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Everything posted by sandik

  1. I think it took longer to come back from her hip troubles than she anticipated. I'm very sorry to see her leave. Like others here, I first saw her as a speedy technician, but she's really added to her interpretive skills since she's been back -- she's been a pleasure to watch.
  2. Temps de fleche is a form of a leap, that is, a air moment that takes off one leg and lands on the other.
  3. I agree that Plot Point is not a traditional ballet, but it is a fascinating piece of movement theater, and well worth seeing.
  4. I remember when Singing in the Rain was first produced, there was a lot of discussion about the technical aspects of the show. And then they took it on tour, so it had to be waterproof and mobile. I don't know details, but I'm willing to believe it's technically possible. Performer safety is another thing.
  5. Miles Pertl included about 15 minutes of serious mist effects in his recent Shades of Gray for Pacific Northwest Ballet. There were a couple of sliding injuries in the process, and he modified some of the choreography to keep things safer, but it is possible. And honestly, it was a stunning effect. I'm told it's a lot like the mister that you find in the produce section of the grocery store.
  6. At some point someone is going to do a big study of these foundations and trusts, and see how they've affected the various repertories. I wait for this with great interest.
  7. She is a super smart person, and is willing to take risks when the goal is right. The studios have become incredible centers for the dance community in NYC. Really hoping she can pull this one off as well.
  8. Looking forward to seeing this at the end of the month.
  9. Well, there was rain in the Broadway version of Singing in the Rain. It's become something that people can do, but it does up the hazard.
  10. With Grant gone, who holds the rights to the ballet?
  11. Oh, that does sound prime -- wish I could be there!
  12. I don't know that Ashton had a chance to see the Ballet Suedois -- Doug Fullington might know. I saw Moses Pendleton's version of Relache for the Joffrey years ago and enjoyed it, but I don't think they were considering it a reconstruction. Wow -- that letter from Noguchi opens up all kinds of imagined opportunities!
  13. Stephen Petronio's company (featured in When the Dancer Dances) has a couple of Cunningham works in their repertory right now -- while Petronio doesn't feel that his own choreography resembles Cunningham's, he does believe that Cunningham forged a pathway for modern dance that created the Judson Church cohort, and made space for innovation in the field when many of the "classic" modern choreographers had become stagnant. It is hard to imagine what current modern dance practice would be like without Cunningham's blazing examples. I agree that, while they are phenomenally well-trained, the Ailey company is not the natural fit for this work -- in general, they are too attached to dance as emotional expression or narrative. People sometimes think that ballet companies would be a more natural fit since both techniques seem to share an alert uprightness, and an acceptance of dance as an absolute, abstract art, but I think that does both traditions a disservice.
  14. Hello to you! I'm based up in Seattle, and get down to Portland every so often to see extra dance (most recently Caleb Teicher's fantastic show at PSU). Did you see Oregon Ballet Theater's autumn show? (with the revival of Dennis Spaight's Scheherezade) I was very sorry to miss it.
  15. If this were Facebook, I would be posting a heart.
  16. If you're new to Cunningham's work, you might also appreciate the documentary "When the Dancer Dances." It follows along as the Stephen Petronio company learns Cunningham's Rainforest (with an evocative set by Andy Warhol) -- there's a great deal of discussion about what makes the repertory important, and how it is distinct from other dance styles. Plus you see many key sequences taken apart to be taught, which makes it extra exciting to see in performance at the end of the film. I'm also a Cunningham/Cage fangirl, so there's that, but once you start to watch, there are all kinds of connections to the highly refined and virtuosic world of ballet.
  17. Not to mention dancers forgetting how to perform his work...
  18. I don't know what the details are about Tharp's repertory at ABT, but it wouldn't surprise me if she had considerable veto power. It's in the repertory of several different companies, which makes me think that Tharp controls the rights. (if you haven't seen her website yet, do take a look -- it's packed with great information)
  19. I'm wondering how many of the critics working currently in NYC have seen much Bejart -- the work doesn't get to the US anywhere near as often as it did. And really, the demarcation lines at NYCB (who's an acceptable choreographer and who's not) are far more permeable than they were in the past. But I do love the Bausch version of Sacre.
  20. I'm sorry -- her work is very specific, and while people see aspects of it in Ashton and Tudor, they take it in their own direction. There must be something online somewhere, in this YouTube age -- does anyone here have a link?
  21. PNB hasn't done the Tetley since Peter Boal took over the AD position -- they've performed Molissa Fenley's solo version several times (Boal used to dance it, and helped to stage it here)
  22. I have a copy around here somewhere. We're moving soon, and it should surface. I read it ages ago, but need to take another look. Especially in reference to this new Dance Magazine article on revising older works.
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