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

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About miliosr

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    Sapphire Circle
  • Birthday 06/16/1967

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  1. Winter 2018

    I don't agree that the absence of any Martins work in the international repertory is due to an inability to accept commissions. In 40 years time, if he had made works of unparalleled quality, someone would have come knocking on his door to have him stage them. If he wasn't available, there were plenty of people who were familiar with the works who could have.
  2. Winter 2018

    All I meant by "effort" was 40 years of making pieces.
  3. Winter 2018

    To quote Arlene Croce about Martha Graham: "When I first saw her I fell in love with everything: with the company, with her, with the gestalt. And then of course it all began to sift down, and ultimately some pieces seemed a lot less worthy than others." With Martins gone (and assuming he doesn't get asked back), that "sifting down" process for him and his body of work has begun. All we know at this juncture is that not a single piece of his holds a steady place in the international ballet repertory despite 40 years of effort. It may be that some portion of the Martins repertory survives and becomes like a hothouse flower which only blooms at the New York City Ballet. Or (as I believe to be more likely) it will suffer the same fate that Gerald Arpino's work suffered at the Joffrey. But we'll soon see.
  4. Peter Martins Sexual Harassment Allegations

    The board members have done Peter Martins no favors with some of their public statements. The clear implication from certain comments made was that the board wanted the investigation to be in Martins' and, perhaps more importantly, the board's favor. And Earle Mack's comment about "rebuilding" gave me a chuckle. If ever someone inherited a fabulously endowed (artistically and financially) dance company, it was Martins upon Balanchine's death. Anything's possible but, if this whole sorry spectacle revealed anything, it has been that the board (a) had let too much power accrue to one person over the course of three decades, and (b) hadn't give much consideration as to what the post-Martins era would and should look like. Reinstalling a weakened Martins as artistic director (at age 71) just puts off the inevitable succession reckoning to another day. I agree.
  5. Peter Martins Sexual Harassment Allegations

    I'm not sure the report will change any perceptions, especially on the part of those individuals who always thought the report would be a whitewash.
  6. The scenery suggests a distant cousin of Parade.
  7. 2017-18 Season

    Some reviews of New York Theatre Ballet's 2017-18 season: http://criticaldance.org/new-york-theatre-ballet-legends/ http://dancetabs.com/2018/02/new-york-theatre-ballet-beethoven-1999-optimists-dark-elegies-double-andante-new-york/ You'll have to forgive me if I don't get too worked up about the final fate of the New York City Ballet (prediction: It will be fine) when small little companies like New York Theatre Ballet struggle to attract notice. Its mission -- to present works that aren't meant to be seen on opera house stages, like Jose Limon's La Malinche and Antony Tudor's Dark Elegies -- is every bit as important as those of the larger companies.
  8. And not even that as Serge Lifar's Suite en blanc is still regularly programmed in the European companies run by former and current Paris Opera Ballet etoiles. This season has already seen productions in Bordeaux, Moscow and Rome and next season will feature a production in Stockholm. Martins does not have a comparable work in his canon being programmed regularly anywhere. "Time's erasing finger" will be cruel to the Martins repertory. It will be squeezed out at the New York City Ballet by the commitment to the Balanchine and Robbins repertories (which, after all, are the reasons for the NYCB's continued existence) on the one hand and the company's unquenchable thirst for new works and novelties on the other. Martins' repertory may live a half-life at the company for a time depending on who inherits the artistic director position. But there's not much demand for his work in the US the way there is for Forsythe, Millepied, Ratmansky, Tharp and Wheeldon. And there's even less demand for his repertory outside the US.
  9. 2018-19 Season

    Here are some of the specific points (charges?) made in the petition: Only three classically-rooted narrative ballets over a span of 18 months, No tribute to Marius Petipa on the occasion of the 200th anniversary of his birth, All-Jerome Robbins program is welcome but the choice of Fancy Free is an odd choice for French dancers, A floodtide of contemporary works, specifically calling out the contemporary Nutcracker from several seasons ago and Wayne McGregor's Tree of Codes, and The absence of Lifar/Petit/Bejart as well as the great French works from history: Giselle, Coppelia, Le Corsaire, Paquita, Sylvia, La Sylphide.
  10. Atlanta Ballet's Don Quixote

    Moises Martin is scheduled to play Basilio in one of the two performances of Don Q set for today. (The Atlanta Ballet site lists two performances for today at 2pm but I'm assuming the second one is really the evening show.) Also, Martin is now listed in the company roster: https://www.atlantaballet.com/about/dancers/company
  11. SFB 2018: Sleeping Beauty

    When she refers to "my generation's director," I'm fairly certain she's referring to Claude Bessy. Bessy certainly provokes strong feelings. Aurelie Dupont has made no secret of her dislike for Bessy but then there are others who love her (or at least respect her):
  12. SFB 2018: Sleeping Beauty

    I was surprised to read that Froustey's English was poor when she arrived in San Francisco. I've always had the impression of the POB dancers that they're all very fluent in English.
  13. Marie-Agnes Gillot's new commercial for Estee Lauder (w/ Vincent Chaillet): https://www.youtube.com/watch?v=xKo_MRk_d5c
  14. 2017-18 Season

    No, but it's a moot point as she's on the verge of retiring from the company.
  15. 2017-18 Season

    So let me ask: Who are the current exemplars (if any) of the French style in the company?