Jump to content


Senior Member
  • Content count

  • Joined

  • Last visited

About miliosr

  • Rank
    Sapphire Circle
  • Birthday 06/16/1967

Registration Profile Information

  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
  • City**
  • State (US only)**, Country (Outside US only)**
  1. Fall 2017 Season

    I sometimes think that Kevin McKenzie wants ABT to be any kind of company except the company that it actually is. How else to explain Wheeldon and Millepied and Scarlett? Does ABT's audience have some unquenchable thirst for this stuff that I'm not aware of? McKenzie could put together a dream season consisting of Ashton, de Mille, Fokine, Morris, Ratmansky, Robbins, Tharp and Tudor. (In other words, all the things ABT does well.) He could even supplement it by picking up those pieces that his old employer, Robert Joffrey, lovingly restored to repertory in the 70s (and which Ashley Wheater has tossed aside.) But then, that wouldn't be "hip" and "happening".
  2. Since these are the dog days of summer and there isn't much happening at the moment (and since we could all use a break from the events of the last week), here's a game to play. What would be your 'desert island' triple bill? The rules of the game are: 1) Triple bill means triple bill -- you can only pick three works. 2) You can only give one triple bill. 3) You're under no obligation to name a company to perform your desert island triple bill. Alternately, you can name a company or multiple companies (i.e. the recent 'Super' Jewels in New York) if you so choose. 4) Finally and most importantly -- you can't critique someone else's choices. This is meant to be a fun game! Here's my desert island triple bill: Repetitive Motion 1) La Bayadere - The Kingdom of the Shades (Makarova's 1974 staging for ABT) 2) Bolero (1961) - Maurice Bejart 3) Glass Pieces (1983) - Jerome Robbins Happy playing!
  3. I couldn't agree more with this. My hope for Homans' biography is that (a) it moves beyond the overreverence accorded to Balanchine's every utterance (no matter how lightly uttered) by some (but by no means all) of his followers, and (b) really separates the accretions that have accumulated since his death from the life of the man and the creation of his works. (The life and the works being highly interrelated.)
  4. Fall 2017 Season

    Nice to see Forster getting so many opportunities -- 5 separate works.
  5. Eliot Feld

    Is it still a significant part of 20th c ballet history? No are we in danger of losing it? It's lost in the sense of (to quote Mindy Aloff) dances not having theoretical realities -- only performing realities. If the works aren't being performed, then they are lost. Are any being performed outside of his own ensemble? If they are, the performances are happening in out-of-the-way places. As to "What Happened?," maybe nothing happened. Feld had a few early successes in the 60s from which a whole lot of people predicted a fabulously creative future career. But it may have been that inspiration dried up quickly and all he could do was make variations on his own work and that of others. (You could say the same about Peter Martins and Calcium Light Night -- that the early work was the predictor of a false dawn.) Here's a clip from a documentary about the first Feld company (which collapsed in 1971), American Ballet Company - Eliot Feld, Artistic Director: https://www.youtube.com/watch?v=NBAI1ZskER0 (Antony Tudor and Clive Barnes make appearances.)
  6. 1978 . . . and Today

    According to the brief Dance Magazine news report, only Cynthia Gregory showed (of the four guests announced.) Which, in my opinion, was how it should have been. Gregory got her start with San Francisco Ballet so it was appropriate that she be asked back as a guest. The other three -- Nureyev, Bortoluzzi and Schaufuss -- had no connection to the company and I don't know what they would have added to the announced repertory. (I suppose Nureyev and Bortoluzzi could have danced Bejart's Songs of a Wayfarer or Limon's The Moor's Pavane, both of which they had danced together around this time. But neither of those works were announced.) As to whether Nureyev ever made it back to the San Francisco Ballet, I cannot say.
  7. 1978 . . . and Today

    A subsequent issue of Dance Magazine contained an ad for San Francisco Ballet's 1975 season which gave a more complete listing of expected repertory: Lew Christensen: Airs de Ballet (1971), Beauty and the Beast (1958), Don Juan (1973), Fantasma (1961) and Variations de Ballet (1960) Lew Christensen-Michael Smuin: Cinderella (1973) Michael Smuin: The Eternal Idol (1969/73), Harp Concerto (1973), Mother Blues (1974), Pulcinella Variations (1968/74), Schubertiade (1970) and Shinju (1975) George Balanchine: The Four Temperaments, Serenade, La Sonnambula and Symphony in C John Cranko's Opus One was supposed to be performed but a little research reveals that a pas from Cranko's Taming of the Shrew was substituted. And of the initially reported guest stars, it looks like only Cynthia Gregory showed (along with Judith Jamison [!] and the Panovs.]
  8. Harkness documentary

