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  2. Can't say that I blame you!
  3. Personally I admire Peter Martins as a leader in many ways but, for me, programing is annoying. I don't want to spend ticket money on all new/newish ballets but I am curious to see new works. Instead of all Balanchine or even all Robbins I'd prefer one new work on a Balanchine program. When I see a lot of new/newish works on one program the works fail to differentiate themselves in my mind, probably because great works are hard to come by. I realize the problem of having a new work on a program with 3 masterpieces, but still I'd be more likely to buy a ticket for a program in which I was sure that 2 or 3 pieces were ones I could count on and 1 or 2 pieces were a new adventure.
  4. I will be in NY from Texas celebrating my birthday the week of May 15. I don't often get to see NYCB, but this program just did not appeal to me. Maybe I am just old fashioned, closed-minded, whatever, but I will be spending my money on Broadway since there is no Balanchine.
  5. Oh, I think this thread is testament to that.
  6. If Ratmansky was asked the question by text after the interview, I wonder if someone on the editorial side asked for a follow-up question on a hot topic. I'm sure it got them their clicks.
  7. I have a morbid curiosity to see this as well--I'm assuming it was never archived. There must be a bootleg copy somewhere. More constructively : ) , it's useful to watch lesser works of a master and compare them with his greater works--kind of like erasing an artwork pencil stroke by pencil stroke to see how it was constructed
  8. Eh. Men mansplaining. Did no one think to pick up the phone and call a woman choreographer or AD?
  9. Today
  10. I'm not sure that they all three do agree. Could be true, but if so they expressed themselves very poorly. Peck seems to think that women should be, shall we say, educated at an earlier age which will result in more female choreographers gaining important commissions, while Ratmansky doesn't think it's a problem. Two contrasting opinions right there. Wheeldon notes that there's an "imbalance" along gender lines, but shifts the responsibility away from directors, noting that they "love to present the work of female ballet choreographers." Those are actually three somewhat disparate responses (I agree with dirac, Peck's is the most promising.) If they do agree, it's not reflected in what made it into the article. Ratmansky still seems unable to acknowledge that there's a problem at all. I'll give Wheeldon credit for acknowledging it's an "important topic" and that he "supports his female colleagues." I can't really give too much credit to any of them taking for some heat, though, as 1) they're not taking that much heat (and the supportive comments on Ratmansky's page are exceptionally stupid. there's also a supportive comment from Wheeldon himself, so make of that what you will) and 2) This won't actually affect any of the three of them, in terms of reputation or profit margins. They may have a bad couple of days (probably less, hours), then they'll tell themselves they're martyrs at the hands of radical feminists, and this won't even come up in a google search for their names. It won't affect how much work they receive or how any ADs treat them or how any dancers interact with them. It won't reduce their annual salaries. I'll wager it won't even cost them a night's sleep. So call me coldhearted but I'm not crying for these three guys. To be clear these three are obviously not personally responsible for a couple hundred years of inequality in the profession, and (obviously, again) I don't think any of them should be vilified in terms of their character, or blacklisted or harassed. They can and should be criticized, as should anyone, for not understanding a basic reality of a profession they've spent their lives in. (ie, I certainly don't think it's just or fair to roast these guys at the stake for their words, but neither do I think they are in fact taking much heat)
  11. Well they are certainly spending a ton promoting Here Now. I have been getting served the ad 20 times a day at least. Anytime I'm on the NYT website the ad plays on a continuous loop.
  12. Is Georgina Paz back for good, or is she just taking time off from Cats? Also, I will be interested in how heavily attended the Here Now festival is...
  13. Wheeldon posted this today on his Instagram:
  14. So much good stuff here -- it's a topic we seem to come back to often, and with good reason. One of the fundamental problems comes from our European roots -- with the development of pointe work, ballet was seen as an art form where women excelled on stage, but men created the work and institutions that they appeared in. As technique became more gender specific, women tended to teach once they left the stage, but they rarely made performance-level work or ran the companies that presented them, especially as those institutions became embedded in governments. In the US, most of the early work done in ballet was part of a female-oriented, community-based cultural enrichment movement, and many of the sponsoring organizations were led by women. The regional ballet movement of the mid-20th century was also female dominated for most of its early life, but as those organizations became more established, they also started to divide jobs, so that women were teachers and performers, and men were administrators and, often, directors. The Atlanta Ballet is just one example of that process -- their early leadership was mostly female, but as they became more established, that shifted. PNB is one of a number of companies that are overtly trying to develop young choreographers, and it's been noticed here that most of the works from their program have been by men -- when asked about it, several people have mentioned scheduling difficulties as a reason why women don't sign up for the program as often as men do. A couple years ago, when the season finished with Swan Lake, a couple of young women who had made work previously said that they just didn't have the time that season -- they were in rehearsals during most of the available time. Add Toni Pimble to the list of female choreographers working today -- she's run Eugene Ballet and been their primary choreographer for many years.
