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Everything posted by JumpFrog

  1. SF Ballet Announces 2017–18 Roster

    Thank you for this pherank lol. I must admit i have thought the same. Sometimes when I look at what Paris is doing I feel the same. Its all a bit much somehow.
  2. 2016-17 season

    I am surprised ^that^ made it through the publicity department. :/ Did anyone else see Swan Lake? I have now seen each cast and can say that I really enjoy the production. As I mentioned before I found the Hawes/Gerty cast magical. Watts as Rothbert was wonderful. I had high hopes for the Lunkina/Mckie cast but was left pretty unmoved. She I thought was known for the classics? I did hear after that she wasnt well though. Mckie was not on. Those who know him better said he was having a particularly off night. Ogden/Cote were wonderful. Rock solid and lovely musicality. Other standouts were Lobsanava in the Russian and the all the men in the first act dance. One quibble was the cygnettes. There were very together for the dance but then the final position where they land on there knees I found they all had different amounts of arch in their backs and necks. It ruined it because the rest was so together!! This might be complete wrong but I also swear there were dancers i had never seen before. Did they have school people in the corps sections? Or maybe new dancers? Definitely some new faces. Also a big acknowldgement for the orchestra who sounded great and to my ear stronger with each show. Sad these performances came and went so quickly. On a separate note I am both excited for and sad to see Dronina joining ENB. I know she will still be here technically but i would love to see all of her that is possible. I guess she needs to stay busy which I understand and she will get this by being in two companies but i wish there was enough work here to have her here all year. Maybe an excuse to take a trip :)))
  3. 2016-17 season

  4. 1978 . . . and Today

    miliosr "What is the happy medium between commissioning new works and finding 'creative present' in old works?" is such a good question. I think that is one of the hardest tasks an artistic director has of a dance company to have to decide how they program in a way that drives dance forward. Theater companies continue with Shakespeare while also doing new stuff and I think ballet is the same. Because it is all about the balance between the two and what the right balance is for each person is so unique is why there seems to be so many varying thoughts and opinions on this but is also why each dance company can still have its own distinct identity and voice because they will go about it in different ways. I think your idea of seeing the 70's production today is interesting as well. Would it work? No idea. But it would open up the discussion of what makes something stand the test of time which is I think an important question.
  5. 2016-17 season

