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      2018 Joint Fundraiser for Ballet Alert! and Ballet Talk for Dancers   02/03/2018

      We have launched our 2018 Fundraiser.  To donate, please see the instructions on our home page for checks (US dollars only) and credit card donations via PayPal.  We close the fundraiser as soon as we raise enough to sustain us for the next year, and we thank you for your support!


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Everything posted by Helene

  1. Note: this is also the weekend of the student performance of Bruce Well's "Snow White," which is quite delightful and opens with a forest divertissement. Two performances (12:30pm and 3:30pm) on Sunday, March 18, and one at 3:30pm on Saturday, March 24, making it possible to do the double-header with "Director's Choice." Part one of the press release: PACIFIC NORTHWEST BALLET PRESENTS Featuring works by ULYSSES DOVE – WILLIAM FORSYTHE – EZRA THOMSON March 16 – 25, 2018 Marion Oliver McCaw Hall 321 Mercer Street at Seattle Center Seattle, WA 98109 Seven Performances Only! March 16 and 17 at 7:30 pm March 17 at 2:00 pm March 22 – 24 at 7:30 pm March 25 at 1:00 pm Seattle, WA – For the fourth offering of its 45th season, Pacific Northwest Ballet’s Artistic Director Peter Boal has selected four contemporary works – a riveting duet, a favorite work, a little controversy, and a world premiere by Company dancer Ezra Thomson – for PNB’s perennially popular DIRECTOR’S CHOICE. The limbs of a bonded pair sculpt open air in William Forsythe’s Slingerland Duet, and pure athleticism surges like reverb from the electric violin in Ulysses Dove’s Red Angels. Audiences have another chance to debate Forsythe’s One Flat Thing, reproduced, as the dancers take cues from each other on, under, and around 20 tables. (See SPECIAL EVENTS, below, for information on the special studio presentation exploring this challenging work.) “Each of the three choreographers represented in Director's Choice was just that,” said Mr. Boal in describing the line-up. “As young dancers, each demonstrated an interest and affinity for choreography. Their respective directors saw their potential and offered them the opportunity to choreograph for their company. Recognizing and rewarding potential and conviction will always be a priority of mine. Ezra Thomson's got it, and just as Marcia Haydee and Alvin Ailey saw the promise in William Forsythe and Ulysses Dove, I see it in Ezra. Together these three innovative choreographers offer a program that challenges, inspires and rewards.” DIRECTOR’S CHOICE runs for seven performances only, March 16 through 25 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 PNB.org. The line-up for DIRECTOR’S CHOICE will include: World Premiere (Title TBA) Music: Francis Poulenc (Concerto for Two Pianos and Orchestra in D minor, FP 61, 1932) Choreography: Ezra Thomson Costume Design: Larae Theige Hascall and Ezra Thomson Lighting Design: Reed Nakayama Running Time: 22 minutes Ezra Thomson’s first work for PNB’s mainstage is an autobiographical story of love and loss, and the feelings that linger in your life forever. The 2018 world premiere of Thomson’s new commission is principally supported by Joan Fitzmaurice, Anne Holmes, and H. David Kaplan. Slingerland Duet (Pas de deux) Music: Gavin Bryars (String Quartet No. 1, “Between the National and the Bristol”) Choreography: William Forsythe Staging: Stefanie Arndt Stage, Costume and Lighting Design: William Forsythe Running Time: 6 minutes Premiere: April 13, 2000; Ballet Frankfurt PNB Premiere: March 13, 2015 (New Suite) William Forsythe’s pas de deux Slingerland Duet is drawn from his larger work, Slingerland (Part I), which featured music by British composer Gavin Bryars (Three Viennese Dancers, in addition to String Quartet No. 1), stage design and film by Cara Perlman, and costume and lighting design by the choreographer. Parts II, III, and IV followed in 1990 to form Slingerland (Parts I-IV), a full-length ballet in four acts. In 2000,Slingerland Duet was first presented, made up of two duets from Slingerland (Part I) and additional choreography. William Forsythe’s Slingerland Duet was first performed by Pacific Northwest Ballet as part of New Suite. The 2015 PNB premiere of William Forsythe’s New Suite was generously underwritten by Jeffrey & Susan Brotman. [Notes compiled by Doug Fullington.] Red Angels Music: Richard Einhorn (Maxwell’s Demon, 1988-1990) Choreography: Ulysses Dove Staging: Peter Boal Costume Design: Holly Hynes Lighting Design: Mark Stanley Running Time: 14 minutes Premiere: May 9, 1994; New York City Ballet (Diamond Project) PNB Premiere: September 17, 2005 Red Angels is a ballet of intense dramatic impact that is calculated to charge all the senses. Dressed in scarlet leotards and bathed in white and red hot light, four dancers perform with powerful athleticism to a riveting score for electric violin. Ulysses Dove commented on working with the dancers of New York City Ballet: “I wanted to deal with aspects of the Balanchine aesthetic I find appealing: the speed, legginess, the formality. As for the title, I think the dancers are angelic. And for me, the angels of the senses are red.” Composer Richard Einhorn has described Maxwell’s Demon as “a conscious attempt...to transmute American popular music into art...with a nod towards direct expression and to an audience steeped in American rock ‘n roll.” [Notes compiled by Doug Fullington.] One Flat Thing, reproduced Music: Thom Willems (2000) Choreography: William Forsythe Staging: Ayman Harper, Jill Johnson, and Richard Siegal Scenic and Lighting Design: William Forsythe Costume Design: Stephen Galloway Running Time: 17 minutes Premiere: February 2, 2000; Ballett Frankfurt PNB Premiere: March 13, 2008 William Forsythe’s One Flat Thing, reproduced caused a stir when it premiered at PNB in March 2008. Set to a rumbling sound construction by the choreographer’s frequent collaborator, composer Thom Willems, and performed by fourteen dancers on and around twenty metal tables, One Flat Thing thrilled some, angered others, and, for some, called into question the definitions of “ballet” and “dance.” Forsythe’s eclectic, intellectual starting point was a consideration of the risk and adventure of Robert Scott’s Antarctic expeditions in the early 20th century, during which explorers relied on each other for survival, juxtaposed with his own interest in the idea of a “baroque machinery,” an ornamental, highly organized construct that runs like clockwork. The melding of these thoughts manifested itself in the collaborative development of a movement vocabulary involving high-speed choreography performed within the confines of a tightly spaced set of tables with the requirement that the dancers play off each other, rather than a musical score, in timing their moves. The result is a thrilling sequence of team choreography, a “baroque machinery” running dangerously close to reckless abandon. [Notes by Doug Fullington. For more information about One Flat Thing, reproduced, click here to visit the PNB Blog.] The 2008 PNB premiere of William Forsythe’s One Flat Thing, reproduced was generously underwritten by Jeffrey & Susan Brotman.
  2. Watching the Olympics

