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sandik

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  1. sandik

    Is Bournonville Still Alive?

    I'm wondering if the question isn't so much "Is Bournonville alive?" as "Is Bournonville an active influence on the Danish company/school?" Balanchine is alive because the repertory is still performed, yes, but even more so because it matters to the company, and to many other parts of the ballet world. I'd argue that Macmillan, as overwrought as I personally find many of his works, is alive because his work and his choices still influence a significant part of the community. Cunningham is still alive, even though he decided before his death to disband the company -- I see his hand in a multitude of artists.
  2. I'm sorry to have missed the school show this year (too much other dance happening in town in June), and especially sorry to have missed Ross's work -- he's really developing skills at showing young dancers to their best advantage. Like you, I'm mulling over Next Step. My first response is that it was just too much stuff -- between the outdoor works, and the multiple works in the theater, it's hard to keep things sorted out in my head. But there was some wonderful stuff going on in all these places, and I can't tell you what I would be willing to lose, so there it is. In the post-show Q/A, Ross was asked the inevitable question about what's next for the program. He said that he'd like to extend the project to a two-evening run, but I'm wondering if it would be possible to create two different evenings, rather than one marathon program.
  3. Looking forward to seeing them as they appear next season. In the meantime, we can think about who might get promoted...
  4. sandik

    Another new RDB article

    In this, the RDB finds themselves in the same pickle juice with many modern dance companies that were named for or focused on their founder. Bournonville, Balanchine, Limon, Brown, and many more -- none of them are making any more new work.
  5. sandik

    Macaulay on ABT 2018 Met season

    I'm not in a position to observe the ABT audience, but I can look at the company's programming choices and those certainly do seem to be designed to give a limited number of highly skilled dancers the chance to tackle a large, narrative work, and to come back to it again during their career (something that happens far less often in other companies, for many reasons). It makes sense, with that kind of programming, for the company to emphasize the performers, and for the audience to focus on that aspect of the experience. I don't want to get into "yes he did/no he didn't mean that" arguments, but we might want to think of a balletomane as someone who is already knowledgeable about the choreography (especially in ABT's classics-heavy Met seasons) -- the variable, the thing that might be different in this performance, is the dancing itself.
  6. sandik

