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About sandik

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
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  1. Romeo & Juliet Live Cinecast of 21st January

    I know, I know -- but those first act tights (with the windowpane check shorts painted on) -- it's almost as good as the Norwegian curling team!
  2. Swan Lake, February 2-3 and 8-11

    Full casting for the first weekend is up on the website -- lots of changes in many of the roles.
  3. Romeo & Juliet Live Cinecast of 21st January

    I'm the Mercutio fangirl.
  4. It looks very much like Millicent Hodson's drawings for Nijinsky's Rite of Spring, or Remy Charlip's Air Mail Dances. Hodson uses drawings to clarify her work -- they're not designed to record the work for others to reconstruct. Charlip would often use drawings to give dancers a basic script for a dance that they would be able to interpret rather than replicate. Looking online for an example of Charlip's drawing I came across this article on dance notation -- as an occasional notator and reconstructer from notation, I take exception to Kirstein's dismissal of the practice, but I agree with the author that notation can be a jumping off point as well as a recording.
  5. Romeo & Juliet Live Cinecast of 21st January

    A couple more thoughts. I was talking about this with my sister last night, trying to describe the staging, and wound up saying "it's like the play within a play in 'Kiss Me Kate.'" The big and plain geometry of the forced perspective set (Ekaterina Novikov said that the designer was influenced by diChirico, which makes perfect sense looking at it) reminded me of mid-20th century illustrations of "Medieval/Renaissance" settings, from commercial publications of Ivanhoe and the line drawings in the collected Shakespeare my parents had to films like The Adventures of Robin Hood (which I happened to see on Saturday, so I was primed). Alongside the sets, the costumes had a similar "modern take on period" look -- it felt like an Old Vic production of the play (or, for those of us on the west coast, an early iteration of the Ashland Shakespeare Festival). And the exaggerated height of the two fathers (not to mention the fabulous hats) -- I kept expecting Robert Helpmann to make an entrance. I agree with Helene above -- while I love the male quartet here, the Maillot puppet show performed to the mandolin music does a much more distinctive job in that production.
  6. Romeo & Juliet Live Cinecast of 21st January

    Thinking back on this, I have a feeling that the camera work undercut the bowspirit phrase -- an example of something that might not have looked as static if we were sitting in the audience. But that's just an intuition.
  7. 2017-2018 season: Washington Ballet

    You might just contact the company directly -- they can be pretty helpful
  8. A music colleague said that Petty may have been performing with a broken hip -- another place where "the show must go on" has dire consequences. And yes, I didn't know that there were three different kinds of fentanyl. The drug was a godsend when my partner's mother was dying of cancer, but I remember the hospice nurse showing us how to deal with the patches -- she drilled us that we always needed to be wearing gloves, that we should never, ever touch the pad, and that we absolutely had to dispose of it in a separate bag that they would collect. This was several years ago, and protocols may have changed, but the impression she left us with was that it's an extremely powerful drug.
  9. Interview with Philip Neal

    What she said -- this is just right. I didn't see Neal in performance, but his discussion here about the art form, his experiences as a dancer and now as a teacher and administrator -- he just sounds like a wonderful person doing a wonderful job.
  10. Akram Kahn's Giselle/Cinema

    Me too, but I don't think we'll get a cinecast. But with this happening, we could get a DVD!
  11. "Restless Creature: Wendy Whelan"

    What a nice combination of events.
  12. Romeo & Juliet Live Cinecast of 21st January

    One other tiny moment that really stood out was when Juliet was running off stage left to see Friar Lawrence, and passed between two lines of dancers traveling stage right. They pivoted around to face the opposite way as she rushed by, as if they were blown around by her wind.
  13. Romeo & Juliet Live Cinecast of 21st January

    That reminded me of what I think is the most effective moment I've seen in a danced version of this play, Michael Smuin's production for San Francisco Ballet, which was televised in the early days of Dance in America -- the opening fight scene was quite chaotic, resolving in a young mother carrying her dead child, rushing downstage, looking for help, or justice, and finding neither. The camera helped make the moment -- I always wonder what it looked like in the theater. Likewise, I thought that moment in the Ratmansky where Juliet tries to connect with her grieving mother was really enhanced by the camera focus. I'm not sure if it would read quite as powerfully from the balcony seats in the theater.
  14. I really hope this gets a screening in the US -- I'm very curious about it.
  15. Peter Martins Sexual Harassment Allegations

    A related question: Upper Room wasn't made for a ballet company -- it was one of the last things she made for her own company, which by that time had many people with significant ballet experience. If you weren't seeing it in a ballet environment, would you have a different experience with it?