    A tie in the FS is broken by total PCS, and Medvedeva is listed as having won the FS (rank=1) because her total PCS were higher. A tie in the SP is broken by TES.
  3. Watching the Olympics

    ABT tweeted:
  4. Rosie Gaynor writes about Margaret Mullin in the August 2011 issue of "Dance Magazine"; PNB posted a link to the online version on its Facebook Page: On the Rise: Margaret Mullin She is wonderful, and I'm glad she's being recognized.
  5. POB dancing Balanchine

    There are a couple of older threads about Paris Opera Ballet and "Jewels": On the DVD, which was released in 2006: http://balletalert.invisionzone.com/topic/23182-paris-opera-ballet-which-jewel-did-you-like-best/?tab=comments#comment-189179 http://balletalert.invisionzone.com/topic/22418-jewels-dvd-and-pbs-great-performances-broadcast/ When they shared "Jewels" with NYCB and the Bolshoi Ballet at last year's Lincoln Center Festival: http://balletalert.invisionzone.com/topic/41974-lincoln-center-festival-2017/
  6. Watching the Olympics

    Gia Kourlas weighed in on Papadakis/Cizeron's exquisite Free Dance: https://mobile.nytimes.com/2018/02/20/arts/dance/ice-dancing-gabriella-papadakis-guillaume-cizeron.html
  7. As long as there is a discussion point about the link provided, and not just a dropped link, it's welcome in Writings on Ballet. In case of duplicate topics, we aim to merge.
  8. Winter 2018

    "Into the Hopper," Bart Cook's multi-media work for the first American Music Festival, which, oddly, was not the most boring ballet ever. I think they spent a bazillion dollars on the sets and costumes (and maybe it even had projections). Cook is one of my favorite dancers of all time, but I was so crushed by how bad it was, it scared me away from seeing another by any other dancer that I loved for over 15 years, when I watched an Ib Andersen ballet by peeking through my fingers, and to my great relief, it was really good. That opened the way to see Thomas Lund's children's ballet, which I have on DVD.
  9. 2018 Fundraiser

    We're two-thirds of the way to our goal, and we'll stop nagging and stop the fundraiser as soon as we raise the funds to keep the sites going for another year. A big thank you to those who've supported us, and to those who support us year round through our amazon box (which is temporarily under the calendar listings).
  10. 2018 Fundraiser