    Swan Lake June 16th, 2017 Fischer/Saye/Watts Not sure how I can adequately describe how much I was looking forward to this performance. Since being in Canada I have missed big classical ballet so so much and I also had heard such good things about this production from people as well as loved this companies Cinderella and the Nutcracker. All in all the news is good in now three out of three of Kudelka's ballet's I tottaly love. The opening here is really majestic and visually impressive. And the screen or painting or whatever the background was for the first act (if anyone knows please share) was breathtaking. That sky and the clouds oh my! Beautiful design. I had been warned about a scene of violence beforehand and as people discuss above with Streetcar Named Desire the issue of violence on stage especially when sexual in nature is very divisive and a tricky subject to talk about. However I found The Wench to be one of the most harrowing moments of the entire ballet and so so powerful. The music is so celebratory and gloriously Tchaikovsky at his best and it starts so free wheeling and fun and then it obviously turns. It turns but the music plays on. And we are helpless to stop it. Dark? Yes. Powerful. Yes. I think so. Moving along into the act I found the "reveal" of Odette so refreshing. I've seen so many version where she just runs/jumps onstage and/or is "hidden" in the group dancers only to appear at some point in the choreography. I always found the first option kind of boring and the second option a risk because once you see it once you can't help but look for her each time lol. Here she emerges as natural as a human ballerina dressed as a swan in a tutu can be hahahah. Kidding aside somehow she emerges in such a natural way - like a bird would - kind of out of nowhere. It feels so right with the builds in the music also. So I want to say right off the bat that I feel very bad for Hannah Fischer. I think as discussed above that she is in an impossible position. Lose lose really. This is not her role. And I say that because I think she is talented and would love to see her in the right fit. But it was so clear from the get go that she wasn't comfortable. And her entire way of moving is not suited to this role. She is an absolutely gorgeous girl with an amazing instrument to work with. But everything is too sharp, athletic, lacking in refinement to work here. Her technical ability and in particular her musicality just was not up to the job at hand. I didn't see any softness or detail or the kind of lyricism a dancer should have for the role of Odette. Also her feet and or shoes are an issue. I don't know what it is and if someone does please chime in here but they don't look like they give her any support? They bend so much that she falls down off of the pointe and it's often sudden and clunky and clearly not meant to happen. When Siegfried helps pick her up from the floor when she is in her one leg extended in front pose in both white and black swan it was like her shoe was a spade in soil - just ram it down and hope it holds. I never noticed this transition before because I'm assuming it should appear smooth and seamless. I would love to see her where she feels comfortable. Balanchine? Sleeping Beauty? I have no doubt that in the right work she will be great. What upsets me is that watching it I knew there is no way that she doesn't know it's not a good fit. You don't get to that level of achievement from being oblivious or lacking in self awareness. It must feel awful to have to go out there when you know you're just not ready. It just sucks. From the get go I found Brendan Saye competent. He is also a very good looking young dancer and his way of standing and walking was very princely which worked here. Other than that though I didn't feel or see much in terms of making a real impact. He simply did it and got through it. For me the mvp of the night was Ethan Watts. From that amazing opening bit [who pulls off giant wings? Watts does] he was so present so articulate with every moment and gesture that I was really taken in. As the person beside me whisperyelled to their companion "Ohhh, he's good!" The Benno and Fool character were also very solid danced by Trygve Cumpston and Kota Sato. This particular Swan Lake version does more for the relationship dynamic between the three leads of Swan Rothbart and Siegfried then I have seen elsewhere. I really sensed characters and history and shifting power dynamics it makes me excited to see other interpretations. The second act was also amazing in the design. I love the violet blue kind of color theme and the only thing I quibble with was that especially the big group dance at the beginning looked smushed in that space. So much on the stage and not enough room. Looking back I felt this about Nutcracker and was told it could be because it was built for the old ballet theatre so maybe that is what happened here. Very interesting princesses variations. Laughed out loud at the Italian one with the guy who kept trying to convince the prince his girl is best. Missed some of the traditional character style dance but meh it was still good. Black swan pas de deux was not strong. They were uncomfortable we were uncomfortable. It was rough. Maybe it was her shoes? She near wiped out at the end of her solo and again fell off her pointe but saved it as best she could and bless her kept on going. Then she had to come back on for the fouettes. I think she might have got through 10? She then ran forward and did a swan wings kind of arm move and then started some other turns in a circle. Saye it seemed to me does have a good jump but something about the way he uses the plie before and after seemed like it could use work. Like he would have more jump if he got lower and used more plie for takeoff and landing. The transifion after he says that he'll choose her to marry was crazy good. You could hear how thrilled the audience was including myself as the big silk wave thing came about and the lights changed and everything starting to go down. And then the section of black swans dancing together that followed is what sealed the deal for me. Wonderful. Haunting. Third descriptive term similar but different then haunting. The end was very sad as is often the case with Swan Lake but it really was heartbreakingly beautiful. The way she is still standing by him after he is down and the way she tries to pick up his arm was so so moving and each moment matched the music perfectly. By the end I was just so happy to see classical ballet here and such great version of the choreography. Even if it wasn't the strongest night for the leads they went out there and did their best. Swan Lake June 17th, 2017 Hawes/Gerty/Rudisin Two Swan Lakes in twenty four hours. Somebody's gotta do it! I was determined to see each cast so onto the next. I won't talk so much about the production because I already did and I can barely feel my hands. Emma. Hawes. Stole. The. Entire. Show. Then it ended. I am not sure I have seen someone so young and relatively inexperienced in principal roles come out and do what she did. From the beginning it was clear she was a swan. She has a lyrical calmnesss to her dancing that works so well here. Was it perfect? Definitely not. Is it ever? But after how tough the previous show was I was just so taken by what it actually looks like to see someone take on a mountain and win. She was partnered by Chris Gerty who like Saye has the advantage of being very handsome and with a princely stature. He is a very attentive partner and has glorious leaps. His acting was thoughtful and he has an arabesque to die for. I look forward to seeing him in more. Ben Rudison was good as Rothbart. I think I was just spoiled by how good Watts was and it didn't have the same level of excitement. They also are totally different. I'm not sure. Maybe he needs some more time to develop as it was also his first time in the role. One thing is that he is a very strong partner. So attentive and without breaking character which I really appreciate. Jack Bertinshaw was really excellent in Benno. Very different feeling than Cumpston but just as good and I'm glad to see the dancers make things their own. There is an honesty and openness to him on stage that I was taken by. Very somehow unaffected. Frola as the Fool was wonderful. What a crazy talent he has. His body can seemingly do things that defy gravity. Pretty wiped from both shows in all. It packs an emotional wallop. Swan Lake is just so timeless from the music to the themes and I'm just so happy I get to experience it. Happy Weekend all.
  6. 2016-17 season

