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seattle_dancer

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About seattle_dancer

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    dancer (for fun, not pro), ballet junkie
  • City**
    Seattle based, visit NYC & SFO
  • State (US only)**, Country (Outside US only)**
    WA

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  1. Jewels: 22-23 Sep and 28 Sep-1 Oct

    I went to the dress rehearsal tonight and enjoyed Jewels more than any other time. The new production is so beautiful! The skirts in Emeralds and Diamonds have amazing movement quality. The colors/hues for Diamonds I found particularly fresh and current yet still based on tradition. I'm excited to see it up close this weekend!
  2. Keeping Up With...

    He went to NYC/Broadway: https://www.google.com/amp/s/bleepmag.com/2016/01/27/sean-rollofson-from-ballet-to-broadway-and-back-again/amp/
  3. Thank goodness I can take some coffee in with me for shows on school nights!
  4. The Taming of the Shrew

    Saw both casts on Saturday. Will write more when I have time. I enjoyed it a lot but I know that Maillot loosely follows traditional story lines so I knew what to expect.
  5. 2016-2017 Season

    I went opening night July 1. I was not familiar with this ballet, and after reading the information on the POB website I expected something along the lines of Giselle or Chopiniana. I like Giselle, but I don't love it like some of my friends. My expectations were surpassed in every way. The first act was not primarily mime, I don't want to give too much away but there are a lot more dancers and more choreography than I expected in Act I. The pas de trois scenes make this story ballet unique. The choreography in the second act was also much more dense than my expectations. The first scene was very unique, I've not seen anything like it. I figured if one wants to see a ballet in the Romantic genre who better to see than POB? The corp in Act II was fantastic, with a very specific way of holding their upper bodies. It was also neat to see such an old ballet, in such a historic theater. And for such an old theater, there's some pretty neat technical tricks in the production. The fancy program for 12 euros does have a small English section starting on page 22, but it's mostly in French. In the gift shop there is also a book that tells the story, in French only. I wanted to see it again before I left Paris, but couldn't fit it in. So I hope to catch it in NYC next summer. There really was a lot to see and I felt like I couldn't take it all in. Enjoy!
  6. Hello !

    Welcome! I love your name! Yes there is a ton of information here, it's been really useful for me to stay in touch since I don't live in NYC anymore. Some threads and discussions have even piqued my interest in foreign companies and dancers, resulting in a few trips. I even made some hard core ballet friends. BA has been a terrific resource for me. Enjoy!
  7. It seems like there has been quite a few tall men hired lately: Miles Pertl, Dammiel Cruz, Dylan Wald, Guillaume Basso. i had seen Kuu dance and partner company dancers in Symphony and C and at least one other PNB Company piece this past season, so I was hopeful. if he doesn't find a way to PNB I would also love for Helgi to acquire him at SFB. He took their summer course last year, so I was hopeful there too.
  8. I am so bummed Kuu Sakuragi did not get a contract with PNB. As I watched Steven Loch's Next Step piece, I tried to work through my grief. Kuu puts everything into everything! Not even one half count is ever wasted. I can only hope he will come to PNB some day, like Elizabeth Murphy. I would even pay and drive across a bridge to see him perform in the new Francia Russell Center performance space when he comes home to visit family.
  9. At the end of Sunday's matinee post-performance Q&A, someone asked if Otto Neubert or Steven Loch has any funny stories about Carrie and Bold. Steven said how Bold was injured in September and that Boal asked him to partner Carrie opening night. He said it was such a hugue honor - opening night and all and Carrie's return to the stage after her maternity leave. Otto told the story of how Bold auditioned in DC. Bold did a huge coupe jeté manège, and Otto said the studio wasn't big enough and Bold was scraping all the walls. He said that we (he, Kent and Francis I assume) thought "Who is this boy? We must have him in our company!".
  10. Home now and viewed it on the PNB website. From here: https://www.pnb.org/season/16-17/encore/ click "Learn More" under "Watch Season Encore for Free". At the end it says the video will be available on Facebook until July 11. The audience tonight was the loudest we've ever had at a Season Encore, and I'm pretty sure I've been to all of them. It was a super fun evening, and I loved the video Sandy Barrack produced. A great ending to another terrific season!
  11. Pictures at an Exhibition: June 2-3, 8-11