    We've gone live with our 2018 Fundraiser, and we need your help. Your donations are used ONLY to cover the fees to Invisionzone for hosting our software and licenses and for PayPal processing fees. (After several years without one, we had a reasonable price increase in 2015.) We are asking for $25 donations, but will graciously accept anything that you can give. We're serious: we know that you are being asked for support for many causes year round, and there are a lot of needs out there, including your own. For detailed instructions on how to donate via PayPal***, please click here. The fundraiser will end as soon as we reach the goal needed to keep us afloat until next year. If you prefer to send a check, please make it out to BALLET TALK, and mail to: BALLET TALK 11165 Abbotts Station Dr Johns Creek, GA 30097 ***PLEASE write your SCREEN NAME or REGISTERED EMAIL ADDRESS in the "Memo" field on your check, or your SCREEN NAME in the "Purpose" space on the PayPal form, so that we know whom to thank!!!!!!!!!
  11. Peter Martins Retired; Succession Discussion

    Two of Woetzel's stated purposes are to challenge dancers in ballet rep they wouldn't ordinarily be coached in an perform, like "Giselle" for NYCB dancers and other genres, so that they can work in experts in those genres. I think his rep choices in a festival environment push both of these goals forward.
  12. Winter 2018

    The works that house choreographers make for their own companies, whether they be resident choreographers or AD/choreographers, are rarely performed elsewhere. That any Martins work was performed outside of NYCB is unusual. The only work that Ib Andersen made for Ballet Arizona that I know has been performed elsewhere is his "Romeo and Juliet," I don't know any other companies that perform Tomasson's work for San Francisco Ballet. I'm not sure any other companies besides PNB performed Christopher Stowell's work for OBT, Kent Stowell's work for PNB hasn't traveled, as far as I know; sandi will know if I"m wrong. Robert Barnett, Robert Weiss, Septime Webre, Gen Horiuchi, Victoria Morgan, and John Clifford all make/made ballets for their companies, and I don't think those works traveled. I'm not even sure if Todd Bolender's works for Kansas City Ballet made it far.
  13. Winter 2018

    What effort, though? Aside from a few one acts being performed elsewhere, do we know if Martins tried to get his works into a steady place in the international rep? Running NYCB was his main occupation.
  14. Ib Andersen to Present New Firebird in 2019

    Yes, to both, Rock. It's remarkable what Andersen continues to do on a relative shoestring, and I wish other companies could/would present his full-length ballets and some of the one-acts as well, like 2b and the work done to Shostakovich piano pieces (Preludes and Interludes?).
  15. More from the press release: SPECIAL EVENTS SPRING FLING Sunday, March 4, 1:00 pm The New Francia Russell Center, 1611 136th Place NE., Bellevue Join PNB dancers and hosts Ezra Thomson and Sarah Pasch at Spring Fling, PNB School’s largest annual fundraising event. This family-friendly affair will include a silent auction with items from PNB and local businesses, dance performances by Level VII and VIII students, a DJ dance party, Bonbon Barre candy buffet, a cake walk, and more. All proceeds benefit PNB School. Tickets may be purchased through PNB Special Events at 206.441.2429 or by emailing Events@PNB.org. STUDIO PRESENTATION: Inside William Forsythe’s One Flat Thing, reproduced Tuesday, February 27, 5:00 pm The Phelps Center, 301 Mercer St., Seattle Did you know that William Forsythe’s modern masterwork, One Flat Thing, reproduced, was inspired in part by Robert Scott’s early-20th century Antarctic expeditions? Learn more about this truly fascinating work – and dancer favorite – during this studio presentation featuring PNB dancers, guest stagers, Artistic Director Peter Boal, and twenty metal tables. Tickets are $25, available through the PNB Box Office. Note: This event will sell out in advance! FRIDAY PREVIEW Friday, March 9, 5:00 pm The Phelps Center, 301 Mercer St., Seattle PNB’s popular Friday Previews are hour-long studio rehearsals hosted by Artistic Director Peter Boal and PNB artistic staff, featuring Company dancers rehearsing excerpts from upcoming ballets. Tickets are $15. (Note: These events sell out in advance.) Friday Previews are sponsored by U.S. Bank. PNB CONVERSATIONS & DRESS REHEARSAL Thursday, March 15, 6:00 pm Nesholm Family Lecture Hall at McCaw Hall Join PNB Audience Education Manager Doug Fullington in conversation with choreographer Ezra Thomson during the hour preceding the dress rehearsal. The conversation begins at 6:00 pm, followed by the dress rehearsal at 7:00 pm. Tickets ($30) may be purchased through the PNB Box Office. BALLET TALK 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. MEET THE ARTIST Nesholm Family Lecture Hall at McCaw Hall Skip the post-show traffic and enjoy a Q&A with Artistic Director Peter Boal and PNB dancers, immediately following each performance. FREE for ticketholders. YOUNG PATRONS CIRCLE NIGHT Friday, March 23 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 on their subscriptions and additional tickets. For more info, visit PNB.org/YPC.
  16. Notes -- not from the press release: The Poulenc score was used by Peter Martins in his "Concerto for Two Solo Pianos" for Heather Watts, Jock Soto, and Ib Andersen. It's wonderful music. "Slingerland Duet" was originally seen in early performances of "New Suite" in 2015; it was taken out later in the run. Here is a detailed pnb blog entry on "One Flat Thing Reproduced": https://blogpnborg.wordpress.com/2018/02/07/unpacking-one-flat-thing-reproduced/ Since the last time it was done was almost a decade ago, the photos are a nice look back at the company from that time. I'm pretty sure that's Chalnessa Eames on the table and Jordan Pacitti right in front of her in the second small photo, with Seth Orza under the table on the left. In the third small photo, it looks like Carrie Imlers profile behind and between Batkhurel Bold and Maria Chapman facing each other on the left and Jonathan Porretta and Jodie Thomas to the right. In the photo after Forsythe's, from left to right are Olivier Wevers, Jonathan Porretta, Chapman, and Bold. And in the last photo, in the foreground is, left to right, Lucien Postlewaite, Chapman, and Bold, with Kaori Nakamura and Orza in the background.
  17. That is true, @nanushka, and he could have misread the tide, especially when men raise the complaint.
  18. Anyone who is willing to make a complaint risks being treated as a whistleblower, which is a dog's life. It has to be worth the risk, or the complainant wouldn't have rejected the union route and have gone to management.
  19. Does it matter what his motive is, if it results in the wished-for behavior, which is to stop making sexualized remarks in the workplace?
  20. Watching the Olympics

