sandik

Some insightful analysis here -- I'd say it's one of the foundational works in the ballet repertory. We saw it here in Seattle at Pacific Northwest Ballet last autumn as part of their Robbins centennial programming, and it was such a pleasure.

All over the place, I imagine -- it's a standard studio release. Check Fandango, or the film's "official" web site, if you don't see it playing at your local plex.

I remember seeing Biasucci and Suddarth in the Neopolitan variation from Stowell's section of Swan Lake, and wishing that they would get a go at Tarantella -- I imagine they will bring the goods when they get to the stage.

Funding does indeed resemble a quilt. Or a mosaic.

The Joffrey is missing out on its entire heritage right now -- they offered a home to the Ballets Russe repertory when the rest of the ballet world was less than interested in those works, they were responsible for the renewed interest in Kurt Jooss' works, Tharp's first crossover works...

Thanks for the links!

I'm one of the folk that see the company through their cinema programming. I'm certainly grateful for the opportunity, but am baffled at some of the choices -- we just saw the new Swan Lake last year, and we're seeing it again next year?

Bingo

If you're looking for a general history of dance, you might want to check Susan Au's "Ballet and Modern Dance" (I know, not a gripping title). It's a tight chronological overview that is less America-centric than most. Also Deborah Jowitt's "Time and the Dancing Image" -- it's more episodic, but places dance events in their historical context, which I think is incredibly interesting.

It's coming to Seattle in June as well -- I'm really looking forward to this one.

Glad he's getting this opportunity -- I thought his Hilarion here in Seattle the last time the company performed the work had some true pathos. I imagine it will translate well into his Alberecht.

I'm sad to hear about this, but oh my gosh, what an incredible reverence here!

I've seen ballet companies do right by Taylor (Pacific Northwest Ballet used to do a very credible Roses during Stowell and Russell's tenure) but even works that seem at first to be extra-balletic (like Aureole) just look better when danced by people who are trained to get down into the ground to go up in the air.

How nice to see a bit of Piano Dances!

We've hashed out this book here before, but I think it's better to keep current discussions current -- have at it!

Come back and tell me more about what you think after you see this -- perhaps we are just seeing different things, but one of my takeaways from this film is how radically style/technique has changed over the last 30 years. Watching the Petronio dancers wrestle with those challenges was fascinating. The film is running here in Seattle at Northwest Film Forum May 10-16, for those in my corner of the world.

Oh, this is excellent news -- I am so glad that AT is getting the attention she deserves!

Hi there -- happy to have another voice on board. Do let us know what you think about what you see!

Wish I could see this -- please everyone report back!

Pacific Northwest Ballet circulated excerpts from a wonderful essay by Anita Finkle (that they had commissioned in the 1980s for their first performance of the work) -- the gist of her argument is that all the couples in the work, both human and fairy, were incomplete in some fashion, and that it's only when we get to the second act that we see an example of mature, adult love. It's not an exact example of Petipa's well-made-play structure, but I thought it was a compelling justification.

Keep your eyes open for a screening of If the Dancer Dances -- a documentary about reconstructing Cunningham's Rainforest on the Stephen Petronio company. Lots to consider about the process of reconstruction, and issues surrounding changes in style.

Walkaround Time, in the 1970s

Probably, but casting is always in flux during the course of the season -- injuries and other limitations make cast lists a moving target.

Part of the difference is about repertory -- Gomes dances a rep that includes several dramatic roles that require a more mature performer. He will continue to develop as an actor even as his technical skills begin to erode. Ramasar works in a rep that doesn't necessarily have the same requirements.

bingo I haven't read the Cisneros, but have read the others (and own a couple of them, around here somewhere) I recommend anything by Cobbett Steinberg, and the Ross/Ulrich text is also very useful.