    There's still one more show today, so I figure we're not late. Last weekend was the first time I had seen La Source, so I have not seen the big guns ballerinas dance it back in the day, but I loved Leta Biasucci and Ben Griffiths in it. Their partnering seems the most natural out of the three casts and one example is that enormous fish dive toward the end of the show (when they must be tired) downstage right. Leta really hurls herself out horizontally (vs up and out), and she's not that tall, so she's not that high off the ground, but obviously she has full trust in Ben to catch her. Noone has more sparkle power than Angelica Generosa and I loved how she interpreted the second ballerina role, and pulled it off like it was easy. Towards the end, again, when she must be tired, she did a huge manege with amazing couple jetes, so big for such a small person. As others have mentioned, Rachel Foster really impressed last week in Opus 19, she was as fierce as ever. When Pictures started, I forgot she was in it that night and her role there was completely opposite - charming and playful. I was really impressed she could switch so quickly and pull off the demanding choreography so well. The Pictures pas with Kyle Davis is lightening quick. I also thought it was interesting she had that role. As she rose to principal status, I knew her as one who excelled in contemporary works, and would not have thought of her for Tiler Peck's Pictures role but she was super cute and blasted through the steps. So hopefully she is now 100% recovered and better than ever. Or so it appears. In Pictures, as sandik said, Steven Loch was terrifying in his solo. It seemed edgy and dangerous and went with the music really well. He and Elle Macy are exciting in their pdd, she also has the ability to dance edgy and fierce, as demonstrated in her Empire Noir solo. This past Nutcracker run I saw them as Sugarplum and Cavalier, so it was really fun to see them dance in Pictures together, in such different roles.
  12. Eifman Ballet's "Red Giselle"

    I saw Red Giselle many years ago in Seattle and I thought it was fascinating, but more because it was a twist on ballet and presented differently than anything I had ever seen. In NYC around 2010 I also saw Eifman's Onegin, and really enjoyed it as well. I'd put his shows in the same genre as Matthew Bourne's productions. Having met you a couple years ago, I'd say it's not your cup of tea. abatt had good comments. If you have the time free and can get a cheap ticket through Goldstar, maybe check it out but set your expectations accordingly.
  13. Pictures at an Exhibition: June 2-3, 8-11

    "Not sure when I last felt this kind of happiness" - wow, Wendy is so heartfelt and even expressive with words! I'm so happy for her and for all involved with the production. Excited to see it today!
  14. Pictures at an Exhibition: June 2-3, 8-11

    The dress rehearsal lecture last night was best I've ever attended. Peter Boal and Wendy Whelan have such history and know each other so well, it was really special. For at least 30 minutes it was non stop fascinating content, with room for a few questions at the end. So much ground covered! It started with the standard, how did you start dancing, what was your training, etc. They both have recounted the first day Wendy danced a Balanchine ballet, although they laughed about some differences between their stories. Wendy's was published recently: https://www.nytimes.com/2017/05/23/arts/dance/wendy-whelan-the-first-time-i-danced-a-balanchine-ballet-the-day-he-died.html?_r=0. She recalled that the Stravinsky ballets were her first loves, then she had a second phase, classical, I believe, and her last phase was romantic. Peter asked what it was like working with Wheeldon and Ratmansky and it was interesting to hear how her being in her 30's and 40's affected the choreography. I think she said she was able to contribute some. She had funny little tidbits such as wondering if her and Wheeldon would be in trouble because After the Rain did not use pointe shoes. Wendy also said both of those choreographers are younger than her, and she found a resurgence of energy working with them and dancing their ballets. Another funny tidbit was how Alexei choreographed Wendy touching the floor in Pictures, as sort of a good bye to that theater. Both Peter and Wendy said they were shocked because that's in Dances at a Gathering. Apparently when Wendy told Alexei that he didn't have any problem with keeping it in. Peter segued into her NYCB retirement by starting with her Restless Creature project/show. She described how it came about and that the thought of retiring from the only world you know and the one thing you've trained for all your life is "terrifying". Wendy described how she chose each of the choreographers and how they were all shocked when she asked them to create something so different than her ballerina choreography. And then, as you all know, it went on a huge tour, and then she had a similar project with Ed Watson that ran at the Royal Opera House. They spent quite a lot of time talking about her film "Restless Creature, Wendy Whelan", which sounds phenomenal. She described how it came about, how she was hesitant, then they filmed a little at a time. Her husband has a background in cinematography so when they finally reviewed some footage, she agreed to the rest of the project. Her husband said the director/creator was really good, and it doesn't get much better than him. Like Wendy, the film sounds quite candid. She said it was not scripted, the storyline is really how events unfolded as she retired, including her hip surgery, some of which is apparently shown in the film. In Seattle it will be shown at the NW Film Forum late July - early August. It doesn't look like tickets are for sale yet (I looked today). She talked about staging Pictures and how she was not confident she could do it and it took her a long time to commit to it. She used video to painstakingly write out movements for the other dancers parts and made up names for Ratmansky's unique movements. There was a funny story about how she ran into Gonzalo Garcia on Amsterdam Avenue and asked for help on his choreography. His friend filmed it and you can see it on her Instagram site. Look for the video with a bike. It's so cute at the beginning she is wearing a backpack and dancing around with it and he is on his bike. You can tell some time elapsed because then her backpack is on the sidewalk alongside his bike. Wendy spent two weeks staging and readying two full casts. Then she left and Alexei came for a couple days of coaching, and then Wendy has returned for final rehearsals and the opening night. I'm sure I've left out a bunch of stuff, but was hoping to provide a few highlights for those who could not attend. These lectures are such a great deal for $15 ($30 including dress rehearsal) and for some donors they receive comp tickets as a donor benefit. PNB is the best!
  15. vipa, here's your chance to see Carrie Imler!
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