    So after reading everyone's thoughts on this I decided to do some research on my lunch break. Turns out Binet was in fact head of the Board of the Canadian ballet school while his son attended. When the son graduated the father became head of the company board and the son was given the Choreographic Associate thing. The father then joined the Art Gallery Board and the Dreamers dance project was premiered. This is all publicly available information found on their websites. (News, media, Annual report) In terms of the apprentice position as a choreographer I have not personally encountered that position before but my experience is in North America only so it may be different in Europe. Come to think of it that's actually smart to have an apprentice like rank of a company for choreographers. They can develop and learn from those more experienced. It does seem looking at the Royal ballet media releases that it was more the relationship of Wayne M and Binet that brought about the position and regardless they no longer have that position at all. I think it was for one year but not sure. Anyway back to the season who saw Swan Lake last night? I'm dying to see it
  7. 2016-17 season

    Where his father was also head of the Board.
  8. 2016-17 season

    Thank you for this naomikage. I had not heard of this before. I know of two or three instances in San Francisco where young dancers who had parents as staff/donors of the ballet company and were encouraged to go elsewhere in order to avoid conflict. I'm not sure if this is an actual policy but it does make sense.
  9. 2016-17 season

    This seems like reasonable equivalence. Good job Kathy!
  10. 2016-17 season

    I have to agree with volcanohunter and Canadian and say I worry that so much damage has already been done. I think the best thing would be for Binet Sr. to step down and for Binet Jr. to focus on his (presumably genuine) choreographic ambitions on other company's. Perhaps open his own? Who knows? Why not. I have also as mentioned above heard rumblings from many at this point people who literally work for the company that the whole situation is out of control and needs to stop. Sorry if this is hearsay. This situation is so compromised at this point. I can't think of another industry where this level of conflict-of-interest would be accepted. And I think it's time the leadership and members of The National Ballet really ask themselves if they are leading in a way that is ethical. I think anyone with a conscious will realize they aren't.
  11. 2016-17 season

    The life of a dancer is almost entirely studio rehearsals. Her parents run them. Of course it's natural to want to join the national company of where you're from. What isn't common is your parents being the artistic staff. That's what makes it different. However many examples of nepotism any of us might find throughout the ballet world or anywhere doesn't make it right. Any way I agree it also makes me feel sad. I am unable to feel "outraged" about the SL casting because I haven't seen the shows yet haha. But if it turns out that Fischer does an incredible job (or even just the best job of the dancers available in this company at this time) I think it justifies her casting. So we will see I suppose. Either way it's awkward I am afraid. Binet on the other hand I have now seen repeatedly, tragically, relentlessly. And now that I know the context of why it keeps being presented i must say I feel even more comfortable acknowledging that it's just bad. pS: I hope you never walk away forever! I enjoy your thoughts on here to muchf
  12. 2016-17 season

    Well we will see her in SL soon enough. I have seen her before as Myrta, a Step Sister in Cinderella and also Rubies and thought she was okay. Not great. I agree she is very young. It all just seems to much to fast. Also I think we should ask why would you choose to work in the one place your parents run things? It just seems like a terrible decision that is almost asking for problems. And thank you Olga for sharing the info link on Binet's. As unfortunate as it is it does start to make sense now. Here we were the last few years wondering how the heck this kid was managing to be programmed so much by KK and little did we know his father was on the board. After a google search I see even of the Board of the art gallery! And owning the national newspaper? I remember being so suspect at all those articles!!! My partner too I remember saying "something isn't right here because that show was so bad" lol. I don't think I've ever seen something that was so ...... brazen. Most of the time [from what I've seen in various company's at least in the US] when there is even the potential for nepotism people go out of their way to avoid giving even the impression of it. But here it doesn't seem like they even try to hide it. People should achieve things on their own merit. Shouldn't everyone. It feels pretty gross to be honest. Gross and kind of sad.
  13. 2016-17 season

    Wait so the fathers company also owns The Globe and Mail? Agreed. A serious affront to Cote and the dancers absolutely (there are probably great budding choreographers among them). But most definitely a very questionable ethical move by leadership.
  14. 2016-17 season

    The hearsay nature of this began to frustrate me so I did a little research. It does appear to be true I am afraid. On 6/14/2017 at 4:57 AM, mom2 said: https://www.google.ca/amp/www.dancemagazine.com/hannah-fischer-2307025399.amp.html Same for the Robert Binet situation as well. https://beta.theglobeandmail.com/life/fashion-and-beauty/fashion/party-photos-of-the-week-the-national-ballets-diamond-gala/article4364956/?ref=https://www.theglobeandmail.com&service=mobile See picture five. How is this being considered okay? Has this happened here before? The whole thing just asks so many questions. I'm a bit flabbergasted to be honest.
  15. 2016-17 season

    Deleted to add quoatation.
  16. 2016-17 season

    I haven't heard anything yet but if what was said earlier in the thread about Fischer is in fact true then she will presumably get a promotion. It would seem to be in line with this company's ethos as discussed above. Especially now that she's been cast in SL I figure they must lining their ducks in a row for a reason. I find Neumier to be a tough one to appreciate generally as at least the work I've seen has just been so long and pretentious feeling so I probably am biased but there was some really graphic scenes of sexual assault that were difficult to watch. That was at least what I found pretty tough and not altogether warranted as a whole.
  17. A Special Message from Vanessa Zahorian

