Jump to content

Helene

Administrators
  • Content count

    31,241
  • Joined

  • Last visited

About Helene

  • Rank
    Administrator
  • Birthday January 1

Registration Profile Information

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

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. Helene

    Is Bournonville Still Alive?

    Many thanks, Anne, for your analysis and point of view. I wish you had better news, but better to know what is happening.
  2. Helene

    Is Bournonville Still Alive?

    As an aside, Kasper Holten was the director of the brilliant Copenhagen Ring, and in the DVD extras, there's a discussion between him and the Queen. As an aside, Kasper Holten was the director of the brilliant Copenhagen Ring, and in the DVD extras, there's a discussion between him and the Queen.
  3. It's extremely controversial and more often than not considered a professional violation when a mental health professional makes diagnoses without actually having specific knowledge of the person, and there is HIPPA law around speaking about cases where the medical professional does. In any case, it is a clearly dangerous cliff to be hanging on to do so.
  4. It's not as simple as that, and it's not so old as a practice: former Surgeon General Joycelyn Elders trained under pediatric surgeon in the '60's who specialized in the practice of consulting the parents and performing the alignment surgeries based on a wide number of factors, almost all concerning the best way they thought the child outside the physical and genetic binary would be accepted. In the context of the time it was thought to be the most compassionate option -- Elders wrote extensively about this in her memoir -- but, within a few decades, the issues this raised, including dysphoria and human rights violations, led to a shift, which didn't change overnight. I've read and heard (news/podcasts) a lot of stories recently of young people in particular who have told their mothers/parents that they are transgender, only to have their mothers/parents apologize for not having disclosed that history -- which would also mean that some medical people who knew were hiding this from their patients and others, including therapists, were never aware of a major part of their patient's medical history -- and for having made the decision, often having thought over the years watching their child evolve, that they made the wrong decision. Given the general awareness of the transgender community now, I would expect a lot of recognition of dysphoria that was suppressed inwardly and outwardly, ignored, misdiagnosed, and dismissed. It might very well be that symptom is being mistaken for the cause. Like many things, what is considered "compassionate," whether for the benefit of the deciders or the decided for, changes. For example, is a very different decision to insist someone be closeted today, at least in the US, Canada, and Western Europe, than it was even 30 years ago, because the context, while hardly perfect or easy, has changed, and even parents who fear for their children where they are living know that there are places where their children can live openly, and that is not just in major metropolitan cities.
  5. There are a number of considerations here, which may include a deliberate attempt to ramp up, the company's trade-offs around a potential media circus vs. keeping focus on the production -- ballet and lots of company dancers -- and that Deborah MacMillan keeps tight control over her late husband's ballets.
  6. I've added the School Performances to the thread: there was a lot of cross-casting in "Season Encores" and the evening School Performance. I think they split at least some of the major roles danced by PD students if they repeat works, this year, "Song" -- Titania's dance with her attendants -- and "Scherzo" from Balanchine's "A Midsummer Night's Dream" and Robbins' "Fanfare," which really sings when danced by students. I saw the evening performance, which also included a modern work by Eva Stone for the Level VIII's, the high school track for women, and the Men's Division. Unfortunately, the levels are listed in the big program in alpha order, so I don't know who the featured woman was, but she was fantastic! Two of my favorite dancers of all time are Mary Corcoran (RIP) and Lauren Grant, and, like them, she was short in stature and huge in musicality. (She may be one of the Level VIII graduates, but they don't caption the photos.) There was also a young man on the shortish side in the ensemble who kept catching my eye. The Level VIII's are always my bittersweet favorites. Bittersweet because there's so much talent there that I wish had a place in professional dance, although, while in the past, one or two might go on to the PD, like Claire Curran this year, but most headed to college, this year, of the 11 Level VIII and one Men's Division graduate, two are going to summer intensives, one into a trainee program, one into PNB's PD, and two are pursing degrees with a focus in dance. Between the "A Midsummer Night's Dream" excerpts and "Fanfare," the Level VIII's performed a sweet piece to Faure choreographed by faculty member Nancy Crowley, who came from Ballet Arizona, where she danced and then was faculty. At the end, they split into two groups, who I'm assuming were the graduates and the ones still in high school, waving to each other. I'll try to get a better photo tomorrow in daylight, but, for the time being, I've attached a placeholder which lists the graduating PD's and Level VIII's. Four PD's will become apprentices at PNB next year: Abby Jane DeAngelo Luther DeMyer Yuki Takahashi Juliet Prine In the Q&A after "Next Step," moderated by Kiyon Ross (nee Gaines), someone asked Dylan Wald if he had to hold back with his choreographic asks, and he replied that he remembered when he was a PD (four years before) and how he liked stepping up to the challenge, and also said that he picked very talented dancers for his piece. (They choose their dancers early in the process; rehearsals generally start in October.) Two of the quartet, Luther DeMyer and Juliet Prine, will be PNB apprentices next season, Mackenzie Moser danced beautifully for Wald and was a wonderful Clarinet (with Andre Alabastro) in "Fanfare," and Hayley Majernik, who hasn't yet graduated, was the fourth: she was featured as Titania in the "Song" excerpt from "A Midsummer Night's Dream" and Harp in "Fanfare," so, he certainly did pick well! He also chose a lovely piece of music, Osvaldo Golijov's "Tenebrae (version II for string quartet)", played by Luisa Rodriguez, Jessica Na (violins), Anna Soper (viola), and Tanner Rodriquez (cello). Luisa Rodriguez also played wonderfully in the violin solo in Massanet's "Meditation" for Cecilia Illiesiu's pas de deux for Grace Rookstool and Wojciech Ogloza. Christopher D'Ariano said that his featured dancer in "Youthquake," Marie Millard, was his partner at SAB when he was 14, and she was his muse. She was also chosen by Amanda Morgan, who gave Millard a meaty role. Joshua Schwartz danced the "Scherzo," and had a lot of presence and authority as Oberon. He got great air on his beats. Ross choreographed two pieces, one to Saint Saens "Danse Macabre" for the Level VII's, a great piece of music for movement, and then a pas de deux to Max Richter's "Infra 8" for Naizrah Taylor and William Sheriff Jr., and he made them look like stars, contrasting her long lines with his fluidity. Taylor and Sheriff were standouts in "Fanfare," too, Taylor as a First Violin and Sheriff as a Trumpet, and, bittersweet, because he's going to be an Apprentice with Alberta Ballet, and her plans are listed as "Academic Pursuits." I'm still mulling over Next Step. It transitioned from two outdoor works, a reprise of Pantastico's "Picnic" and Miles Pertl's "Wake," performed in the Kreielsheimer Fountain between the Phelps Center and McCaw Hall, to the McCaw Hall lobby, to inside the Hall, but in the aisles between the orchestra pit and the audience and then up the two aisles of the orchestra for a work by Bruno Roque performed by Cornish College students, to the six pieces on the main stage.
  7. The program for the 37th Annual School Performance listed the four dancers who will become PNB Apprentices in this coming season. From following the programs, sometimes they start at different times in the season, but I think they're all on the roster by "Nutcracker." Abby Jayne DeAngelo Luther DeMyer Juliet Prine Yuki Takahashi
  8. And there's thinly disguised discussing the discussion/another poster, so don't do it.
  9. Helene

