AGON Man's Variation (NYCB and NYCB)

I thought it might be interesting to compare the solo man's variation from the first Pas de Trois in AGON, starting with an excellent performance by Peter Boal (New York City Ballet) from a 1993 TV broadcast, and then Yan Godovsky's Bolshoi Ballet live performance from 2004; which I staged. They're virtually identical except for a few things. When I danced this in NYCB for Balanchine he wanted me to do the grand jete classically, (Todd Bolender, the original dancer in this role did it the same) but later he changed it to a flex foot second position jump as Peter Boal does it. Mr. Boal had the advantage of being trained in Balanchine's school, SAB, and dancing many of his ballets. In contrast, Mr. Godovsky had not danced Balanchine before and was trained in the thoroughly Russian (Vaganova), tradition. The other slight difference is the preparation before the circle jumps, but every dancer I ever saw took a slightly different pose, and that was fine with Balanchine. The other small difference is the slight hip twitch after the second jump where the man twists his foot on the floor. We called this the, "Putting out the cigarette" step, for the obvious reason). I noticed Todd Bolender did this "twitch" but it had long been lost, so I put it back in for my staging. It's fantastic how Balanchine's ballets can be danced so well after so many years apart, and by two very differently trained dancers.

[@rochelgrundman9936]

It is so lovely to see the passion ‘from the tip of his fingers to the tip of his toes’ in Peter Boal’s interpretation of the variation. And the use of every aspect of his physique. I love that about Balanchine/SAB trained dancers. They are so in touch with their expressive sensuality and not afraid yo use it! That makes for a riveting performance. Mr. Balanchine understood how to get the fire out of his dancers creativity (when he asked for it 😎)

[@kxs7267]

Fantastic comparison, and your historical/technical notes really add an extra dimension. Would have been great to see you dance it, too.
Fascinating how that one step change you mention seems to me to set off a subtle change in mood between the two versions. Or maybe that's just their personal styles and traditions showing through?
Anyway, many thanks for this!

[@kerrytakashi12]

I always love those jazz notes Balanchine added to his choreography. The isolations and hip swings. All that is completely lost now. The second version has a strange classical look that completely misses the special moments that were put into the steps.

[@jcliff26]

Excuse me but tte Hip twitch is missing from the 1st solo, not the second.

[@kerrytakashi12]

@@jcliff26The percussive elements are in the first performance. The second was an attempt but the dancer cleaned it up. It was more of a psychological pullback on the dancer’s part rather then technical.

[@jcliff26]

@@kerrytakashi12 You’re reading way too much into it. The 2nd boy had never danced Balanchine before and this was his first performance. The first boy was brought up in Balanchine’s school and company. The only difference I see is possibly first boy is a tad more confident. Also the orchestra was not good for second boy which can make a huge difference.

[@hae-jungaliciakoh18]

♥♥♥♥♥♥♥♥♥♥♥♥

[@Love_Taiwan_Democracy]

Btw I thought the 2nd one is from Mariinsky?

[@jcliff26]

No. Bolshoi from my 2004 staging.

[@amychibeau5092]

I see a huge difference between the two interpretations... I'm not qualified to speak on Balanchine Style (TM) but the arms and style of the body from the waist up on the second dancer put a very different spin on the energy of the movement. The first dancer's movement signature seems more in line with the [few] other interpretations of this solo that I have seen. Bolender had been a Modern Dancer as well as Ballet dancer, right? (or am I thinking of someone else?) Would that have changed the way his back and arms related to each other? (Any way to fix the aspect ratio on the Boal video? the horizontal distortion is perhaps affecting what we see)

[@jcliff26]

You're not taking into account that Peter Boal (first man) was trained at Balanchine's school, was in his company, and had danced this solo many times. The second man was trained and danced at the Bolshoi, and this was the first time he had danced Balanchine, let alone something as musically difficult as this. Taking that into consideration, I think it's practically a miracle he did as well as he did.

[@lauralutz4538]

They charge money for this or it’s free?

[@jcliff26]

Not sure I understand what you mean. Whole ballet is free on UA-cam.

[@GariGold]

I love comparing solos by different dancers. This is so clear in contrast for me. Stunning is the full on formal prep in tendue for the ménage at 2:06 that’s not present in Mr. Boal’s performance. I’ve always loved the Balanchine hip and foot “ornaments” I’m not sure what to call them, and one can note the differences in execution really are telling in training and even dates. Thanks for this thoughtful post.🙏