    Done and done
  18. Lovely tribute. I'm had never heard that Sleeping Beauty story before. Goodness!
  19. 2016-17 season

    We were also there Canadian! Only for the performance part though. Could not agree more. Marcelo was worth the price alone. I have not really had the chance to see Hodgkinson much but she was like water. So soft and with beautiful lines and presence. What a great piece. Lobsonava/Ebe were so elegant also and I'm pretty sure that Dronina and Frola created fireworks in Corsaire. So thrilling! Cant say much for the rest of it. It seems no one seems to have seen Streetcar Named Desire here. Was there last week. Very intense. I am not sure if it is in a good way or not but it is certainly memorable i guess. The size of the stage impressed me. There was something about how they extended it so far out that was unlike anything I have seen before. It felt exciting and expansive. The violence was hard to watch. It was the kind of piece that actually feels **really** long. I probably wouldn't watch it again but Sonia Rodriguez who i saw and loved in Onegin last year was really something. What an actress! And what a hard role to play. Can't wait to see Swan Lake next week. Heard so much about the production so we are seeing each cast lucky us ;)))) Happy Friday all
  20. Well I'm not sure there is much I can say that has not already been said so eloquently by jsmu Helene and sandik. It was an absolutely glorious program. Three exceptional ballet's that were somehow able to compliment and breath with each other thus making an evening of real poetry. Imler is a queen. I have thought so since I first saw her perform. Her vivacious and infectious presence match her technical talent and to go out with such a high is wonderful. Personally for me and I don't know why - the work that left the most lasting impression on me was Opus. And I had seen it before! I don't know if it was slight jet lag or maybe the Chardonnay with dinner began to hit my system right then lol but I watched it and realized how powerful it really can be. What a masterpiece! I felt at various moments thrilled and swirling with the ensemble moving around the stage reflecting so clearly the music while there were moments with the principal material in particular that I found spellbinding and almost tragic. It felt like a dream - and dreams can be anything from heavenly to a nightmare you can't get out of. By the end I felt like I'd really been somewhere in a way that after having watched Opus probably over a dozen times I had never felt before. Thank you and Bravo company.
  21. 2016-17 season

    No way. That cannot be accurate. That would literally be a direct conflict.
  22. 2016-17 season

    sonatina1234 we were also very disappointed not to see Lobsonava on SL. She gave one of the most memorable and moving Giselle performances I have ever seen. I guess it just follows along with the bizarre direction and taste this company seems to have taken as talked about earlier. mom2 we didn't get subscriptions and were actually told by others many haven't either because most are in general consensus that the programming is just too poor. For so much money it just isn't high quality enough. As to your reference of Binet I think the oddest part of the whole thing is that there really isn't much "excitement" about Binet. At least in the circles we have spoken to most seem just as confused as us on here by the relentless pushing of him by the company. It's just too much now I agree with the multiple pieces on one program. There is almost a desperation to it. As if they NEED us to like it and if they push it hard enough into our faces we will. We won't. We don't. I'm still standing by as discussed earlier that there is probably much more to this situation then we know. Because the work just isn't good. I don't believe he danced here? There has to be something fuelling his constant attention from this company and it isn't talent. If it were people would be marvelling at the quality of his work and they aren't- its clear he can't hold a candle to the kind of work being made today by other choreographers like Peck, Pite, Ratmansky, etc so I think time will tell and ultimately reveal what's really going on here. As for Fischer I also am a bit curious as to how fast they seem on pushing her up there. But as we spoke about the casting here has been off for awhile and makes little sense anymore. I'd imagine she simply shares the same surname as the artistic staff. There is no way it would be allowed if that allegation were true. volcanohunter that's interesting about Dark Angels. A friend saw it in the capital and really enjoyed it.
  23. BB Mid-season promotions

    So many sideward tilts on one page goodness
  24. We will be there tomorrow. I did not know that this was Whelan's first time staging work either. It takes a special kind of talent to do this I think. One could be an amazing artist because of innate ability but to be able to help draw out from others and actually stage the work as a whole seems entirely different to me. I also heard her speak at the Joyce Restless Creature show seattle_dancer and although I was underwhelmed by the show I was so grateful she was so honest and indeed eloquent in her chat.
  25. SFB 2017 Summer

    I knew that I adored Froustey as a dancer after seeing her work her magic onstage but I can't help but feel enormous respect for her as a person as I read this. I think an injury when your craft is your own body must be just awful and to come back stronger and actually give back as part of the healing process wow.