Posted 01 January 2013 - 07:38 AM
Posted 01 January 2013 - 08:10 AM
I once asked the volunteers at the ABT gift table why they never seem to have shoes from the Europeans. They responded that the Europeans think this practice is creepy, as Birdsall also seems to think. But please note that the proceeds (at least at ABT) go to the Dancers' Emergency Fund, so it's a worthy cause.
Surely I'm not the only one here to collect these. . .
Posted 01 January 2013 - 08:22 AM
I'd be so curious to know if any Ballet Alerters have signed shoes. I do: Teresa Reichlen, Megan Fairchild, Rachel Rutherford (signed with a green pen because of her Emeralds role), Lauren Lovette (pink and black ribbons) and Wendy Whelan (ribbons and paper towels).
Edited by susanger, 01 January 2013 - 01:14 PM.
Posted 01 January 2013 - 10:09 AM
They're a lot more accessible than, say, the many thousands of dollars for Nureyev's slippers, Marilyn Monroe's shoes, or autographed baseballs, jerseys, and other sports equipment.
Posted 01 January 2013 - 10:45 AM
Posted 01 January 2013 - 10:49 AM
Very smartypants, that!
Thank you for putting this in context. Human beings are part magpie, I think -- the materials may be different, but the impulse to collect is pretty universal.
Posted 01 January 2013 - 12:21 PM
Posted 01 January 2013 - 12:31 PM
Posted 01 January 2013 - 12:39 PM
I have a pair of red men's ballet shoes autographed by Marcello Gomes with "Met 2010 Basilio." When I went back to old schedules, it appears his only performance of Don Q that season was the first act at the Alicia Alonso birthday celebration (which I was able to attend). Those shoes will never be worth $600K, but I treasure them anyway.
Posted 01 January 2013 - 01:23 PM
As people are saying now -- word.
Posted 01 January 2013 - 05:25 PM
I actually did go backstage and get recordings signed by opera singers years ago when I first got into opera, but I always felt guilty I was wasting their time and after experiencing some diva behavior and then witnessing the same diva scream at fans right in front of me on another occasion, I decided I do not need to go backstage ever again. And I never did. All my signed recordings mean NOTHING to any of my friends anyway, so I asked myself, "Why did I put myself through a possible Battle backstage???" Some opera lovers here will understand my reference completely and know who I am referring to.....
Basically, I want to see a great performance and I now leave the performers alone and don't want anything from them.
Posted 01 January 2013 - 05:28 PM
Chances are they've been worn at most for a rehearsal or class and a full-length ballet, and possibly for only an act of a ballet, if that ballet is highly technical.
Compare that to spending an entire film in ruby slippers or however long a baseball glove lasts (in and out of the locker room, and all that spitting), or the tape and sticky stuff on a baseball bat.
Posted 01 January 2013 - 06:18 PM
I do find it interesting to see how different dancers prepare their shoes in various ways -- cutting, scraping, breaking shanks, ripping out linings, etc. They all seem to have their own little rituals.
Posted 01 January 2013 - 07:02 PM
I don't remember exactly how the NYCB's came in the early '80's. Perhaps the plastic bag was a carry bag. I just remember being so surprised. (And that Suzanne Farrell's white shoes -- from "Mozartiana"? -- were a lot more expensive than the rest.)
Posted 01 January 2013 - 07:49 PM
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