Helene

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Everything posted by Helene

  1. I filed a ticket early this evening due to site issues, which manifested themselves differently for me on IE and Chrome on a Windows machine. There was a task that had stopped working properly, and it was addressed. However, you may need to clear your browser cache if you continue to see intermittent issues.
  2. Sounds very much like all of the Maillot I've seen.
  3. One of the problems with interpretations of Tall Girl, particularly when taken on by non-Balanchine companies, is that she becomes a caricature of Bad Girl. With all of the pony imagery, the key, IMO, to a successful Tall Girl, is that you don't know immediately that she's wielding the invisible whip: it's when it dawns on you while the four men are moving her legs that they are actually the strings, and she is the puppet master. It's like in "The Lesson" where you realize that the Accompanist is pushing the Ballet Master's buttons. That said, I thought Shipulina nailed it in the Bolshoi video.
  4. [Admin hat on] Members don't get to decide when a topic is over. Discuss the topic, not each other. If it's over for you, don't post about it. [Admin hat off]
  5. I think what has become more striking is that the Bolshoi was traditionally more physically diverse -- something I remember as late as the Berkeley and DC performances in the 00's -- both among men and women, which had been more of a Mariinsky thing, and I mean from the auditorium, not in perusing the head shots or names/bios on the website for actual ethnicity and race. I haven't seen the Bolshoi since those 00's performances, and I can't speak to how they differ today from then, if there's been a difference in the way children have been selected, if the changes in leadership and their preferences have made a difference, or whether this is a fluke of selection from the very large corps for this particular tour.
  6. The anonymous editorialista/debater is part of US history: the vicious fights about creating the Federacy were rife with the thoughts of Roman generals. The talent level, however, has gone downhill since.
  7. I also remember him at the two extremes, too: in lead roles as that fabulous Puck and as Mercutio in the Maillot -- both "A Midsummer Night's Dream" and many versions of "Romeo and Juliet" are listed among his ten favorite dance works in this week's Pas de Chat podcast -- but also in the corps as a dancer who always drew my eye. I'll never forget him crossing the stage in the first movement of "Glass Pieces," for example. I still miss his dancing.
  8. I just received the press release (emphasis mine): PACIFIC NORTHWEST BALLET presents BEYOND BALLET A Town Hall on the State of Ballet and Diversity 7:00 pm, Wednesday, May 3, 2017 The Phelps Center 301 Mercer Street at Seattle Center Seattle, WA 98109 SEATTLE, WA – On Wednesday, May 3, 2017, Pacific Northwest Ballet (PNB) will host BEYOND BALLET, a Town Hall-style conversation which will investigate aesthetics, diversity, equity, and the efforts to redesign arts institutions. PNB, Spectrum Dance Theater, and Memoirs of Blacks in Ballet (MOBB) invite attendees to share their thoughts, feelings and experiences in a Town Hall format. Ballet—its aesthetics, lack of diversity and equity—is the springboard from which we begin to examine these issues in the theater and arts at large. This forum will be an open study group for organizations participating in the Seattle Office of Arts & Culture Racial Equity Learning Cohorts, part of the Race and Social Justice Initiative (RSJI), the City’s commitment to eliminate racial disparities and achieve racial equity in Seattle. BEYOND BALLET will take place at 7:00 pm on Wednesday, May 3, 2017 at PNB’s Phelps Center, 301 Mercer Street at Seattle Center. This is a free event, however space is limited and registration is required at PNB.org/BeyondBallet. Panelists for BEYOND BALLET include Peter Boal, Artistic Director of PNB; Donald Byrd, Artistic Director of Spectrum Dance Theater; Erica Edwards, Director of Community Engagement at The Joffrey Ballet; Kiyon Gaines, former PNB soloist and PNB School faculty member; and Andrea Long-Naidu, ballet instructor for Dance Theatre of Harlem and CityDance Conservatory. The evening will be moderated by Theresa Ruth Howard, founder and curator of MOBB. While the format of the program will allow for diverging conversations, perspectives and stories from the field, planned topics for the evening include: · The History of Blacks in Ballet: A Legacy as Long as America · The Aesthetics of Ballet: What do Classicism and Tradition “Look” Like? · Teachers and Administrators of Color: Why They Are an Essential Component of Diversification BEYOND BALLET is an important part of PNB’s ongoing work in the area of racial equity and inclusion. This community event is made possible with generous support from Bank of America. TICKET INFORMATION This is a free event, however seating is limited and subject to availability: Advance registration is required at PNB.org/BeyondBallet. ABOUT THE PANELISTS (For complete bios, visit PNB.org/BeyondBallet.) Theresa Ruth Howard (moderator) began her professional dance career with the Philadelphia Civic Ballet Company at the age of twelve. Later she joined the Dance Theatre of Harlem where she had the opportunity to travel extensively throughout the United States, Europe and Africa. In 2004 she became a founding member of Armitage Gone! Dance, and was a guest artist with Complexions Contemporary Ballet’s 10th Anniversary