Senior Member
  • Content count

  • Joined

  • Last visited

About lmspear

  • Rank
    Bronze Circle

Registration Profile Information

  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    former student, avid fan, once fantasized about being a critic
  • City**
    Washington, DC
  • State (US only)**, Country (Outside US only)**
  1. Whenever dynamic pricing sets in.
  2. Sounds like an audition for the Macy's Thanksgiving Parade!
  3. 🍾🍾🍾 Bravissima!!!
  4. You read my mind. I think the audience was ready for humor. ABT was here with Swan Lake a little while ago and people may be cried out and not willing to spend more on a tragedy.
  5. My childhood was pre-VCR and I learned the story from a collection of Andersen tales. Before her transformation the witch tells the little mermaid that every step will feel like she is walking on sharp knives. She wanted the human experience and agreed to suffer for it even though her desire for the prince's love might never be satisfied. I was in second or third grade and my heart ached for her. "The Princess and the Pea" and "Thumbelina" provided lighter moments and then there was "The Little Match Girl" . . . By the way, Pherank, the Trocks played to near capacity houses with a very enthusiastic reception in the same theater last week.👸
  6. The offer has been extended for all remaining performances. You can click the link below, scroll down to Hamburg Ballet, click “buy tickets” and your discount will appear automatically. If you call or stop by the Box Office for the discount, be sure to mention Offer Number "255778." Hamburg Ballet
  7. For today and tomorrow The Kennedy Center is offering tickets at the special price of $35.00 for orchestra seating for the performance of the Hamburg Ballet: John Neumeier’s The Little Mermaid in the Opera House for Tues., and Wed., March 28th & 29th at 7:30 PM. · You can click the link below, scroll down to Hamburg Ballet, click “buy tickets” and your discount will appear automatically. If you call or stop by the Box Office for the discount, be sure to mention Offer Number "255778." See you at the Kennedy Center! Hamburg Ballet Hamburg Ballet: John Neumeier's The Little Mermaid Tuesday, March 28, 2017 - Sunday, April 2, 2017 Returning for the first time in 13 years, the company performs the D.C. premiere of John Neumeier's adaptation of the Hans Christian Andersen fable. This stunning production is a darker meditation on love, loss, and alienation. About THE LITTLE MERMAIDMusic by Lera AuerbachChoreography, staging, set, costumes, and light design by John Neumeier with the Kennedy Center Opera House Orchestra conducted by Luciano Di Martino "Scenic sumptuousness… magnificent lighting, set, and costume designs"--Los Angeles Times "Vividly striking… the Mermaid is a unique role for a ballerina."--The Financial Times Hans Christian Andersen's beloved tale of love and loss comes to life in this bold retelling. Following its auspicious 2004 Kennedy Center debut with the mesmerizing Nijinsky, Germany's Hamburg Ballet returns with the D.C. premiere of another ambitious work by John Neumeier, the company's American artistic director who is internationally renowned for creating psychologically complex stories that straddle the worlds of drama and dance. Neumeier's modern vision for The Little Mermaid is a dark, probing exploration of a young woman who risks everything--rejection, alienation, even physical pain--to follow her heart. Contrasting her fanciful underwater world with the challenges of life on dry land, the ballet also masterfully interweaves elements of Andersen's own biography, making the writer a figure in the narrative. Inspired in part by traditional Japanese theater, the expressionistic sets and costumes, angular choreography, and evocative score by acclaimed contemporary Russian composer Lera Auerbach put the finishing touches on this daring production. Recommended for age 10 and up.Performance Timing: Act One - 80 min.; Intermission - 25 min.; Act Two - 50 min. Note: Composer Lera Auerbach will sign copies of her book Excess of Being in front of the Opera House following the 7:30 p.m. performances on Tuesday, Mar. 28.~~~~~~~~~~~~~~~~~~~PRINCIPAL CASTING (subject to change)~~~~~~~~~~~~~~~~~~~Mar. 28, and 29 at 7:30 p.m. & The Poet: Lloyd Riggins The Little Mermaid/His Creation: Silvia Azzoni Edvard/The Prince: Carsten Jung Henriette/The Princess: Carolina Agüero The Sea Witch: Karen Azatyan
  8. This is an ancient memory and I don't have access to the source material, so please forgive me if I'm wrong or unclear. Brendan Gill's history/memoir "Here at the New Yorker," described the magazine during the William Shawn years (1952-1987 per Wikipedia) as an outlet where writers, including critics, were given as much space as they wanted to write about whatever they wanted to write about, as often as they wanted to write. That was the New Yorker I grew up on.
  9. Thank you both, Sandik and Drew. It was a pure aha moment that bubbled up from the depths of my long term memory. I can't remember the last time I thought of Rainer. I believe she would have said "no 😠" to stars of any kind.
  10. During the opening scene the phrase "No to virtuosity" popped into my head, and I briefly couldn't remember where it came from. And then I got it--the No Manifesto, Yvonne Rainer--it's a post-modern movie musical. More than anything else it triggered and longing for the musicals that inspired it.
  11. I've also heard the ballet dancer's use of turnout during life outside the studio referred to as dancer's walk.
  12. The zeitgeist feels ripe for a revival of Arpino's The Clowns. http://articles.latimes.com/1987-04-19/entertainment/ca-1694_1_clown
  13. www.abebooks.com consolidates listings from used book sellers. Here's the search results for Shearer's book on the site: https://www.abebooks.com/servlet/SearchResults?sts=t&an=Moira+shearer&tn=Balletmaster&kn=&isbn=
  14. I fell in love with this book when I found it in the library way way back when. There were many reproductions of lithographs of the romantic era ballerinas. Parmenia Migel, The Ballerinas. From the Court of Louis XTV to Pavlova (New York: The Macmillan Co., 1972)
  15. I got to see the Wed. and Fri. performances. The only comment I'm going to add is about casting. After seeing Shklyarov and Latypov, I think the Mariinsky management seriously goofed by sending only one principal dancer. They overestimated the appeal of the company as box office draw without the charisma of their star dancers. Even if you didn't know Shklyarov was a principal, you would have felt drawn into his world. His adventures seemed real and and ridiculous and consequential. Of course there are wonderful dancers at all levels of the company. In the internet age, with our access to reviews and articles from around the world that our smartphones can translate for us and videos, the ballet fanatics can make an informed choice about matching casting to their tastes and casual fans have a sense of which dancers have the "it factor" that will tempt them to purchase tickets. Minus the selection of repertory that draws or dancers that entice both devotees and dilettantes, there will be empty seats in the theater, even for the glorious Mariinsky.