  15. Clearly it was done to earn cred in the hacker world.
  16. Yesterday
  17. I was thinking of the 70s and Cunningham, Jasper Johns, Rauchenberg, Paxton, Tricia Brown and what made that atmosphere unique. Another difference is that in ballet women are always partnered by men, and presented to the audience by men, while downtown the hierachies are often scrambled, there are all sorts of different combinations and odd numbers and asymmetries (though Ratmansky is doing some of this). But yes institutions and how they are structured – and when they're set up and the time and ethos they represent.
  18. I was wondering why anyone would want to hack a ballet company's website but I think you just answered it!
  19. More from the press release: Special Events LECTURE SERIES & DRESS REHEARSAL Thursday, June 1 Lecture 6:00 pm, Nesholm Family Lecture Hall at McCaw Hall Dress Rehearsal 7:00 pm, McCaw Hall Join Artistic Director Peter Boal in conversation with Pictures at an Exhibition stager and former NYCB principal dancer Wendy Whelan during the hour preceding the dress rehearsal. Attend the lecture only or stay for the rehearsal. Tickets are $15 for the lecture, or $30 for the lecture and dress rehearsal. Tickets may be purchased through the PNB Box Office. PRE-PERFORMANCE LECTURES Nesholm Family Lecture Hall at McCaw Hall Join Audience Education Manager Doug Fullington for a 30-minute introduction to each performance, including discussions of choreography, music, history, design and the process of bringing ballet to the stage. One hour before performances. FREE for ticketholders. POST-PERFORMANCE Q&A Nesholm Family Lecture Hall at McCaw Hall Skip the post-show traffic and enjoy a Q&A with Artistic Director Peter Boal and PNB Company dancers, immediately following each performance. FREE for ticketholders. LISTEN TO THE BALLET PNB partners with Classical KING FM 98.1 to bring listeners some of history’s most popular ballet scores, featuring the Pacific Northwest Ballet Orchestra direct from McCaw Hall. Tune in for a live broadcast of PICTURES AT AN EXHIBITION on Saturday, June 3 at 7:30 pm. Only on KING FM, 98.1 fm or online at YOUNG PATRONS CIRCLE NIGHT Friday, June 9 Join members of PNB’s Young Patrons Circle (YPC) in an exclusive lounge for complimentary wine and coffee before the show and at intermission. YPC is PNB’s social and educational group for ballet patrons ages 21 through 39. YPC members save up to 40% off their tickets. For more information, visit
  20. Part 1 of the press release: PACIFIC NORTHWEST BALLET PRESENTS Featuring PNB premieres of works by GEORGE BALANCHINE – JEROME ROBBINS – ALEXEI RATMANSKY June 2 – 11, 2017 Marion Oliver McCaw Hall 321 Mercer Street, Seattle Center Seattle, WA 98109 June 2 – 3 at 7:30 pm June 2 at 2:00 pm June 8 - 10 at 7:30 pm June 11 at 1:00 pm SEATTLE, WA – For the sixth program of its 44th season, Pacific Northwest Ballet presents the PNB premieres by three of the most significant names in ballet: George Balanchine’s classical La Source is a hybrid work, drawn from several earlier ballets and first presented as a showcase for the legendary dancer Violette Verdy. Opus 19/The Dreamer, by Jerome Robbins, is a much darker work, an emotional and physical marathon with enormous awards for audience and artist alike. PNB Artistic Director Peter Boal performed Opus 19/The Dreamer for most of his career as a dancer with New York City Ballet, and he will be staging it along with La Source for their PNB debuts. The evening comes to a close with Alexei Ratmansky’s ravishing Pictures at an Exhibition. Like the ever-changing Kandinsky watercolors that set the stage, ten dancers move in varying combinations to display a plethora of emotion, from raw and wild to solemn and soulful in this work, which will be staged for PNB by the acclaimed former NYCB principal dancer Wendy Whelan. PICTURES AT AN EXHIBITION runs for seven performances only, June 2 through 11 at Seattle Center’s Marion Oliver McCaw Hall. Tickets start at $30. For more information, contact the PNB Box Office at 206.441.2424, in person at 301 Mercer Street, or online at The line-up for PICTURES AT AN EXHIBITION will include: La Source (PNB Premiere) Music: Léo Delibes (excerpts from La Source, 1866, and Le Pas des Fleurs, 1867, arranged as Naila Waltz, c. 1880s) Choreography: George Balanchine © The George Balanchine Trust Staging: Peter Boal Lighting Design: Ronald Bates, recreated by Randall G. Chiarelli Running Time: 24 minutes Premiere: November 23, 1968, New York City Ballet George Balanchine loved the music of Léo Delibes, considering him one of the three great composers for ballet, along with Tchaikovsky and Stravinsky. Balanchine returned to the music of Delibes throughout his career. La Source is a hybrid work, drawn from several earlier Balanchine ballets and first presented in 1968 as an extended pas de deux for Violette Verdy and John Prinz. The legendary Verdy was a seasoned artist with piquant technique and theatrical flair, while Prinz was just