Jump to content


Senior Member
  • Content count

  • Joined

  • Last visited

About Drew

  • Rank
    Sapphire Circle

Registration Profile Information

  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
  • City**
    United States
  • State (US only)**, Country (Outside US only)**
    United States

Recent Profile Visitors

2,166 profile views
  1. Thank you. I especially loved seeing Villella. I saw the movie many years ago, but mostly just remember liking the Heather on the Hill song and thinking Harry was justified in his fury and .... not much else. Do stagings always have the bride more or less swoon when Harry kisses her (as in the tv version)? That moment in the recording caught me a little by surprise.
  2. I thought it was ABT who blocked their Sylphides because ABT had bought exclusive U.S. (or North American) rights to the ballet? How to balance repertory on these tours does seem a conundrum. In days of yore, the company did tour with some interesting mixed rep -- including Blood Wedding with Antonio Gades which was rather a highlight. Also something to feature the men--maybe Dolin's Variation for Four? Which is an older work. (The last time I saw them was in 2001 for a mixed bill of excerpts/highlights from standard classics lovingly danced--Coppelia, Swan Lake, Giselle, Sleeping Beauty, Nutcracker, Don Q--and Valdes', who was unknown to me, balancing to end all balances with complete classical calm in the latter--but they also included another work that Alonso herself had choreographed. I just looked it up--it was Gottschalk Symphony. I don't think critics would line up to praise it--but I enjoyed it as a showcase for the dancers. Edited to add: perhaps this was the Magia de la Danza program CharlieH mentioned above...) I am sure presenters are concerned about what people -- and not just ballet-fan-people -- will go to see. And the choices seem to narrow more and more (News of Lincoln Center Festival's demise is not heartening on that front.) But, not having seen the National Ballet of Cuba in 16 years I would LOVE to see them in Giselle or Don Quixote and will eagerly await people's reactions.
  3. POB 2018 US tour cancelled

    Hoping for the best. But worried.
  4. Copeland/Bolle Romeo & Juliet from La Scala

    I will look for that!
  5. St Petersburg - November 2017

    Petrov has been invited to choreograph a new work for my local company (Atlanta Ballet) this coming season. Atlanta has fine dancers, some of whom I like a lot, but of course not remotely in the same league as the Mariinsky dancers—it may prove interesting to see what Petrov comes up with when creating for dancers so different from those at his home company. I admire Prodigal Son, especially the integration of the Rouault designs with the choreography — exactly the sort of thing Balanchine later rejected (usually) — but I have always admired it more than I actually like it, so I can very much understand it not being to someone’s taste. I would though be very happy to see Kondaurova’s Siren (!) . And the Pimonov sounds excellent. There is youtube video of an excerpt and I had thought it looked appealing, though it was a little hard to tell how much of that was the dancers (Tereshkina and, I think, Yermakov).
  6. Copeland/Bolle Romeo & Juliet from La Scala

    I wonder if ballet companies should try to issue DVDs with "extras" -- as happens with films. The dancers or choreographer (if the are alive) offering commentary etc. Or special backstage features or ballet history features to be included with DVD. Imagine the Ratmansky Swan Lake with a little featurette on Stepanov notation, interviews with the leads, and maybe a "stager's commentary" that you could turn on or off while watching. Not realistic I suppose, but...well, I'd be interested. And things like the commentary presumably could not be easily included in a youtube upload...
  7. St Petersburg - November 2017

    Thank you for the review. The performance sounds terrific, and I also would love to hear about other ballets you see. In addition to reading about Novikova in particular, I was especially pleased to read your impressions of Lukina. Queen of the Dryads is a real challenge—ideally it calls for a bona fide ballerina not just a good dancer. I hope that is what Lukina is becoming. I wish I could return to St. Petersburg...not in the cards right now. I keep wondering when they are going to close the historic theater for renovation as I would love to return before that happens.
  8. Ballet 101 program

    This sounds unbelievably interesting....
  9. 2016-17 season

    As KBarber has said that was not a review but a feature piece on the Kudelka Cinderella. I think it's fair to say they are rarely critical. This one includes comments by Kudelka himself. (A search of "Kudelka" on the ABT forum here will quickly turn up the various reactions fans on this site had to Kudelka's Cinderella when ABT danced it. ) I think all ballet directors today are under unbelievable pressure to solve financial problems. I am sure it leads to some decisions that are not purely artistically motivated. And I haven't seen enough of Binet's work to have an opinion whether he is undeserving of the opportunities he is being given at National Ballet of Canada or not--God knows there are few enough gifted choreographers in the ballet world at any one time. But perhaps it should in fairness be noted that when the New York Times reviewed Binet's ballet for New York City Ballet, The Blue of Distance, they by no means viewed it as a "turkey." The ballet got a mixed, but respectful and in key ways positive review as part of a mixed but overall positive review of an entire program of premiers. https://www.nytimes.com/2015/10/02/arts/dance/review-new-york-city-ballet-gives-a-dance-form-a-makeover.html?_r=0 I saw the ballet twice and though it used the New York City Ballet dancers beautifully and in ways I hadn't exactly seen them used before. As a premier by a young choreographer--I found it at the very least intriguing.
  10. Tiler Peck on Ellen

    Love her!
  11. I first read about this on another online forum (Dansomanie). Here is the Reuters report: http://www.reuters.com/article/us-russia-bolshoi-hoax/bomb-threats-force-evacuation-of-moscows-bolshoi-theater-hotels-reports-idUSKBN1D50UI?il=0
  12. Re-posted by the Cunningham Trust:
  13. 2018 Met Season

    I would give Cirio-Lane a chance if it ever happens again. Did Simkin have chemistry with Lane (or really, with anyone) when he first joined ABT? I remember seeing a peasant pas de deux with Lane where he hardly seemed to acknowledge she was on the stage. Even the sheer mechanics of the partnering was off. As I remember, other people complained about it on this website too. And yet in the past couple of years, I read people saying they do have chemistry. Tastes differ, but sometimes, too, partnerships mature, and chemistry requires a little experience.
  14. The Cunningham Trust sent out several tweets which I only just saw this moment. I only knew him through his writings...which I admired and enjoyed. Sad news--may he rest in peace. And condolences to all who cared about him.
  15. I'm inclined to separate the search for muses and multiple marriages from other kinds of erotic behavior that might, for example, be viewed as more exploitative. I thought that made me the old-fashioned one! But say you are right that these behaviors are all on a continuum in Balanchine's life--that cuts both ways. On the one hand, what looks emotionally and otherwise exploitative in the Frankfurt story (the one that concerns me here) is really inherent to Balanchine's art and part of his search for inspiration, but on the other hand .... perhaps the search for inspiration that fueled his art got a little exploitative. And both can be true. That's part of the complexity of the situation. It is also true that Balanchine did extraordinary things for his dancers and gave them many intellectual/artistic gifts. His place in the pantheon of dance history is secure, and a good biographer's job includes helping one understand what possibly motivates her/his subject. But that's not quite the same thing as saying that genius or art somehow grants carte blanche. That kind of aristocracy I don't believe in any more than I believe in droit de seigneur. I don't think marriage was the process for Balanchine either. It just made made me smile when you wrote he wasn't interested in short term goals and then added that that was one reason marriage wasn't for him. I do realize you were not intending to claim marriage is a short term goal.