Sleeping BeautyCasting and Reviews
Posted 07 April 2006 - 07:02 AM
A. Dancers who grow roles by 1. refining and polishing (I'd site McKerrow and Kirkland as examples), 2. reinventing (Bouder), and 3. onion-peeling (revealing new layers of depth --as you say, Farrell). Perhaps these last two are facets of some more encompassing way of describing what they do.
B. Two ways of handling mixed rep programs, that also may relate to how dancers perform (concentration of focus vs. dialectic of variety) : 1. replicated programming (variety via casting changes, typical of PNB, ABT and many more) vs. 2. heterogeneous programming, in which the ballets are presented in varying combinations (NYCB paradigm).
Posted 07 April 2006 - 07:36 AM
When working on the calendar, carbro and I went through dozens of company calendars. I can't think of a single company in the US [Edited to Add: besides NYCB] other than ABT in its fall season that does a rep season. SFB, and Ballet Arizona (for the Balanchine programs) have a tiny bit of hybrid, in which two fixed programs are given over the same period.
This appears to be the pattern at other regional companies. Miami, certainly. Do any other regionals do it differently?
Most of the major companies in Europe are on a rep schedule, alternating with opera performances. When they perform triple bill programs, they tend to be fixed programs more than not. While rep still has its challenges for rehearsal and focus, the opera does give many of the dancers little performance breathers, although they might have rehearsals scheduled for that time.
Posted 07 April 2006 - 01:24 PM
I'm afraid such a question is well beyond my modest powers of distinction. I feel lucky to be able to "see" the differences btwn various dancers in the same role at all, much less be in a position to tell you why I respond differently.
Great dancers seem to fall into two camps: those who polish and refine a role, and those who reinvent it each time. How would the various PNB stars place in this dichotomy?
Years ago I used to live in San Francisco (where I saw my first ballet on a whim while in college -- I was changed forever ). ABT, Joffery, and other companies used to come regularly, and I saw them all, sometimes every nite of the week. Then perhaps I could distinguish the "styles" of a company, or the quality of a company. But now I pretty much only see PNB, so I have little to compare to. Perhaps PNB is a ho-hum company to true experts, I have no idea......all I know is that I love them, and believe I've seen the company get better and better over the years. I suspect I am just spoiled by PNB and don't know any better.
Posted 07 April 2006 - 07:23 PM
Posted 08 April 2006 - 11:25 AM
Please introduce yourself on the Welcome Forum when you have a chance by clicking "New Topic" from the top right of the forum, and we're looking forward hearing what you think of Sleeping Beauty.
Posted 11 April 2006 - 12:42 PM
"It was a difficult choice to make," she says. "But I thought, you know, I've done it, I enjoyed it when I did it. I didn't really feel that I had to prove anything to anyone. And I thought, do I really want to take up the space, and not allow someone else the opportunity?"
(can see whole article through links for Tuesday 4/11)
Posted 11 April 2006 - 09:53 PM
Posted 12 April 2006 - 02:43 PM
Posted 13 April 2006 - 10:30 PM
Just to set expectations, Lilac Fairy is a very small dancing role -- a single solo -- and a lot of mime and casting spells with what looks like a purple feather duster. Especially since in this production (Hynd) Desire is not the brightest bulb in the chandelier, and Lilac Fairy has to lead him by the nose.
Request from New York for detailed reporting on Körbes' Lilac Fairy performances, please.
We miss her.
It's too late for me to do a full write-up tonight, but just a few highlights, not meant to be all-inclusive: Kaori Nakamura was a brilliant Aurora, Körbes was superb as the Fairy of Beauty and as Silver in the Gold and Silver pas de trois in the Wedding Act, and Maria Chapman had a great evening in three very different roles: Fairy of Purity in the Prologue, the Countess in Act II, and the White Cat in Act III.
Posted 14 April 2006 - 09:31 AM
Maria Chapman had a great evening in three very different roles: Fairy of Purity in the Prologue, the Countess in Act II, and the White Cat in Act III.
Didn't she just -- she's been slowly and carefully developing for quite some time, and we are getting to see some very lovely work from her lately.
Posted 14 April 2006 - 10:06 AM
Posted 14 April 2006 - 12:13 PM
Posted 14 April 2006 - 01:30 PM
Posted 14 April 2006 - 02:37 PM
......albeit at the end of their tenure.
Exactly my point.
Posted 14 April 2006 - 02:40 PM
0 user(s) are reading this topic
0 members, 0 guests, 0 anonymous users
Help support Ballet Alert! and Ballet Talk for Dancers year round by using this search box for your amazon.com purchases: