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sandik

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About sandik

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    Diamonds Circle

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

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  1. I agree -- she really helped to bring out his performance qualities, and he had the height to really support her, so she could dance freely. It was a pleasure to see that develop.
  2. On a cheerful note -- you can watch the company in excerpts from the 2018 Pillow performance as part of the Pillow's virtual festival for free.
  3. I just heard this morning -- I am so sorry. The magazine is in the process of publishing its last issue, and he did not live to see it come out. Sometimes the universe is pretty mean. Like many of us here, I've been a subscriber for as long as I knew it existed. Way back before the internet made it easy to talk with people who were elsewhere about dance, I would read something in BR and nod my head vigorously (or scratch it as I tried to understand something a bit beyond my experience) -- it was an intellectual companion on many trips to the theater. Many thanks to Marvin H, and to the whole crew, for their unconscious contribution to my dance education.
  4. Pacific Northwest Ballet has embarked on a series of discussions focusing on Black, Brown and LGBTQ members of the dance community -- here's their opening session.
  5. I hope you are still celebrating -- have a wonderful day, and then just keep having them!
  6. We are going to see significant cuts all over the country, and likely the world. Between the continuing ambiguity about what is "safe" and the miserable state of the economy, we are looking at austerity in all aspects of public life.
  7. Welcome to the neighborhood -- I remember your mother as well, and I imagine she'd be tickled that you're here. I used to teach dance history, and so if you've got questions about where to find information, this community will be happy to help. But for right now, starting with Fonteyn will introduce you to all kinds of works and all sorts of artists. She had a long career, knew so many people, and was "there" for an amazing amount of 20th c ballet. Follow whatever strikes your fancy right now.
  8. You've put your finger on a major element -- for NYCB, and honestly, for most productions in the US, a functional school is a requirement for Nutcracker.
  9. This is making me so sad -- I have loved watching her develop during her time here. She's shown me different aspects of roles I thought I knew pretty well, and inhabited so many parts with aplomb. I'm grateful for the whole package, but if I had to pick something, it would be her appearance as Amour in Ratmansky's Don Quixote. She was gracious in the way that we see in photographs from the late 19th century -- it was like she opened a little door to the originators of that ballet.
  10. Honestly, with the exception of the original Spanish dance, don't you think all Boleros should be credited to Bejart?
  11. When you have a moment, read Deborah Jowitt's tribute to Sally, and then read through the comments -- it's a litany of gratitude and glee. We were lucky to have someone that made work so much fun, took the work seriously, and brought all the world to bear on her observations of such a slippery topic as dance. All the writing is worth reading, but I'd like to give a little extra nudge for her contributions to Nelson George's "Fresh: Hip Hop Don't Stop" -- she was one of the first dance critics to seek out breakdancers and write about them as the phenomenal artists that they were and are.
  12. I think we're all worried -- I have a feeling that we'll see many organizations cancelling their Nut run, which will have all kinds of repercussions throughout the community.
  13. 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.
  14. 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?
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