sandik

You know, it's such a treat to learn that there's another source out there, and that you *don't* have to dig it out!

I was explaining to someone how long I'd been talking about dance online, and wound up saying that I'd been around for the birth of alt.arts.ballet. They looked at me like I was a dinosaur!

Oh, it's been ages since I heard this -- thank you so, so much!

Smith didn't discuss the suicide question at the Seattle presentation either. I was going to ask the question, but since they didn't show any of the mad scene I decided not to, but I'm wishing that I had!

Thanks for the link to the article. The OCPAC name has always sounded a bit political rather that arts related, but at least the full title is related to the place where they work -- I can understand the desire to honor major donors (and perhaps encourage them to keep donating) but this does imply that the community at large really has nothing to do with the organization. I was curious about this phrase "a full-evening dance program." Do you think this mean a program-length dancework, or several, smaller works?

For me, it's the interconnectedness of the development that is most powerful. Francia Russell has said that ballet is a tribal art form (in that we learn directly from our 'parents' and pass things down directly to our 'children') and I think that's true of all dance. In a way, the history of dance is like the begats in the bible -- a long chain of who birthed who.

And in the same issue there's a very nice profile of dance in Seattle, by Gigi Berardi. (plug for home town...)

You've put your finger on something specific here -- when I think of this film, it's generally because I'm thinking about Fosse. It's his film.

I would be very interested to see what she did with this part -- her Broadway roots might give her an insight that other actors with a more film-heavy resume. But I have to admit I would love to have a film record of any of the recent Broadway casts -- it just seems that producers don't think we want to see stage actors make that transition.

Oh, I think that's who we were talking about -- and didn't someone find some (very old) film online somewhere?

Oh, I haven't heard anyone referred to as a 'chippie' in ages -- many thanks! Listening to this clip, and looking at the images reminded me -- isn't there another conversation on this site about unusual castings for Sally Bowles -- I seem to remember something around the time that Lynn Redgrave died -- there was some footage of someone that had gone on to a very different kind of career, but had done a turn in musicals early on...

I was thinking today about how different these two careers were -- both in terms of the kind of films they made as well as the whole vibe of the movie business.

A very juicy part of the chronology -- revel in it!

And that is the heart of the character. I think Minelli managed to create a believable situation in the film (she'd rather be a queen in this dive than take a chance in a more challenging world) but I wondered as well, how someone that smart could make some really stupid choices.

I'm wondering how I missed the afternoon screening as well, but was thrilled to see it whenever it was. I've not had much luck with streaming events in the past, and so was feeling pretty smug that this one worked for me. And Imler's feet sometimes look blurred in the theater as well as on screen -- she's mighty fast!

That would be great -- I've got a couple of friends who had to miss the program.

A few years ago, when Fullington reconstructed the Jardin Anime from Corsaire I thought that the whole thing felt a bit Danish, and then Alexandra reminded me that Petipa and Bournonville were both French trained -- it's all water from the same well.

Just want to add that I learned several things from Marian Smith's comments, and really encourage people to check out any of the other events that she's a part of later in the season.

Oh, many thanks -- I needed a giggle today!

I have very fond feelings for Baker's Dozen, and think it's one of her works most easily adapted to a ballet-trained cast. It's very beautiful, but also very elusive -- lots of appearing and disappearing going on. I'm glad that the work is being staged various places since Tharp isn't really maintaining an active repertory currently. One thing that she has here in common with Balanchine is a bone-deep interest in music and its relationship to movement. As with much Balanchine, if you don't like the music, you probably won't like the dance, but I've always thought both of them were extremely charming.

Hey, don't you go dissing Kate Jackson: she was the smart one. I found Pennefather dull the few times I saw him dance. Not to mention Marge Simpson and Dana Scully (and there aren't too many situations where you pair those names!) Mulder may have been the intuitive one, but Scully wasn't a lightweight. And Marge -- what can I say. That blue bouffant...

I just heard something about this on the radio I've got playing in the background, and if I heard correctly, he's now been hired to do some voiceover.

Well, since the first comment in this thread on Ballet Talk/Alert described the work as "Vegas-y," perhaps it has found its true home!

We'll be seeing a 'dress rehearsal' of this here in Seattle on Thursday -- I'll let you know what it's like.

I'll be curious to know what repertory they'll all be performing.