Sleeping BeautyMay 5-15, 2005
Posted 13 May 2005 - 06:08 AM
Posted 13 May 2005 - 07:03 AM
Nor do I see much evidence of it elsewhere -- Nissenen has had a number of new dancers join as principals (Lorna Feijoo, Roman Rykine, Nelson Madrigal, Reyneris Reyes) or soloists (Melanie Atkins, Mindaugas Bauzys, Sacha Wakelin).
Posted 13 May 2005 - 07:20 AM
Posted 13 May 2005 - 09:51 AM
Posted 13 May 2005 - 10:33 AM
Actually, this reminds me of a talk Nissenen gave when he first came to Boston. He said that he wanted Boston to be as proud and excited about its ballet company as it is of its baseball team.
I wonder if he realizes that in both cases the audience loves to see a successful last-minute substitution?
I suppose, however, this must be balanced against the marketing appeal of including an artist from a company seldom seen by a Boston audience.
Posted 13 May 2005 - 01:31 PM
Posted 13 May 2005 - 01:52 PM
Is it Wright's 1980s RB production? In other words - is the no-points Lilac, with an extra fairy dancing the big variation in the prologue in her place?
Somehow I think in that case it is a little sad the part is guested from outside the co.
Posted 14 May 2005 - 11:01 AM
I was, though, curious to see her dance and actually like seeing guests.
Posted 15 May 2005 - 07:52 PM
A curious incident happened during last night's performance - the carriage delivering Carabosse to the christening went out of control and tipped over. (It seems the imps learned how to drive in Boston.) Carabosse nearly flew into the orchestra pit. "She" (Viktor Plotnikov) managed to stay on her feet and recovered without a momen't hesitation. I kind of wished that the dancers could improvise, at least a little bit - I would like to have seen Carabosse deal with her imps by miming, "I'll deal with you later," or something of that nature.
Posted 16 May 2005 - 03:51 AM
We really miss Pollyanna, however! She was the "replacement" in our hearts for Jennifer, the dancer that we connected with the most. It is funny how we all have our favorites.
One more thing..I was shocked and pleased to see so many young people in the audience on a Sat night. No doubt most of them are taking advantage of the $15 student rush. I was very encouraged for the future.
Edited by flygirl, 16 May 2005 - 03:54 AM.
Posted 17 May 2005 - 09:41 AM
Well, I think it wouldn't have been too hard to use a dancer from the company. I'm sure there is some soloist, if not corps member who was learning that as a 4th or 5th cast. I do think that one of the appeals of having Barker dance is that she is a top dancer from a company on the other side of the country. I think guestings are great but a part of me always thinks, "Too bad a dancer from the home company didn't get a chance to show what they could do". Everything happens for a reason though and I'm sure it was a treat to see Barker and I'm sure that drew some people who might not have been coming to last minute grab tickets.
Thanks for the eyewitness comments on Patricia Barker's appearance with Boston Ballet -- living over here on the other side of the continent, I was curious to know how it went.
There are good arguments on both sides of the equation about guesting. The Ruby Keeler/42nd Street model ("...you're going to go out there a nobody and come back here a star") is a powerful one, and it can offer an unexpected chance to someone in the company that might otherwise have a long line to wait in for those kind of roles. We had something like that happen here earlier in the year, when an injury to another dancer put Lucien Postlewaite into Prodigal Son (he was an understudy, but not originally scheduled to perform), and he had an excellent debut in a wonderful role.
But it's also a thrill to see someone new, someone from a different place or style that can bring a piece of their home base with them. And as fewer and fewer companies are able to tour, guesting is one of the ways that we can see other artists.
(I had a brainwave the other day, when talking about the lack of touring, that while in the early part of the 20th c dance companies did the touring, now at the beginning of the 21st, it's the audience that's mobile -- according to some studies, arts tourism generates more revenue that people who travel to see sporting events.)
In the 1980's there was a brief attempt on the parts of Pacific Northwest Ballet, Boston Ballet, and Houston Ballet to create a regular, three-way touring circuit, where each company would tour to the other two over the course of a couple years. It didn't get off the ground, money being the perennial problem that it is, but when I heard that Barker was guesting in Boston, I was kind of pleased with the echo of that original idea.
Posted 19 May 2005 - 03:44 AM
The roster stays relatively stable next season. Pollyana Ribeiro, who joined the company in 1992, is the only principal leaving. It speaks to the Ballet's strength that the only new principals are promotions from within: Both Romi Beppu and Karine Seneca are stepping up from the soloist ranks.
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