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About sandik

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
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  1. I think when the work was first made, the caller and the designs were a help for audience members who didn't feel really confident about ballet by itself. A colleague of mine here in Seattle made a similar observation about a local choreographer who was working at a nightclub -- the audience thought they were there for the naughty bits, but they wound up seeing really significant choreography as well. And I do love this male solo -- if I have to trade out all the hay bales for that solo, I'll take the deal.
  2. Just watched this (after watching SFB in Peck's Hurry Up...) and think it did exactly what he set out to do, make a series of tour de force vignettes for his colleagues. I only know the current iteration of NYCB through video, which always makes it difficult to get a true sense of what someone is capable of, but I feel like Peck showed me some essential aspects of these dancers (especially Hyltin, who I don't know very well). Ballet history is chockablock full of works that refer to the commedia in one way or the other, and I think this is an excellent 21st century example. The costumes felt very Ballet Russe to me, or postmodern in the way that works will refer to historical landmarks without recreating the entire environment. (and I liked the streamers on the sleeves!) For those that saw Ratmansky's recent Harlequinade, I wonder if you see you see any connections here?
  3. I'm old enough to think of the years that the Met Opera was broadcast on the radio, making audiences for the company, but also an audience for the art form. I'm really hoping that presenters look at the enthusiastic reception that streaming material is getting right now from people everywhere, not just watching your "home" company, but watching things that we otherwise wouldn't get any chance at.
  4. I watch this every time it shows up on my screen -- what fun!
  5. There was a similar problem with the film by Ric Burns -- we saw snatches of archival stuff, and it looked like they had much more available, but they went with overly doctored footage (sped up or slowed down to the point that you couldn't really tell what they were doing). ABT has archives, but for some reason they either cannot or will not use them.
  6. And NYCB is streaming his Pulcinella Variations starting the 15th as well.
  7. Does anyone here have the link to their YouTube location? I've read about this ballet for years, but never seen it!
  8. In addition to the avalanche of stuff online right now, this might be an interesting thing to check out -- Northwest Arts Streaming Hub is a new project by a collection of performing arts folks in my part of the world -- it's basically an aggregator for organizations that have online content. They will link you directly to those groups (sorted by art form) so that you can watch them in their own location (which may or may not have a pay to play aspect, but NASH does not charge anything to viewer or arts organization) It's geographically based, and right now most of the dance content is modern or contemporary in nature, but if it takes off, it should be a wonderful tool for those of us who can't always travel to see stuff.
  9. And the local cable company here has taken Classic Arts Showcase off of its rota. More golf, less dance...
  10. They're also running a video of their final program June 5-10, including video tributes to Ben Griffiths and Maggie Mullin, who are both retiring. Your donation should give you a "ticket" to that one -- let me know if you need help finding the right person to contact.
  11. Not a problem -- an easy mistake to make. I was so pleased to see Eric H here in Sonambula -- he stood out at PNB in the Professional Division, and had a nice start with the company, but it looks like he made it farther faster in Arizona. His brother Enrico also started dancing here, and is now in Kansas City with the company there.
  12. As far as the 20-21 season is concerned, there are performing organizations (dance and otherwise) that have already announced their programming, and started the subscription train down the tracks, but those who haven't made that step yet seem to be holding off. Folks that can push things back, or make decisions about seating and scheduling later in the summer, seem to be taking that path. In Seattle, Meany Center for the Arts (music and dance) announced their season about a week ago, and it's set up for a conventional "we will be sitting right next to strangers" format, and I was totally amazed at their assumption that this was a good choice. It's been a couple of months, by the calendar, but it feels like a lifetime ago that this kind of season would be possible any time soon...
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