coming into his own as a dancer. In 1969, Balanchine added dances for a second ballerina and eight women from his 1965 Pas de Deux and Divertissement (which itself was an extension of his 1950 Sylvia: Pas de Deux) and a revision of his “Naila Waltz,” choreographed in 1951 as part of Music and Dance, a presentation by the National Orchestral Society at Carnegie Hall. Reminiscing about La Source, Verdy wrote, “Mr. B’s idea of France in La Source was almost a platonic ideal of the French. It was France through the eyes of an educated person from St. Petersburg who remembered how much France and Russia had in common and how much France brought to Russia with Catherine and the tsar and all the artists that came to St. Petersburg—Petipa, Didelot, the builders, and the constructors. The city is built like a beautiful theater, like Paris is a theater. …For me, dancing La Source was being home once more. The movements Mr. B gave me and that music—they are like family, they are in my genes.” The 2017 Pacific Northwest Ballet premiere of George Balanchine’s La Source is generously underwritten by Bob Benson. The works of George Balanchine performed by Pacific Northwest Ballet are made possible in part by The Louise Nadeau Endowed Fund. Opus 19 / The Dreamer (PNB Premiere) Music: Sergei Prokofiev (Violin Concerto No. 1 in D Major, Op. 19, 1915-1917) Choreography: Jerome Robbins Staging: Peter Boal Costume Design: Ben Benson Lighting Design: Jennifer Tipton, recreated by Perry Silvey Running Time: 23 minutes Premiere: June 14, 1979, New York City Ballet Jerome Robbins choreographed Opus 19/The Dreamer for Mikhail Baryshnikov in 1979, at the end of the single season the famed Russian dancer was a member of New York City Ballet before becoming artistic director of American Ballet Theatre in 1980. The double title refers both to the ballet’s music—Prokofiev’s first violin concerto, composed on the eve of the October Revolution—and its moody protagonist. The score is haunting, dreamy, and ethereal. The dance recalls the atmosphere of earlier Robbins ballets, Facsimile (1946) and Age of Anxiety (1950), both with music by Leonard Bernstein, which explored the psychology of the human experience and whose companions walked a grey line between reality and imagination. Baryshnikov, who partnered ballerina Patricia McBride at the premiere, has suggested an autobiographical tone for Robbins’ dreamer: “He’s a bit of an outsider, a bit of a loner, a bit of a thinking man; there’s a bit of action, a bit of unrealized romance, which is very much Jerry’s life.” Peter Boal danced the role of the Dreamer and chose the ballet for his retirement performance at New York City Ballet in June 2005, partnering Wendy Whelan. He remembers, “Jerry and I worked for endless hours on Opus. The ballet was very dear to him and he entrusted it to very few after Misha. During rehearsals, he spoke of the ethnicity of the music and, in turn, the choreography, referring to Russian peasants and Slavic folk dances. The movements were at times grounded and tribal and alternately manic and meditative. I felt I always gave 100% in everything I danced, but for Opus Jerry wanted more—a level of physicality and commitment that was almost beyond human ability.” The 2017 Pacific Northwest Ballet premiere of Jerome Robbins’ Opus 19/The Dreamer is generously underwritten by Marcella McCaffray. Opus 19/The Dreamer is performed by permission of the Robbins Rights Trust. Pictures at an Exhibition (PNB Premiere) Music: Modest Mussorgsky (1874) Choreography: Alexei Ratmansky Staging: Wendy Whelan Costume Design: Adeline André Lighting Design: Mark Stanley Projection Design: Wendall K. Harrington, using Wassily Kandinsky’s Color Study: Squares with Concentric Circles (1913) Piano Soloist: Allan Dameron Running Time: 35 minutes Premiere: October 2, 2014, New York City Ballet Alexei Ratmansky is quickly becoming the most prolific and diverse choreographer working in classical ballet today. From his painstaking reconstructions of 19th-century classics by Marius Petipa to his revitalization of Soviet-era story ballets to his growing repertory set to the music of Dmitri Shostakovich to his collection of works made for American Ballet Theatre (ABT, where he is artist in residence), New York City Ballet, Miami City Ballet, and elsewhere, Ratmansky is everywhere. Any given night might see performances of his works by two or three or more companies around the globe. Pacific Northwest Ballet has three of them: Concerto DSCH (from the Shostakovich set), Don Quixote (a Petipa classic), and now Pictures at an Exhibition, an utterly unique dance made for New York City Ballet in 2014 and set to Modest Mussorgsky’s signature work in its original version for solo piano. Writing in The New York Times after the ballet’s premiere, critic Alastair Macaulay stated, “‘Pictures at an Exhibition’ is surely the most casually diverse work Mr. Ratmansky has created, but it gathers unstoppable momentum. The 10 dancers—five women, five men—started