    Gomes and ABT

    [Admin beanie on] If you have typed "insider" into the post box, and it is not in the context of "[Official Source] wrote 'According to insiders'..." "Cancel" immediately and back away from the keyboard. [Admin beanie off]
  10. Phillipa Kiraly reviewed Season Encores for "The Sun Break," and she posted news about next steps for Carli Samuelson and Nicole Rizzitano: This is great news for them both!
  11. Helene

    Keeping Up With...

    Francia Russell is in New Zealand to help stage "Divertimento No. 15" for Royal New Zealand Ballet, and the Otago Times has done a lovely interview with her, documenting her career with Balanchine through "retirement": https://www.odt.co.nz/entertainment/theatre/rising-through-ballet-ranks
  12. Helene

    Seating Advice at the Met

    sandik and I were on our way home from something dancey out here last week -- there's so much this time of year, it's all blending together -- and behind us at Dick's Drive-in were a newly minted University of Washington grad and her lovely mother -- so that makes me smile doubly. The great thing about NYC is you just have to look around and throw a virtual dart, and there's something to experience.
  13. Helene

    Seating Advice at the Met

    In a private internet group I'm on, we joke that "All threads turn to food." I'm salivating at the thought of the ballet+the food.
  14. Marina Harss interviewed Russell Janzen for "Dance Magazine," and, being past middle age, it's a remarkable conversation for me to see in "Dance Magazine," with a lot more shades to the issues of gender roles and the room for fluidity in ballet that he's taken out of the studio and off the stage into writing, research, and presenting at a conference. No "Just dance, dear" for Janzen: . It's also interesting to me that he hopes that Mark Morris will choreograph for NYCB now that management has changed: when I read this: I immediately thought of Mark Morris saying back in the day that, having danced in ballet companies, he was tired of pretending to be the Prince in love with the woman. Also, to bring things in a circle, in James Whiteside's latest podcast episode with Mark Morris, Morris commented about the orchestra and dancers having too little time, and given how important music is to Morris, I'm not sure Janzen's hope will materialize, although, perhaps an outside project? I also didn't know that Reid Barthelme was still dancing: I thought he was designing full time, so it was great to read that news and see the photo of them together. Just so that it's not lost, he hit me where I live when he said, because I could never articulate what made Luders so compelling to me, whether in Davidsbundlertanze or in the Act II PDD in A Midsummer Night's Dream or in the Beethoven PDD that Martins made to feature Kyra Nichols (and was broadcast on PBS with others Martins works).
  15. Helene

    Seating Advice at the Met

    I second, third, and fourth the recommendation for Blue Ribbon. I only eat fish that looks like the picture you draw in third grade, but my friends who like shellfish and other non-kosher types of sea life rave about the extensive selection they have.
×