season. Ms. Howard has been a member of the faculty at the Ailey School for over 18 years. As a writer, she has contributed to Pointe andDance magazines, among others. Her articles about body image prompted her to create mybodymyimage.com, which endeavors to help build positive body image through respect, acceptance, and appreciation. Ms. Howard launched MoBBallet.org, the digital archive for Memoirs of Blacks in Ballet. One of MOBB’s first projects was to help organize and facilitate the first-ever audition for Black Female Ballet dancers for major ballet organizations at the 2015 International Association of Blacks in Dance conference. Peter Boal was raised in Bedford, New York. At the age of nine, he began studying ballet at the School of American Ballet, the official school of New York City Ballet. Mr. Boal became a member of NYCB’s corps de ballet in 1983 and became a principal dancer in 1989. In 2005, he retired from NYCB after a 22-year career with the company. Mr. Boal was also a full-time faculty member at the School of American Ballet from 1997 to 2005. In 2003, he founded Peter Boal and Company, a critically-acclaimed chamber ensemble. In 1996 Mr. Boal received the Dance Magazine Award, and in 2000 he received a New York Dance and Performance Award (Bessie) for his performance in Molissa Fenley’s State of Darkness. In 2005, upon his retirement from NYCB, Mr. Boal became Artistic Director of Pacific Northwest Ballet and Director of PNB School. Donald Byrd‘s career has been long and complex and his choreographic and theatrical interests are broad. The New York Times describes him as “a choreographer with multiple personalities…an unabashed eclectic.” Mr. Byrd, a Tony Award-nominated (The Color Purple) and Bessie Award-winning (The Minstrel Show) choreographer, became Artistic Director of Spectrum Dance Theater in 2002. From 1978 to 2002, he was Artistic Director of Donald Byrd/The Group, a critically-acclaimed contemporary dance company - founded in Los Angeles and later based in New York - that toured extensively, both nationally and internationally. He has created over 100 dance works for his own groups as well as the Alvin Ailey American Dance Theater, Philadelphia Dance Company (Philadanco), PNB, The Joffrey Ballet, Dance Theatre of Harlem, Oregon Ballet Theatre, and many others. His non-dance company work has been with some of the most prestigious theater and opera companies in the US, including New York Shakespeare Festival/Public Theater, La Jolla Playhouse, San Francisco Opera, New York City Opera, and more. Erica Lynette Edwards joined The Joffrey Ballet after being one of the first dancers in the Arpino Apprentice program in 2000. She trained at the Salt Creek Ballet School where she performed major roles in their pre-professional ballet company. Ms. Edwards believes that it is important to share the experience of dance with others, and she does this by teaching at various community, school, and outreach programs throughout Chicagoland. In 2001, the Chicago Sun-Timesspotlighted her as a “Black History Maker,” and in 2002 she was The Joffrey’s nominee for the Princess Grace Foundation Award. In 2003, Ebony magazine featured Ms. Edwards as a Young Leader of the Future in the Arts. She retired in 2014 after a 15-year career as a ballerina and is now The Joffrey’s Director of Community Engagement: She is responsible for managing all Joffrey arts education programs through Chicago Public Schools and the community to increase access, awareness, and appreciation for the art of dance. Kiyon Gaines is from Baltimore, Maryland. He trained at Baltimore School of the Arts, Pittsburgh Ballet Theatre School, the School of American Ballet, and Pacific Northwest Ballet School. He joined PNB as a member of the corps de ballet in 2001 and was promoted to soloist in 2012. He retired in 2015 and currently teaches on the faculty of PNB School, works with PNB’s DanceChance program to bring classical dance training to the students of Seattle Public Schools, and has been program manager of PNB’s annual NEXT STEP choreographers’ showcase since 2012. Mr. Gaines is also an established choreographer: Since creating his first work in 2001, he has made ballets for PNB, PNB School, New York Choreographic Institute, Central Pennsylvania Youth Ballet, Cornish College of the Arts, and Spectrum Dance Theater. Mr. Gaines has been resident choreographer at Ballet Arkansas since 2015. Andrea Long-Naidu was born in Philadelphia, Pennsylvania, trained with Pennsylvania Ballet School, the American Ballet Theatre School, and School of American Ballet, and began her career dancing with New York City Ballet where she remained for over eight years before joining Dance Theater of Harlem. She has received critical acclaim dancing the works of George Balanchine, Robert Garland, Dwight Rhoden, Jerome Robbins, and others. Internationally renowned following thirteen years as a principal dancer at DTH, she continues to inspire in an arduous profession. She has danced as a guest artist with many regional ballet companies, and is considered an exemplary and demanding ballet instructor. Ms. Long-Naidu sees a growing respect for the art of ballet in popular culture and joins in encouraging such groups as Aesha Ash’s The Swan Dreams Project, with a goal to increase minority participation in ballet. She is married to Laveen Naidu, former Executive Director of DTH, and now Artistic Director of BalletNova. The couple continue to support the development of Dance Theatre of Harlem. For complete bios, visit PNB.org/BeyondBallet.