out in informal home-theater mood, almost as if they were playing charades. Some dances, including the first solo, had a wild, improvisatory, part-stumbling, part-inspired quality. (The tailor-made nature of the ballet’s solos reflects one of Mr. Ratmansky’s greatest gifts: Dancers are vividly, individually, intimately revealed.) In certain numbers the dancers—here on all fours, there gesturing—seemed to enact or refer to private stories. Other sections shifted toward a classicism of long lines and academic steps. Some ensembles were largely about camaraderie; others about geometry, harmony, meter.” Dance writer Michael Popkin explained further: “Not just a rendition in dance of Mussorgsky’s famous work of the same name, the ballet was also functionally a tribute and apotheosis for NYCB’s retiring star, Wendy Whelan” (danceviewtimes). Pictures at PNB marks Whelan’s first project as a répétiteur, or stager, the individual who teaches an existing ballet to a new cast. She will have worked with PNB’s dancers for a total of three weeks heading into the Company premiere on June 2. Ratmansky himself, on a brief break from ABT’s New York season, spent two days coaching the ballet after it had been taught. In addition to Whelan, Ratmansky’s team of collaborators includes renowned projection designer Wendall K. Harrington, whose visual musings on Wassily Kandinsky’s watercolor, Color Study. Squares with Concentric Circles, provide animated counterpoint to the dancers’ moves. Fashion designer Adeline André’s costumes echo Kandinsky’s colors and shapes, while Mark Stanley’s lighting joins all of these components to create a unified whole. Popkin continues: “The ballet tracks the score’s scenario, its action unfolding as a suite of dances before vibrantly colored backdrops. In this 1874 composition, Mussorgsky commemorates the premature death of a friend, the painter Viktor Hartmann, in a tone poem depicting a stroll through a gallery of his pictures. The music, in 16 short sections, alternates tone pictures of some canvasses with a repeating march—labeled ‘Promenade’—that recurs in different musical meters and lets you imagine that you’re strolling from picture to picture. As the promenades segue from conventional to elevated over the course of the entire piece, the composer’s emotion becomes evident: The work is increasingly shot through with his love for his friend and the artistic resolution of his grief.” The 2017 Pacific Northwest Ballet premiere of Alexei Ratmansky’s Pictures at an Exhibition is generously underwritten by Patty Edwards. Notes by Doug Fullington.
  21. L.A. Dance Project has acquired a 5 year lease on a rehearsal and performance space. No simple task in Los Angeles. It's a big step for the company. '[Millepied] said that the raw space would be equipped with a full lighting plot and modular seating. “We’ll be able to create work and rehearse with lighting, which is a major luxury,” he said. He added that he planned to program multidisciplinary performances and events year-round, have classes and workshops, and offer the space to other artists and ensembles when the troupe is on tour. “There is an amazing amount of talent in Los Angeles, but a lack of infrastructure, and rehearsal space is at a premium,” he said. “I’ve seen firsthand how expensive it is to self-produce, so I want to offer local artists residencies and performance opportunities.”'
  22. I find it more than ironic that Max and Irina are no longer invited to ABT's spring season opening night galas, yet the Times chose to accompany the article with a photo of them performing at the opening night gala five years ago. I saw Irina in the Encores! production of On Your Toes four years ago, and her natural ability at comedy was a revelation, her dancing, of course, superb. It's a pleasure to know that her career on TV is flourishing.
  23. Given how sleek and up-to-date ABT's website is I imagine that pulling this off was quite a challenge.
  24. A long and varied career, including the Talking Heads concert film Stop Making Sense, which is one of my all-time favorite films.
  25. Yeah, that's crazy. I hope our credit card information is safe. I know the ticket sales go through the met opera system, but what about the membership dues and such?
  26. Wow, very cool pics! Thanks for posting, Pherank!
  27. I just noticed this on ABT's site in the "Inside ABT" section: 4/20/17: HACKED BY [NEO] / TURKHACKTEAM. All seats $25. Türk Hack Team Hacked by [NEO] Hacking de bir Sanattır , Saygı duy ! [Google translate: Windows 10'a Hackers Show Even Respect!"] There's a large emblem underneath this writing; check out the link below. I stared at this for a few minutes wondering what I was missing (their website is not very modern). But, this does appear to be a hacking job. I don't see anything else awry on the website but I've only looked at a page or two. If this was really posted on 4/20, then ABT must be having a hard removing it. Thoughts?
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