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Helene

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Everything posted by Helene

  1. Joy Womack

    [Admin beanie on] No hearsay or second-hand reports. If friends or consultants want to report on what they've seen, they can register and post themselves. [Admin beanie off]
  2. 2017-18 Season

    Here's a lovely photo of the company at the start of the 2017-18 season:
  3. Matthew Bourne "The Red Shoes"

    The last narrative work at PNB out here in Seattle here would have been the Maillot "Cendrillon."
  4. 'The Paris Opera' - New Documentary

    Regardless what individuals thought of Millegpied, it is pretty clear from the film, specifically Lissner's comments, that they knew that one of their own would replace him. Big institutions, especially ones with entrenched habits and bureaucracy, aren't know for their ability to keep secrets for long.
  5. 'The Paris Opera' - New Documentary

    There is some overlap, but not all that much. It's split between the opera and ballet, and the focus is Lissner. On the opera side the focuses are on a young Russian bass-baritone in their young artists program and a complicated staging of "Die Meistersinger," in which Michael Kupfer-Radecky replaced Gerald Finley at the very last minute. The filmmakers also catch Quinn Kelsey as Rigoletto from backstage.
  6. Mary Cochran 1963 - 2017

    This is such sad news. She was one of the greats among Paul Taylor's dancers, and her reputation as a teacher and mentor is stellar. From the end of the NYT obituary, Rest in peace, Ms. Cochran, and my condolences to her family, friends, and students.
  7. https://www.houstonballet.org/seasontickets/pdps/2017-2018/the-nutcracker-2017/
  8. https://www.houstonballet.org/seasontickets/pdps/2017-2018/the-nutcracker-2017/
  9. https://www.houstonballet.org/seasontickets/pdps/2017-2018/the-nutcracker-2017/
  10. https://www.houstonballet.org/seasontickets/pdps/2017-2018/the-nutcracker-2017/
  11. https://www.houstonballet.org/seasontickets/pdps/2017-2018/the-nutcracker-2017/
  12. https://www.houstonballet.org/seasontickets/pdps/2017-2018/the-nutcracker-2017/
  13. Rebecca King Ferraro and Michael Breeden interviewed Isabella Boylston for their podcast "Conversations on Dance": http://conversationsondancepod.com/2017/10/16/isabella-boylston-american-ballet-theater-principal-dancer/
  14. Rebecca King Ferraro and Michael Breeden interviewed Patricia Delgado from Vail, her first venture after retiring from MCB, about Vail, her transition to New York and as a stager of Justin Peck's work for their podcast "Conversations on Dance": http://conversationsondancepod.com/2017/10/10/patricia-delgado-former-miami-city-ballet-principal-dancer/
  15. Keeping Up With SFB Veterans

