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pattypirouette

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About pattypirouette

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    Parent of pro dancer
  • City**
    Rochester, NY
  1. Lauren Anderson retires after Nutcracker

    I take just a little issue with Molly Glazer's article about Lauren. I have been to several HB performances and there are many dancers who receive applause when stepping onstage - most notably Randy Herrera. Not to diminish Ms. Anderson's accomplishments and her popularity with the Houston community - it's just that many other fine dancers are also receiving accolades during performances.
  2. Sitting in Houston

    Hi Julianna! Here is my recommendation. Buy the cheaper orchestra seats. I think sitting up in the Loge is fine but you are still rather far away from the stage. Also - the seats in the back of the orchestra are rather nice as well. Good sight lines and I perfer them over the loge. Here is my little hint... try to get aisle seats - as the lights dim just at show time - move your seats... towards the center or down to any open seats closer to the stage. I have watched so many people do this in the past - company dancers not dancing that night - Academy students, etc. Once the lights dim - those open seats are up for grabs. But - if you are unable to do that (or worry about doing it :blush: ) go for the orchestra sides. They are really pretty good seats. Enjoy the show - I can't wait to see it myself. PP
  3. The Dancer or the Dance?

    Dinkle students dancing Swan Lake might be entertaining but it wouldn't be pretty...
  4. Future and role for the classics at Houston?

    I totally understand your reasoning Mr. Witchel. (after reading your website and some of your blogs...) Your passion for classical ballet is shared by many, including me. I'll weigh in on the "new" version after I have seen it. I do bow down to your knowledge, regarding ballet, as much superior to mine! Additionally, I am truly envious of your knitting technique as well! Perhaps I need to read more and comment less... However, as for "tweaking" - that's been going on forever, with every ballet.
  5. Future and role for the classics at Houston?

    Well Mr. Witchel - I would have to agree with you there re: NYCB's Swan Lake! ABT's is quite nice though. Houston remains to be seen - which I will be doing in a few weeks. Perhaps "all new" is an indication of new costuming and staging ... With classical coaches brought in to work with the dancers - it's difficult to believe that the Houston version will be a Stanton Welch contemporary remake. Perhaps just "tweaking?"
  6. Ballet Pacifica

    Does anyone have any information for their upcoming season (06/07) beyond Nutcracker?
  7. Future and role for the classics at Houston?

    I do have some thoughts as applies to Houston and other companies. First, I would like to point out that Houston Ballet and Stanton Welch in particular seem to be honoring classical ballets in their rep currently. (as is evident by his committment to creating an all new Swan Lake, premiering in a few weeks.) So, I was actually confused at first by the article in the Houston Chronicle. The author seems to contradict herself from beginning to end. She starts by bemoaning the fact that Houston may be fazing out the classics yet later mentions that colaborations with two notable contemporary choreographers is long overdue. Additionally, as Mr. Welch is a world renowned choreographer in his own right, why wouldn't his own company be performing his ballets? (as she negatively comments on the upcoming season as the "year of Stanton Welch.") Each and every ballet company in the US has an interest in keeping and expanding it's audience base. No company wants to be caught behind the eight ball in addressing trends towards perferred entertainment. You must anticipate and deliver what the audience wants to see. By mixing the classics and contemporary, you address those issues and offer up "something for everyone." I do believe that Houston is ready for this change and Mr. Welch is anticipating what is to come. Full length classical ballets, hugely expensive to produce, put a strain on the resources of ballet companies. They must find a balance between that classical rep and a more contemporary fare, which is oftentimes less costly to produce. Only time will tell if Houston is successful in doing so.
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