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      2018 Joint Fundraiser for Ballet Alert! and Ballet Talk for Dancers   02/03/2018

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About Drew

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  1. Winter 2018

    Yes, I think so too. (I guess at times there is room for debate as to who fits the bill and maybe the occasional experiment. At least when budgets allow.) In that regard, at least, Kirkeby was a known theatrical entity to Martins when he collaborated with him on Romeo and Juliet, as they had already collaborated on Swan Lake. It seems fair to assume Martins was not dis-satisfied with what Kirkeby had done for the earlier production and considered him a good choice partly on that basis
  2. Winter 2018

    The sets and costumes are much disliked -- at least here at Ballet Alert. I haven't seen this production and have no investment in it (other perhaps than wishing New York City Ballet would leave Romeo and Juliet to the ABTs of the world). But that said, and kidding aside ("an eighth grader"), Per Kirkeby is a respected contemporary artist with a substantial international reputation. Here are some pages the Tate Modern put up for an exhibition of his work a decade ago: http://www.tate.org.uk/whats-on/tate-modern/exhibition/kirkeby http://www.tate.org.uk/context-comment/articles/polymath-our-time Was he the best choice for this production? Well, from people's reactions, I am guessing not -- though it does seem a dead certainty Martins didn't go to Kirkeby wanting a luscious Renaissance set. But even allowing for the risk of a disaster, I rather hope the company keeps up its willingness to collaborate with serious contemporary artists now and then.
  3. The Ratmansky reconstruction is for Berlin. Don’t know what ‘new’ means in posting above or indeed if it does not just mean new broadcast. But if it were to happen, then I would pay money to be in the room when Ratmansky instructed the Bolshoi dancers not to life their feet higher than their waists when dancing Petipa...
  4. Shostakovich's The Gadfly Suite

    I know this is months after the question was originally posed, but when messing about on youtube this morning I discovered that Messerer uses the Gadfly music in Class Concert --a ballet I'm pretty sure I've watched on video before, but still I had not remembered earlier... I think the guilty pleasures in Class Concert come in the more bravura sections of the choreography, but here is this more lyrical bit:
  5. Absolutely. Speaking generally still: it's also the case that there can be unfairness and bad leadership and peculiar taste that still don't rise to the level of fire-able offense or illegality. And that organizations may weigh such problems against a leader's successes even when they do see the problems. Which they often don't. (Though...uh...in my experience when passionate fans see a talented dancer they admire not getting promoted, they are not always all that philosophical about it .)
  6. Thank you for sharing the story of Nini Theilade--what an extraordinary life! Max Reinhardt's Midsummer Night's Dream is just an astonishing film--Theilade must have worked with Nijinska then, too, who did the choreography for it. May she rest in peace.
  7. Even my local company, Atlanta Ballet, did a staging of Don Q this year (by Yuri Possokhov based on the traditional Petipa/Gorsky template). But at the Bolshoi and Mariinsky I doubt a season goes by without performances of this ballet. I think it suits some companies and dancers better than others.
  8. Watching the Olympics

    Scott Hamilton has made huge contributions to figure skating, but I did not like his style of commentary at all. Tara Lipinski and Johnny Weir aren't just younger and hipper and more fun to watch -- they are more informative! Or seem so to me--a very casual fan. And I am much closer to Hamilton's age than to theirs. I did love Peggy Fleming, but that was because she was Peggy Fleming not because I found her commentary particularly illuminating. (And she is still Peggy Fleming to me.)
  9. Winter 2018

    I understand the financial exigencies, but I very much wish New York City Ballet had not opted, or not had to opt, for giving over so much of its season to full length works. (I admit I am a wee bit more open to those with Balanchine’s imprimatur.) That said, Martins’ interest in bringing an artist of international renown to the NYCB stage in his productions seems to me to have been a serious gesture in the spirit of the company’s traditions. It is too bad the results were not more succesful, though I kind of like Kirkeby’s designs for the Lake scenes and the court scene and they seem to me to cohere with Martins grim vision of Swan Lake if not exactly Tchaikovsky’s more transcendent one. But say they are a bust and I’m an outlier...Still, my desire to see NYCB compete in the traditional Swan Lake sweepstakes with medievalizing fantasy is almost zero. The company’s greatness and importance lie elsewhere, and I hope it always will. P.S. I do not much care for Mckenzie’s production, which I find trivializing.
  10. Modern Masters

    Oh yes --
  11. Dancers' heights — known or estimated

    What a fabulous photo!
  12. Thanks...I will try to take a look at this, though probably after the Olympics are over. I remember how much I loved Lacarra’s lyrical dancing when I saw her at a gala in New York some years ago. She had not yet left San Francisco for Munich.
  13. Back in the day, articles about Tetley claimed he was always more respected and more performed in Europe than in the States. If that was accurate, then Europe was his old home too. (For a period ABT did program a number of his ballets. I personally was kind of relieved when they stopped doing so.)
  14. Watching the Olympics

    Very happy for Nagasu...
  15. Yes! It turns up in Atlanta too on March 27th--a day I am leaving town for a work trip naturally. But in principal I am still very happy about this.