  9. I don't think he sleeps. Seriously.
  10. Here's a link to a new article in "Dance Magazine" by Barry Kerollis about his life as a super-commuter from Philadelphia to NYC, where he'll be moving this Fall: http://www.dancemagazine.com/why-i-became-a-dancing-super-commuter-2392386868.html He has been teaching up a storm, choreographing, writing, podcasting, and doing speaking engagements.
  11. To repeat the title, single tickets for the 2017-18 season go on sale starting Monday, July 24, and there will be no service fees "if you order by July 31."
  12. I think a lot of the top ten-ish companies in the US have that kind of stability if there is stability after a change in AD's, unlike the bloodbath in Philadelphia. There are companies in the next rank where there would be more fluidity where dancers leave for bigger companies with better contracts, more work, more prestige, where they grew up, etc. Remember that now at PNB, the upper ranks are full of dancers who spent time in the school and joined PNB as apprentices or joined as corps members after brief careers elsewhere (James Moore, Rachel Foster, Benjamin Griffiths, Jerome [New Dad!] Tisserand, Sarah Ricard Orza, Matthew Renko, William Lin-Yee), while when Russell and Stowell were building the company, many of the Principals and Soloists came from outside the company and finished out their company careers with PNB, like Stanko Milov (Pittsburgh), Le Yin (Houston), Phil Otto (PA Ballet), Jeffrey Stanton, Kimberly Davey, Lisa Apple, Paul Gibson (SFB), Kaori Nakamura, Olivier Wevers (Royal Winnipeg Ballet), Louise Nadeau (Kansas City Ballet), as well as a few dancers who only stayed for a handful of years. Companies like NYCB, POB, the Mariinsky, Royal Danish Ballet, and the Bolshoi Ballet also have a high percentage of lifers particularly among the dancers who went through their schools (or in the case of the Bolshoi, dancers who went to the Vaganova Academy. The Royal Ballet used to be like that. There seems to be a lot of moving around among the international dancers in companies like Dutch National Ballet, but I'm not sure how much movement there is among native born dancers.
  13. I think JMcN is talking about real roundabouts, not the little ones we have at four-way intersections. I remember going round and round a major one trying to get out of the Dublin airport (and taking the wrong branch in the dark), and there was one to get to the South Dublin office park I used to drive to. When I came home after six weeks in Ireland, I got to one of the little Seattle ones a block away from my apartment building and froze: I couldn't remember which way to enter it.
  14. I loved Martin Landau. In "Mission Impossible," he and Barbara Bain were the height of elegance for TV, where casual was the norm, at least by the '60's.
  15. Or, perhaps, the critic was being mock heroic, as Adam Gopnik describes in "The Table Comes First":
  16. That would be great. But video is better than having nothing to work with.
  17. Regardless of the limitations, I'm glad we have video of some Tetley and Tudor, especially the Tudor with Sallie Wilson, because the alternative is relying entirely on memory, where the works weren't notated. And enough works have been lost that way.
  18. Jerome Tisserand did one of the last Q&A's I attended during the season-ending program, and he lit up when he spoke about becoming a dad. I'm so happy for both of them!
  19. Congratulations to Laura and Jerome Tisserand on the birth of their daughter this week https://m.facebook.com/PNBallet/photos/a.439537898951.224264.21358443951/10155043411393952/
  20. This is a wonderful article about TUPAC and Mitchell: http://www.thenewstribune.com/news/local/article161164353.html
  21. PNB announced on Facebook that former PNB soloist and PNBS teacher Kabby Mitchell has died: I just met him earlier this year, and he spoke about some wonderful plans. RIP, Mr. Mitchell.