The Born-Again Balletomane's Blog

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Some thoughts on the Moscow Competition June 20, 2017

Let’s get this out of the way: Joy Womack came in 4th or 5th in the Senior division; she’s now something called a “diploma holder.”  I thought her pas de deux from Don Q. was just fine; I was not surprised that her partner (Mikhail Martynyk) got a special award even though he was not competing.  It looked like he was cutting up just before they went on stage, and he was a total delight.

Joy is technically very, very competent, very light, fleet-footed, and sure.  Other dancers sit on their pointes; she gives a reason for being up there: she doesn’t defy gravity, she just doesn’t need it.  Her sharp features were a perfect complement for the role of Kitri (I believe the way she looks at present, Giselle or some other “soft” role might be a real challenge to accept; it would take real artistry for her to work past that).  It was her characterization that seemed to be her downfall; she needs to take it beyond fan-fluttering.  She also needs to remember that Kitri is in love with Basilo and would not be searching for a camera to smile at.  Other than that, Joy’s a big-league first soloist-level performer, no doubt.  She’s almost there.

In contrast (see below for explanation), Evelina Godunova, the Senior soloist gold medalist, was born that way: she’s very alive on stage, very different; huge personality, which jumped out at the viewer after sitting through so many painfully correct academic performances.  She is a born prima ballerina who expands the vocabulary of the art just by dancing; everything becomes hers.  I hope she won’t spend the rest of her career in South Korea.  Nothing against South Korea, of course, but she needs to be on a big, grand old ballet stage somewhere, one that gets regularly broadcast across the world.

Fifteen-year-old Elizabeth Beyer won the Junior division.  She’s one of what seems to be an upcoming generation of Americans that is stocked so full of potential superstars that it’s going to be very, very hard for any young dancer who was not simply born that way to get anywhere.  We may be in for an age where girls who may have become prima ballerinas in other eras — the ones like Womack who have most of the goods but need to be polished and polished and then polished again before they can be true primas– end up spending their careers in the corps or as soloists.  This is truly amazing to me, someone who studied ballet in a day when it seemed genuinely gifted, “born that way” prima-material dancers were so extremely rare as to seem almost nonexistent.

Elizabeth is charming and bubbly onstage, not unlike Giselle Berthea, and has a killer technique.  No she’s not perfect yet (either she was badly off the music in her Esmeralda variation during the gala, or there was a difference between what she was hearing onstage and what the audience was hearing, or maybe there was a lag in the broadcast feed).  But she’s fifteen.

And as for the choreographers….well, some of them won awards.  I don’t know why.  There seems to be a great big thing with dressing dancers in ugly workout clothes (or else cocktail dresses with black anklets), and sending them on stage to be tangled up with each other for an excruciating number of minutes.  The music is often just there for noise and not at all appropriate for the action on stage, and the action on stage doesn’t use the stage.  It’s just an exploration of how many times and ways a body can be lifted in the least amount of time possible.  They could accomplish it in a small closet, except for the connecting steps which seem to consist of rolling on the floor.

Did I mention that I detest 95% of all modern choreography?

Some nice offstage surprises included the elegant Evgenia Obraztsova doing commentary and interviews.  She and her co-host swung wildly between English and Russian and it was hard to understand their conversation; eventually a translator was at their side.  I’m grateful for that.

P.S. Womack did it again…she just showed up on my Twitter feed claiming to be a “laureate” of the Moscow competition (update on 6/22: she’s apparently deleted the tweet; at least I cannot find it anymore).  This fits in with her well-established habit of stretching the truth (remember when she was calling herself a principal dancer when she was still a soloist?), because strictly speaking, she’s not a laureate of the Moscow competition.  She’s a diploma holder.  See this link.