    There is a long history of the woman in Pairs shining through athleticism, though: it's not all about the strong man leading, like Gordeeva/Grinkov or the Protopopovs. Irina Rodnina skated with interchangeable partners to three Olympic golds, and elegant was not an adjective that described her. Isabelle Brasseur was as tiny as Savchenko -- who, in person, is incredibly tiny, despite her musculature -- and was the athletic, dynamic eye-catcher, and, similarly, Meagan Duhamel, whose partner is the very elegant Eric Duhamel. I would even include Natalia Mishketienok, whose athleticism and power was constantly contrasted to Ekaterina Gordeeva's elegant, classic Russian pair woman style. It has two flavors: you ignore the partner because of the woman, like Kirsten Moore-Towers, or you look at the similarly for similar strengths. There are many, many teams who belie this stereotype, in Pairs as well as in Dance. Even among the Russian teams, there was Ashtakova/Rogonov, who replaced Stolbova/Klimov, another Pair whose athleticism and movement style does not fit into the traditional mold.
  21. Peter Martins Sexual Harassment Allegations

    The people who profit most from this report are on the Board: it likely shields them from any lack of oversight. And there's no pressure for them to go anywhere, like Martins did. If anything, the opposite is more likely: that by raising her voice, Kelly Boal has nixed any chance of Boal being selected for the position, even if he wanted it. For one, no one likes whistleblowers, and given the amount of support on the NYCB -- who don't have to go anywhere, since the report absolves them -- she and Boal are now poisonous. There's another factor, in my opinion: Kelly Boal describes demeaning behavior by Martins towards Peter Boal in the studio. That shows him to be weak towards the alpha male, and that's almost as unforgivable as being a whistleblower. Look at Ekaterina Novikova's obvious relief expressed in the interview aired before the Romeo and Juliet HD at Vaziev taken over the Bolshoi job: Vaziev is as alpha as anyone, even alpha enough to counter Grigorovich's influence and supporters.
  22. Peter Martins Sexual Harassment Allegations

    The SAB letter statement acknowledges this, And it also says they are looking for a successor to Martins, which is no guarantee that they won't decide that they couldn't find anyone better.
  23. Peter Martins Sexual Harassment Allegations

    I wonder, too, if the transcripts and documents in the investigation are property of the company/board and could be used against any of the interviewees, were they to go to court. For example, if timelines or details were confused in the interviews, or if the interviewees were flustered, if the transcripts could be brought into play.
  24. Peter Martins Sexual Harassment Allegations

    I would expect nothing less than a warning not to bring suit; Hoey's specialty is damage control.