sandik
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Posts posted by sandik
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I got this as well, along with the sad news that Dance International is going to give up their print publication. They'll still publish online, but it's a frustrating transition nonetheless.
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I didn't see the stage version, but the combination of terrible reviews and the chance to see Les Twins was too much to resist. Honestly, I'm not sure why people are complaining about the basic premise of the work (it's a talent contest to see which cat gets to die/be reincarnated into another life) -- it was the same thing when it was first premiered, and there didn't seem to be much complaining then. And during the intervening years, we've seen an amazing amount of talent contest programming on television (The Voice, American Idol, So You Think You Can Dance, etc).
I liked what dancing I could see -- like many contemporary dance/music videos, it's hyper-edited so that the camera jumps around every phrase. But as others have commented -- Fairchild and Hayward get the most opportunities, and make what they can of them. Macrae's tap number was excellent, and I must have blinked at just the right times because I did get a sense of Les Twins beautiful ease. And I'm a sucker for a Busby Berkley number, even if they're dancing rats and cockroaches!
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My apologies for the length here -- I started out, and just kept going.
As a critic, I’m in the middle of shifting from working regularly for a couple of different outlets to pitching my work to new places, so I’ve been trying to see as much work in as many styles as possible.
(not sure why the type size is hopping around -- more apologies!)
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I can imagine that they would appreciate a more modern set-up backstage -- it can get tricky working in older houses.
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As much as I don't want to believe it, this does sound like he's moving into a new field, not just changing locations.
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I miss him too. Hope all is well.
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I remember reading his Rise and Fall and Rise of Modern Dance back when I was first trying to orient myself in the field.
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Saw Morris' Hard Nut this weekend, and am enjoying the contrast with his "Arabian" variation -- very tongue-in-cheek (big tunics and sunglasses), but also musically very adept.
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16 hours ago, Helene said:
Nutcracker 2019_12_07.xlsx 60.53 kB · 3 downloads
There must be something in the water here, because lately, I've seen the best Coffee performances in many decades, first Angeli Mamon last season or the year before, Calista Ruat last season, and tonight, Nancy Casciano, who was stellar in it. Which is appropriate, because this is Seattle, after all, home of the caffeinated.
And I saw Cecelia Illiescu on opening weekend, who did a fantastic job with it as well
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Could be -- it's the same director. There was no release date that I could find about the film.
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If you're in Seattle this Friday, there is a screening of a new documentary about Tallchief at Town Hall. Apparently DVDs are available -- I'll post more when I learn more.
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I'd be very curious to see her in that repertory.
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3 hours ago, seattle_dancer said:
Thank you kbarber, I am relieved I can wait until January and make a short drive to see it then.
And thank you meunier fan for your warning. Thankfully I will not need to drive three hours to Portland but it is good to have expectations set. I used to travel across the States to see Osipova perform with ABT and don’t see her as often now that she is with the RB.
I’m not as fond as her modern work as much as ballet but I am happy to see her in ANYTHING as I feel she is such as amazing artist. 😍
You can't get to Northwest Film Forum on the 8th?
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Rummaging around online and found this -- Chelsea Adomaitis has joined the Monte Carlo company!
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Between the two of them, Leslie Getz and Don McDonagh had one of the most extensive private dance libraries in the US. Getz, who had been collecting since the middle of the 20th c, was also the author/publisher of Attitudes and Arabesques, a long running catalog of dance publications (books, journals, etc). Before the internet made it simple to search for texts, and for dance publishers to advertise their wares, A and A was the way most of us learned of new publications. Getz died recently, and McDonagh is unable to continue the work alone -- they did not make arrangements to donate or sell their collection, and so it is being auctioned. Take a few minutes to browse the online catalog -- it is full of wonders.
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On 11/27/2019 at 5:06 PM, pherank said:
I think Passport simply gives subscribers access to the video archive. Plain ole folk can watch a few recent offerings online at the PBS site, but they don't have access to the archive of older shows. I can't tell you how extensive the Passport archive is though.
I'd probably pick Zelda Fitzgerald as well, as a quintessential Jazz Age flapper. But Brooks was definitely seen as the epitome of a "modern" girl (and all the troubling things that represented, I suppose). She stands out in her few films, partly because she was surrounded by European stage actors whose movements and dramatic presence feel very different from her own. The other actors are all period artifice and Brooks is simply herself.
Thanks for the clarification -- I'm still trying to figure out Passport.
Brooks has a special resonance for many folks, especially after her memoir in the early 80s
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12 hours ago, California said:
That may be, although their Nutcracker (which opens Saturday) is doing exceptionally well. 15 of 26 performances are already sold out. I typically see discounted tickets on Goldstar and/or a 20% discount offer on Facebook -- none of those this year, which is a good sign, I think.
Always glad to hear that Nut is doing well -- it's the cornerstone of many earned income budgets. Despite that, though, I've noticed some companies wait until mid-year to announce promotions and new hires. Sometimes is just availability, sometimes it's casting (opening season with works that require smaller casts, and then there's Nut, which is all-hands-on-deck), sometimes it's money.
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Pacific Northwest Ballet has made mid-season promotion announcements in the past. I think the strategy has as much to do with budgets as it does with casting decisions, but belts are being worn tighter in many places these days.
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I hope your day has been full of tasty things and wonderful friends.
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It looks like you can watch it on the PBS website, at least for now. (I am still trying to figure out what their Passport category does...)
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Ditto from me as well!
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That is just lovely -- thank you so much for posting.
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On 11/24/2019 at 7:18 AM, California said:
After reading the Suclas review (linked elsewhere on this site: ), I really, really hope Bolshoi brings this production of Giselle to North America next year -- Kennedy Center? Lincoln Center? California? I'll find a way to get there. Sounds like a real treat. Still wishing I could figure out how to get to Seattle to see that version.
https://www.nytimes.com/2019/11/22/arts/dance/giselle-bolshoi-review.html
I'll report back.
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4 hours ago, California said:
I don't have the new Morris book, but I'm curious if he knows about the Oakland Ballet's history of reconstructions, notably Nijinska and Massine. Unfortunately, they don't list dates, although we know they all happened after the company was founded in 1965. I have a vague memory of seeing them do Nijinska's Les Noces in 1982, but don't see it on their list for the 50th anniversary performance. I wonder if their reconstructions predated the Joffrey's. Nijinska herself worked with this company.
http://oaklandballet.org/wp/performances/fivedecadesofdance/
I saw some of those Oakland reconstructions, but don't have dates in my notes that I can find. As far as a timeline is concerned, the International Encyclopedia article says that Ashton jump-started the Nijinska revival in 1964, when he asked her to stage work for the Royal Ballet.
Alexei Ratmansky's Giselle
in Bolshoi Ballet
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Big fun, both videos!