    Rebecca King Ferraro and Michael Breeden interviewed Gonzalo Garcia for their podcast, "Conversations on Dance": http://conversationsondancepod.com/2017/10/02/gonzalo-garcia-new-york-city-ballet-principal/
  16. Rebecca King Ferraro and Michael Breeden interviewed Gonzalo Garcia for their podcast, "Conversations on Dance": http://conversationsondancepod.com/2017/10/02/gonzalo-garcia-new-york-city-ballet-principal/ (I'm cross-posting in the SFB forum.)
  17. Dissing the discussion is against our policy. If you think that a post has crossed the line of our policy, use the "Report post" option at the upper right of the post, and we will review it. The vast majority of injuries are not detectable by the audience, whether the dancer is injured before the performance starts or during the performance.
  18. I just received the press release (emphasis mine): PACIFIC NORTHWEST BALLET presents BEYOND BALLET A Town Hall on the State of Ballet and Diversity 7:00 pm, Wednesday, May 3, 2017 The Phelps Center 301 Mercer Street at Seattle Center Seattle, WA 98109 SEATTLE, WA – On Wednesday, May 3, 2017, Pacific Northwest Ballet (PNB) will host BEYOND BALLET, a Town Hall-style conversation which will investigate aesthetics, diversity, equity, and the efforts to redesign arts institutions. PNB, Spectrum Dance Theater, and Memoirs of Blacks in Ballet (MOBB) invite attendees to share their thoughts, feelings and experiences in a Town Hall format. Ballet—its aesthetics, lack of diversity and equity—is the springboard from which we begin to examine these issues in the theater and arts at large. This forum will be an open study group for organizations participating in the Seattle Office of Arts & Culture Racial Equity Learning Cohorts, part of the Race and Social Justice Initiative (RSJI), the City’s commitment to eliminate racial disparities and achieve racial equity in Seattle. BEYOND BALLET will take place at 7:00 pm on Wednesday, May 3, 2017 at PNB’s Phelps Center, 301 Mercer Street at Seattle Center. This is a free event, however space is limited and registration is required at PNB.org/BeyondBallet. Panelists for BEYOND BALLET include Peter Boal, Artistic Director of PNB; Donald Byrd, Artistic Director of Spectrum Dance Theater; Erica Edwards, Director of Community Engagement at The Joffrey Ballet; Kiyon Gaines, former PNB soloist and PNB School faculty member; and Andrea Long-Naidu, ballet instructor for Dance Theatre of Harlem and CityDance Conservatory. The evening will be moderated by Theresa Ruth Howard, founder and curator of MOBB. While the format of the program will allow for diverging conversations, perspectives and stories from the field, planned topics for the evening include: · The History of Blacks in Ballet: A Legacy as Long as America · The Aesthetics of Ballet: What do Classicism and Tradition “Look” Like? · Teachers and Administrators of Color: Why They Are an Essential Component of Diversification BEYOND BALLET is an important part of PNB’s ongoing work in the area of racial equity and inclusion. This community event is made possible with generous support from Bank of America. TICKET INFORMATION This is a free event, however seating is limited and subject to availability: Advance registration is required at PNB.org/BeyondBallet. ABOUT THE PANELISTS (For complete bios, visit PNB.org/BeyondBallet.) Theresa Ruth Howard (moderator) began her professional dance career with the Philadelphia Civic Ballet Company at the age of twelve. Later she joined the Dance Theatre of Harlem where she had the opportunity to travel extensively throughout the United States, Europe and Africa. In 2004 she became a founding member of Armitage Gone! Dance, and was a guest artist with Complexions Contemporary Ballet’s 10th Anniversary season. Ms. Howard has been a member of the faculty at the Ailey School for over 18 years. As a writer, she has contributed to Pointe andDance magazines, among others. Her articles about body image prompted her to create mybodymyimage.com, which endeavors to help build positive body image through respect, acceptance, and appreciation. Ms. Howard launched MoBBallet.org, the digital archive for Memoirs of Blacks in Ballet. One of MOBB’s first projects was to help organize and facilitate the first-ever audition for Black Female Ballet dancers for major ballet organizations at the 2015 International Association of Blacks in Dance conference. Peter Boal was raised in Bedford, New York. At the age of nine, he began studying ballet at the School of American Ballet, the official school of New York City Ballet. Mr. Boal became a member of NYCB’s corps de ballet in 1983 and became a principal dancer in 1989. In 2005, he retired from NYCB after a 22-year career with the company. Mr. Boal was also a full-time faculty member at the School of American Ballet from 1997 to 2005. In 2003, he founded Peter Boal and Company, a critically-acclaimed chamber ensemble. In 1996 Mr. Boal received the Dance Magazine Award, and in 2000 he received a New York Dance and Performance Award (Bessie) for his performance in Molissa Fenley’s State of Darkness. In 2005, upon his retirement from NYCB, Mr. Boal became Artistic Director of Pacific Northwest Ballet and Director of PNB School. Donald Byrd‘s career has been long and complex and his choreographic and theatrical interests are broad. The New York Times describes him as “a choreographer with multiple personalities…an unabashed eclectic.” Mr. Byrd, a Tony Award-nominated (The Color Purple) and Bessie Award-winning (The Minstrel Show) choreographer, became Artistic Director of Spectrum Dance Theater in 2002. From 1978 to 2002, he was Artistic Director of Donald Byrd/The Group, a critically-acclaimed contemporary dance company - founded in Los Angeles and later based in New York - that toured extensively, both nationally and internationally. He has created over 100 dance works for his own groups as well as the Alvin Ailey American Dance Theater, Philadelphia Dance Company (Philadanco), PNB, The Joffrey Ballet, Dance Theatre of Harlem, Oregon Ballet Theatre, and many others. His non-dance company work has been with some of the most prestigious theater and opera companies in the US, including New York Shakespeare Festival/Public Theater, La Jolla Playhouse, San Francisco Opera, New York City Opera, and more. Erica Lynette Edwards joined The Joffrey Ballet after being one of the first dancers in the Arpino Apprentice program in 2000. She trained at the Salt Creek Ballet School where she performed major roles in their pre-professional ballet company. Ms. Edwards believes that it is important to share the experience of dance with others, and she does this by teaching at various community, school, and outreach programs throughout Chicagoland. In 2001, the Chicago Sun-Timesspotlighted her as a “Black History Maker,” and in 2002 she was The Joffrey’s nominee for the Princess Grace Foundation Award. In 2003, Ebony magazine featured Ms. Edwards as a Young Leader of the Future in the Arts. She retired in 2014 after a 15-year career as a ballerina and is now The Joffrey’s Director of Community Engagement: She is responsible for managing all Joffrey arts education programs through Chicago Public Schools and the community to increase access, awareness, and appreciation for the art of dance. Kiyon Gaines is from Baltimore, Maryland. He trained at Baltimore School of the Arts, Pittsburgh Ballet Theatre School, the School of American Ballet, and Pacific Northwest Ballet School. He joined PNB as a member of the corps de ballet in 2001 and was promoted to soloist in 2012. He retired in 2015 and currently teaches on the faculty of PNB School, works with PNB’s DanceChance program to bring classical dance training to the students of Seattle Public Schools, and has been program manager of PNB’s annual NEXT STEP choreographers’ showcase since 2012. Mr. Gaines is also an established choreographer: Since creating his first work in 2001, he has made ballets for PNB, PNB School, New York Choreographic Institute, Central Pennsylvania Youth Ballet, Cornish College of the Arts, and Spectrum Dance Theater. Mr. Gaines has been resident choreographer at Ballet Arkansas since 2015. Andrea Long-Naidu was born in Philadelphia, Pennsylvania, trained with Pennsylvania Ballet School, the American Ballet Theatre School, and School of American Ballet, and began her career dancing with New York City Ballet where she remained for over eight years before joining Dance Theater of Harlem. She has received critical acclaim dancing the works of George Balanchine, Robert Garland, Dwight Rhoden, Jerome Robbins, and others. Internationally renowned following thirteen years as a principal dancer at DTH, she continues to inspire in an arduous profession. She has danced as a guest artist with many regional ballet companies, and is considered an exemplary and demanding ballet instructor. Ms. Long-Naidu sees a growing respect for the art of ballet in popular culture and joins in encouraging such groups as Aesha Ash’s The Swan Dreams Project, with a goal to increase minority participation in ballet. She is married to Laveen Naidu, former Executive Director of DTH, and now Artistic Director of BalletNova. The couple continue to support the development of Dance Theatre of Harlem. For complete bios, visit PNB.org/BeyondBallet.
  19. While it is not a given that [choose a minority] is low-income, coming from a low-income family usually means that the resources are most often not there for dance training, and parents are skeptical about dance as an opportunity for college or career. Margaret Mullin interviewed Diane Jacobowitz, the Executive and Artistic Director of Dancewave in NYC, for her podcast "Beyond the Barre": http://www.premierdancenetwork.com/interview-with/ Dancewave provides dance scholarships, training -- including in the NYC public schools -- consolidated auditions for colleges and universities, multiple performing companies, and it involves parents. It may be the most holistic approach to education I've ever read about, and it's dedicated to, what we love to talk about in the IT world, continuous improvement, except they also walk the walk. If I could, I'd nominate Jacobowitz for Secretary of Education.
  20. "Restless Creature: Wendy Whelan"