    Program 5: Celebrating Jerome Robbins

    I love that solo, and he does such a wonderful job with it here. Particularly in the opening section, where he manages to make it all into one long breath phrase. And then at the end, after all the complexity that comes between, he goes back to that simple phrasing. What a wonderful performance.
  7. Gender dysphoria does indeed present itself in multiple ways, and the people who grapple with it have used many different tools, both in the past and currently. One of them is gender affirmation surgery, and thank you for working with that cohort. But as you know, not all trans people choose that pathway. As someone who's watched the Trocks for many years, it's been fascinating to see the company evolve from a group where the cross dressing was the main point of the humor to something much more complex. Part of me wishes that Johnsey hadn't needed to leave the group -- his highly refined sense of classical style was a real asset in the more subtle aspects of their repertory. But as we're constantly reminded, a dancer's performing life is short, and they need to follow their opportunities. I'm looking forward to seeing what happens next for him, and also for the Trocks.
  8. Thanks for the link -- we get to see some great experimental stuff in my community, but not as much of the more conventional documentary works. I need to look out for some of these.
  9. (filling in momentarily for Helene, hope I get this right...) Pacific Northwest Ballet Principal Dancer Karel Cruz to Retire at End of 2017-18 Season. Career to be Celebrated at Season Encore Performance, June 10, 2018. SEATTLE, WA — Pacific Northwest Ballet Artistic Director Peter Boal has announced that principal dancer Karel Cruz will retire at the end of PNB’s Paris tour. A much-respected and admired member of the Company since 2002, Mr. Cruz will devote his post-PNB career to further developing Solu, the professional dancewear line created with his wife, PNB principal dancer Lindsi Dec. He will also continue coaching and giving private lessons to aspiring dancers. Mr. Cruz’s acclaimed career will be celebrated at PNB’s Season Encore Performance on Sunday, June 10, 2018, during which he and Ms. Dec will perform the pas de deux from Alexei Ratmansky’s Don Quixote. (Tickets are on sale now through the PNB Box Office: See “Ticket Information,” below.) “Karel Cruz is the epitome of chivalry,” said Mr. Boal in his announcement. “His thoughtful care of his partners and fellow performers is evident in every role he performs. Though more willing to make sure others shine in the spotlight, when Karel steps forward for his variation, impeccable classical technique and thrilling bravura emerge. Karel has been a mainstay of Pacific Northwest Ballet for many years; Audiences are aware of his tremendous strengths, but they may not know how he helps and mentors fellow dancers and students in the studio. From the roles he dances to the role model he is, Karel is an inspiration. We are so grateful for all he has given us.” Karel Cruz is from Holguin, Cuba, and received his training at Cuba’s Escuela Nacional de Artes. He joined Ballet Nacional de Cuba in 1996 and left in 1998 to join Ballet Clasico de Camara in Venezuela. From 1999 to 2000, he danced with Teatro Teresa Carreno, also in Venezuela. After coming to the United States, Mr. Cruz spent a year at The Rock School for Dance Education (Philadelphia, PA) before joining Pacific Northwest Ballet as a member of the corps de ballet in 2002. He was promoted to soloist in 2007 and principal in 2009. “I never thought my career would end up the way that it has,” said Mr. Cruz. “I have gotten to dance such beautiful ballets I never dreamt I would do growing up in Cuba. I am incredibly grateful and fulfilled with my career at PNB and have appreciated the love and support from our organization, the dancers, our audience, and especially my wife, who has been here with me every moment.” Solu was created by Ms. Dec and Mr. Cruz to give dancers a confident and positive mindset with what they wear. “Being dancers ourselves, staring in the mirror for hours, what we wore to rehearsals made a difference with how we danced – garments that followed the fluidity of our movements and catered to the versatility of jumping, turning, and partnering – were forefront. We wanted to create a line of dancewear for every type of dancer — to provide a unique, edgy yet elegant look to which dancers could relate. We started off with a few different style leotards and have now added men’s tights, and a convertible rehearsal shirt and warmup romper, with many more new products coming in the future. We are proud that our products are made in the USA and we are so grateful for our Solu team that has helped us in spreading the word to wear Solu.” For more information, visit WearSolu.com or on Facebook or Instagram at @wearsolu. Seed money for Solu came from Second Stage, PNB’s career transition program for its company dancers. Conceived in 1999, Second Stage supports PNB dancers in achieving their goals following a career in dance. Its resources allow dancers to take classes, access mentors and vocation counseling, and receive grants. At its inception, only a handful of dancers actively planned for their career after dance. Since that time, Second Stage has provided nearly $950,000 in grants to nearly 200 dancers. For more information, visit PNB.org/aboutPNB, and click on “Second Stage.” TICKET INFORMATION Audiences will have several opportunities to catch Mr. Cruz in performances before the end of PNB’s 2017-18 season. He is currently cast in Christopher Wheeldon’s After the Rain pas de deux, Benjamin Millepied’s Appassionata and Justin Peck’s Year of the Rabbit in LOVE & BALLET, June 1 – 10. PNB’s Season Encore Performance will be presented one night only, Sunday, June 10 at 6:30 pm. The performance will include a special tribute to Karel Cruz. Additionally, he will be dancing in several works during the company’s upcoming tour to Les Étés de la Danse in Paris, France, June 25 – July 7. Tickets to LOVE & BALLET and the Season Encore Performance may be purchased by calling the PNB Box Office at 206.441.2424, in person at 301 Mercer Street, or online at PNB.org. (Schedule, programming and casting are subject to change. For up-to-date casting information, check performance details on PNB.org.) ADDITIONAL ARTIST BIO INFORMATION Karel Cruz has danced leading roles in George Balanchine’s Agon, Apollo, Concerto Barocco, Coppélia (Discord and War), Diamonds, Emeralds, The Four Temperaments, George Balanchine’s The Nutcracker® (Cavalier), A Midsummer Night’s Dream (Divertissement pas de deux, Theseus, Cavalier), Prodigal Son, Serenade, Symphony in C, Tchaikovsky Pas de Deux, and La Valse; Peter Boal’s Giselle (Albrecht); Val Caniparoli’s The Bridge; David Dawson’s Empire Noir; Ulysses Dove’s Dancing on the Front Porch of Heaven and Serious Pleasures; Nacho Duato’s Jardí Tancat; William Forsythe’s Artifact II, Slingerland Duet and New Suite; Paul Gibson’s The Piano Dance and Sense of Doubt; Ronald Hynd’s The Merry Widow and The Sleeping Beauty (Prince Florimund, Gold and Silver pas de trois); Jiri Kylian’s Forgotten Land and Petite Mort; Edwaard Laing’s Für Alina; Stacy Lowenberg’s Rushed Goodbye; Jean-Christophe Maillot’s Roméo et Juliette (Friar Laurence); Benjamin Millepied’s Appassionata; Mark Morris’ Pacific; Margaret Mullin’s Lost in Light; Annabelle Lopez Ochoa’s Cylindrical Shadows; Justin Peck’s Year of the Rabbit; Toni Pimble’s Two’s Company; Crystal Pite’s Emergence and Plot Point; Yuri Possokhov’s RAkU (Samurai); Alexei Ratmansky’s Concerto DSCH, Don Quixote (Basilio, Espada), and Pictures at an Exhibition; Jerome Robbins’ Dances at a Gathering, Glass Pieces, In the Night, and West Side Story Suite (Bernardo); Kent Stowell’s Carmina Burana, Cinderella (Prince), Firebird, Nutcracker (Prince), Swan Lake (Prince Siegfried), and The Tragedy of Romeo and Juliet (Tybalt); Richard Tanner’s Ancient Airs and Dances; Lynne Taylor-Corbett’s Mercury; Twyla Tharp’s Nine Sinatra Songs, Opus 111, and Waterbaby Bagatelles; and Christopher Wheeldon’s After the Rain pas de deux and Polyphonia. He originated leading roles in Val Caniparoli’s The Seasons, Kiyon Gaines’ M-Pulse and Sum Stravinsky, Paul Gibson’s Mozart Pieces, and Price Suddarth’s Signature. # # # Pacific Northwest Ballet’s 2017-2018 season is proudly sponsored by ArtsFund and Microsoft. Special thanks also to 4Culture, Seattle Office of Arts & Culture, The Shubert Foundation, and The Wallace Foundation. Programming subject to change. For further information, please visit: PNB.org. PACIFIC NORTHWEST BALLET 301 Mercer Street Seattle, WA 98109 206.441.2424 www.PNB.org
  10. I made a new topic to make sure people didn't miss this -- they are re-running three of their broadcasts over the summer (Giselle, Ratmansky's R&J, and Swan Lake) -- take a look at the schedule here.
  11. Indeed -- I'm very glad that they've got next steps in mind.
  12. And I felt the need to say "thank you!"
  13. sandik

