doug

Editorial Advisor
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About doug

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    reconstruction/music
  • City**
    Seattle

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  1. Balanchine seems to have viewed the divertissement pas a manifestation of Bottom's dream conflated with his personal views as a member of the Russian Orthodox church, i.e., Bottom's dream of Titania as the ideal women coalesced with Balanchine's religious views of the Virgin Mary as the ideal woman. He told Jonathan Cott (as well as Darci Kistler) that he wanted to depict John's vision in Revelation of the woman (often thought to be Mary) standing in the moon surrounded by twelve stars, etc. He didn't do this overtly because he apparently felt people wouldn't understand, thought he'd gone too far, etc. So the divert pas isn't as far removed from the plot as it may seem on the face of it.
  2. Jayne, just a note that the sets in Maillot's Romeo and Cendrilon are by Ernest Pignon-Ernest. Kaplan designed only costumes for these ballets.
  3. Sandra Hammond's Ballet Basics (shorter) and Robert Greskovic's Ballet 101 (longer) are also good.
  4. PNB does 41 performances of the GB Nut this season, between November 25 and December 28. Three of these are student matinees (complete performances with orchestra). The student matinees are listed at https://www.pnb.org/community/programs/eyesondance/. Like most (likely all) large U.S. companies these days, PNB's marketing department analyzes sales from prior years for each show in order to determine its Nutcracker schedule and maximize accessibility and revenue. This year, midweek evening performances begin December 14 and midweek matinees begin December 20.
  5. Oh, you're right, yes. It was in NY for two shows in February.
  6. This was the first time PNB performed Vertiginous on tour. Saturday night was a debut for Ezra Thomson.
  7. With regard to Khan, it's too bad he didn't know the original Giselle was neither passive nor childlike. Those are characteristics of most 20th- and 21st-century Giselles. Likewise, the details of the original reveal a plot full of very human characters.
  8. Rizzitano begins down right in Square Dance.
  9. Yes, I believe so. This is the divert slot that began with the Pas des Eventails, was changed to the pas de six, back to the Eventails, then to a pas de deux by Sergei Legat, then to the pas de trois by Samuil Andrianov in 1915 that morphed into what we know as the Corsaire pas de deux.
  10. Thanks for the kind words, Helene. The Stepanov notation includes the Pas de six in the grotto rather than the Pas des Eventails, but the Justamant includes the entire fan dance, of which we did only the first part--for Medora, two demis and 8 corps. Jardin is notated in Stepanov circa 1894--for Medora, Gulnare, and 6 coryphees plus 2 groups of 12 women, 12 girls, 12 men and 12 boys--68 total. We reduced the five groups of 12 to five groups of 8--48 total.
  11. Hi all, Foster opened Emergence on 2/26 and Mullin on 2/27.
  12. If you will have a look, I think you'll find everything about performances and events open to the public from March 17-20 already on the website, here: http://www.pnb.org/Season/15-16/DirectorsChoice/ http://www.pnb.org/Season/15-16/LeCorsaire/ http://www.pnb.org/Community/Audience/Lectures.aspx http://www.pnb.org/Community/Audience/PrePostPerformance.aspx Casting goes on the website once it has been posted internally.
  13. Hi California, I hope you make it to Seattle. The weekend of March 20 is full of performances and dress rehearsals for PNB and its School. We offer the Corsaire lec-dem early in order to build excitement for it as we lead up to the performances. The lec-dem is also an opportunity for the kids to perform some of their dances in front of an audience.
  14. The presenter often requests a particular programming focus, Katherine. Companies make programming decisions in close collaboration with presenters, and presenters have final approval.
  15. I'm surprised by Wendy Perron's perspective--her literality--and disregard of the allegorical meanings in the Sleeping Beauty--its score, choreography, and score. To me, these are the elements that render the ballet both timeless and relevant.