    I think there would have been serious hating on Martins had he not recognized Whelan's talent after being with and creating for Heather Watts for so long and had he rejected her because she wasn't orthodox. I found it interesting watching early Whelan that the first thing she did that floored me was a Watts specialty: Novice in "The Cage." I don't remember what rank she was then, but she owned it. I'm also so glad he gave her Aurora. Except for Fugate's "Vision Scene," which I loved equally, Whelan was my favorite Aurora at NYCB in "Sleeping Beauty"'s first seasons. (I've only seen it once since.)
  21. Houston Ballet: hurricane and flooding?

    From Houston Ballet's Facebook: and I hope it's transportable and can be brought on tour if needed. It might open up opportunities for additional venues in the future.
  22. "Karsar" (aka Corsaire) Coming Up at Bolshoy

    In North America and much of Europe, the trend in opera has been to restore cuts that are centuries old, including those made by the composers. (Different versions of "Don Carlo" for example.) The only exception has been to continue to leave out the cut ballets, like in "Don Carlo," which, having seen enough dance in operas, is a blessing in disguise, in my opinion, and many of them were added for convention only, ie, a premiere or run in Paris. The Soviets not only made cuts to the Petipa classics, they added characters, the superimposed a happy ending on "Swan Lake." that changed the meaning of the ballets. That over-three-hour Le Corsaire that the Bolshoi premiered in 2007 restores cuts that made the ballet a lot longer than the Soviet version.. My understanding is that the reconstructed "Sleeping Beauty" the Mariinsky did in 1999 was quite a bit longer than the Sergeyev from the early '50's. It's not always a one-way-street In home theaters, and it has little to do with the attention spans of young people. it may have had to do with a change in the audiences from aristocrats with time on their hands to working people who had to get up in the morning. For touring, there are financial constraints of the presenters -- and I'm sure they would accept a big fat check from someone who wanted to pay for those additional costs -- as well as companies that create touring productions on their own. For example, I saw the Cuban National Ballet's touring production of "Don Quixote" that looked to me to be missing sections that cubanmiamiboy has described or provided links to along with stripped down scenery that worked for touring logistics, including having to be adaptable to many size theaters and technical configurations and capabilities.
  23. "Karsar" (aka Corsaire) Coming Up at Bolshoy

    The Bolshoi's "Le Corsaire" was a co-work of Ratmansky, who choreographed in the style where the notation was missing, and Burlaka, who was using the Stepanov notations. Ali wouldn't have appeared in the original sources that Burlaka used. It's a stunning production, and I only saw it in the truncated version that toured the US, cut down to three hours so that it didn't go into overtime.
  24. Ballet Arizona just tweeted a link to a new promo video:
  25. Houston Ballet: hurricane and flooding?

    News from today's Links about Nutcracker run venues: http://balletalert.invisionzone.com/topic/43016-monday-october-9/?tab=comments#comment-388528
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