of Christmas-time in New York.
In the early 1960s, when the New York State Theater (now named the David H. Koch Theater) arose as part of Lincoln Center on Manhattan’s Upper West Side, the New York City Ballet became one of its constituent institutions. Here, for an annual season of 23 weeks, the New York City Ballet performs under the artistic leadership of one of its former principal dancers, Peter Martins.
Throughout the long and inspirational alliance between Kirstein and Balanchine the original project that brought them together, the School of American Ballet, has flourished. Now housed in another building of the Lincoln Center complex, The Samuel B. and David Rose Building, the School has an enrollment of more than 350 hopeful young dancers from all over the United States and from around the world. Eagerly anticipated features of the School’s annual activities are public Workshop performances that take place in yet another of Lincoln Center’s buildings, the Peter Jay Sharp Theater. They are designed to showcase the ongoing excellence of the School's activities and are the full package, with costumes, scenery, lights and a symphony orchestra.
This, then, is the special event that awaits us on our next Live From Lincoln Center program scheduled for Friday evening, December 12. As always I urge you to contact your local PBS station to learn the exact date and time in your area.
"The Nance" Starring Nathan Lane
Friday, October 10, 2014 (PBS Arts Fall Festival)
Nathan Lane delivers the performance of a lifetime as Chauncey Miles, a burlesque performer of the 1930s who specializes in playing gay men for laughs - at least onstage.
Beane, Lane and director Jack O'Brien return to Lincoln Center to reflect on the significance of the Broadway production and its broadcast on PBS, in an expanded version of "The Nance in Conversation." Highlights of this conversation were featured at the end of the telecast.
Also, from PBS SoCal's arts series LAaRT, Nathan Lane sits down with the remarkable playwright Douglas Carter Beane to reminisce, re-cap and regale with stories from working together on “The Nance.”
MARTIN BOOKSPAN was Commentator for Live From Lincoln Center for 30 years, since its very first broadcast in January, 1976 until our 30th Anniversary broadcast in 2006. Martin's lifelong love and appreciation for music and all the performing arts have fueled and shaped his distinguished career in both print and broadcast media, which has included associations with the Boston Symphony, the New York Philharmonic, classical music radio station WQXR, and television Channel 7 News and Channel 11 News in New York City. He is the author of 101 Masterpieces of Music and Their Composers (Doubleday) and Consumer Reports Reviews: Classical Recordings (Consumers Union), as well as biographies of Zubin Mehta and André Previn, written with Ross Yockey.