    There are various Facebook pages related to the Harkness: https://www.facebook.com/An-American-Ballet-Story-246730842011603/ https://www.facebook.com/Harkness-Ballet-of-New-York-203861143110148/ Also, a link to the Facebook page for the Iranian National Ballet, which had a connection to the Harkness: https://www.facebook.com/IranianNationalBallet/
  9. Eliot Feld

    This doesn't answer your questions but there was a brief thread about Feld and "What Happened?" 15 years ago: http://balletalert.invisionzone.com/topic/4785-eliot-feld-what-happened/?tab=comments#comment-38079
  10. Why So LIttle Massine?

    The Joffrey's Fall 1974 repertory (10/09-11/08/74) included Massine's Le Beau Danube, Parade and Pulcinella. There was even an all-Massine evening with all three works. The rest of the Joffrey's pre-1950 repertory for that season included Bournonville's William Tell Variations, Fokine's Petroushka, Jooss' The Green Table and Limon's The Moor's Pavane. How's that for a repertory?
  11. 1978 . . . and Today

    I bought a stash of Dance Magazines from 1974 and 1975 on e-Bay. They are a wealth of useless information when it comes to knowing what companies were actually dancing 40+ years ago. San Francisco Ballet's repertory for its 1974 tour to Hawaii and its 1975 season in San Francisco was projected to include: Lew Christensen's Airs de Ballet (1971), Beauty and the Beast (1958) and Filling Station (1938) Michael Smuin's Harp Concerto (1973), Pulcinella Variations (1968) and Schubertiade (1970) George Balanchine's Serenade and The Four Temperaments Well, we all know who won that three-way battle! (Guests for 1975 were supposed to Include Paolo Bortoluzzi, Cynthia Gregory, Rudolf Nureyev and Peter Schaufuss.)
  12. Why So LIttle Massine?

    A side Massine discussion has been going on in the San Francisco Ballet forum: http://balletalert.invisionzone.com/topic/42673-1978-and-today/?page=3 The Rome Opera Ballet just performed Parade and Pulcinella in Italy. So, some of Massine's works are still revivable: https://bachtrack.com/review-parade-pulcinella-rome-opera-ballet-teatro-grande-scavi-di-pompeii-july-2017 Gary Chryst, who played such an important part in the Joffrey revival of Parade during the 70s, is still alive and has even done character parts at ABT in recent years. Presumably, he would be ready and willing to assist in an American reconstruction. If only there was an artistic director of an American company with the imagination to restage it . . .
  13. ABT in Chicago, Feb 21-25, 2018

    I noticed that the Harris Theater Web site is now listing The Leaves Are Fading pas de deux instead of the complete Leaves Are Fading. So, be careful about ordering tickets if you were expecting to see the Tudor work in full as part of Program A.
  14. Yes and no. She was always "a good read" but that doesn't mean all of her pronouncements were equally valid. She could be incredibly obtuse, stubborn and/or wrongheaded in how she dismissed certain people and companies too easily and kept promoting certain people and companies long after it should have been apparent that they weren't going to be the next big thing. She could be a great writer but she wasn't necessarily a great reporter or prognosticator. You can really see it if you compare her reviews of City Ballet to those of ABT; both in terms of volume and emotional intensity. She could write tellingly about someone like Makarova but, for the most part, ABT just didn't move her the way City Ballet did. (On the other hand, that she didn't love ABT with the intensity with which she loved City Ballet meant we never got the great swings in opinion with ABT that we got with City Ballet -- see Martins, Peter.)
  15. I'm surprised a publisher hasn't extracted all of the City Ballet reviews from Croce's four published compilations of criticism and repackaged them as an omnibus edition. (You could even edit out a lot of the non-Balanchine (i.e. Robbins, Martins) portions of the reviews to create a streamlined volume.) Croce's writings on City Ballet in general and Balanchine in particular represent the major part of her legacy. Nothing else she wrote about was ever as of high a quality as her Balanchine/City Ballet writings (although her Merce Cunningham and Paul Taylor writings are very good in a positive way and her Martha Graham writings are very good in a negative way.)