    Is Bournonville Still Alive?

    He considers himself to be very influenced by his experience in Denmark with the company and that repertory.
  14. sandik

    Anthony Bourdain dead at 61

    When I told my daughter about his death, it was that episode about Congo that she remembered. Almost no one talks about the colonial history of that area -- how miserably they were treated, and how it reverberates to this day.
  15. Many thanks for the excellent pocket description! I would just add that people who identify as trangender may do all kinds of things as they discover more about themselves, or they may do nothing. Some pursue hormone treatment, some pursue various surgeries, some would like to be recognized exclusively as their true gender while others are fine presenting themselves in the world so that you are aware that they are trans. I know that this can be confusing or disconcerting for those of us who really hadn't considered these options, but like any new thing, it will become more familiar with time. Bingo!
  16. sandik

    2017-18 season

    I appreciate the discussion of this, since I'm likely not to see the work. I remember wondering how this would be developed when I first heard about the commission -- McLaren's work with dance was often about showing us things that bodies could not do (speed, spatial displacement). Rather like contemporary music videos that edit movement sequences so tightly that an uninterrupted dance phrase seems unusual, film gives us a difference sense of the body and its possibilities. I'm not sure that live dance is the best compliment to that. On your comment about Orientalism -- I haven't seen Kudelka's Cinderella, but your description reminded me of a similar moment in Jean-Christophe Maillot's version of the ballet. Between the semi-Asian costumes and stereotyped movement, that section felt incredibly dated and uncomfortable to me. I'm wondering how many other productions of the ballet include that kind of reference?
  17. sandik

    2018 Spring Season

    Well, on the one hand, he got a dance rather than a bouquet. But it would be a graceful gesture to give a moment for dancers who are moving to the next adventure. I don't know the policy at NYCB -- at PNB they seem to get to choose. Some dancers prefer not to make much of a fuss, but others are happy to stand in front of their peers for a moment and let us recognize the work that goes into the career, whatever your rank.
  18. You put your finger on it -- he was both an example of his early times, and then a commentator who stood apart. In some ways, he reminds me of the Stage Manager in Our Town.
  19. sandik

    Anthony Bourdain dead at 61

    CNN ran an appreciate of Bourdain last night, including interviews with many of his colleagues at the network and lots of excerpts from his "Parts Unknown" series. Those kind of eulogies lean towards hyperbole, but in this case, many of the superlatives were just truth.
  20. It was such a lovely moment, that and when their son came out with flowers at the end of Dec and Cruz's Don Q pas. Major "ooooohhh" from the audience.
  21. sandik

    Misty Copeland, Part Deux

    I'll be looking for both of these -- thanks for the heads-up, and the link to the review.
  22. sandik

    Ballet Now

    Thanks for finding this and posting it. I saw the film last week, and enjoyed it thoroughly. Lots of rehearsal footage, for those of us who love that part, and for Peck fans, lots and lots of her -- running rehearsal, making choices with all sorts of people in the process, and a lot of just plain running back and forth -- she was the boss of all she surveyed, pretty much, and wearing that many hats was a big challenge. Sillman asks her if she's thought about an artistic directorship job after she's done performing, and Peck was very positive about the idea.
  23. sandik

    Ballet Now

    Documentary featuring Tiler Peck (who fills multiple roles in performance and production) is opening at the Seattle International Film Festival this Monday. Pointe Magazine has the trailer here -- Michelle Dorrance and Bill Irwin!
  24. sandik

    Love & Ballet: June 1-2, 7-10

    Sounds great -- the dance calendar is so full this month that I'm missing all kinds of things, and I'm so glad to get this report!
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