duffster

There was a young dancer in the Harkness Ballet who died of a heart attack while she was rehearsing with the company on tour. She had a weak heart and loved dancing so much that (from what I was told) her family let her stay in the company even with all of the danger to her health. Her name was Sarah Thomas. I saw her several times in the studio and in the canteen as I was a trainee at the time in the school. She had a very gentle and sweet look about her. Every time I see Giselle I think about her. So very sad.

Wow, When reading the headline at first (jumping to conclusions) I thought they were leaving for ABT. I'm sure there is more to this story- I feel sorry for their coaches who helped them become what they are today.

I enjoyed this video, having worn the costume from Rubies myself, it was extremely comfortable- it enabled you to move freely, just as though you were wearing your regular practice clothes. The click clack of the jewels on the costume was not noisy and did not get in the way of the choreography. It was an absolute joy to dance in this piece.

Yes, I also remember Ted Kivitt and Ivan Nagy covering their legs with a blanket as well.

Sarabita- reminds me a bit of Bujones, in his attack and clean execution. Sasha did a beautiful job too. I would love to see what Dima Gudanov(Bolshoi)would do with this variation.

I loved dancing in Allegro, Square Dance, and Donizetti but the toughest ballet for me was as one of the four Russian girls in Serenade. It was fun to do but the last section was for me almost impossible. You had to do 4 double turns while the corps is swirling around you doing small pique arabesques. I almost asked to be taken out of it but I persevered.

The Liceo opera house in Barcelona was (I agree) very unusual. I remember it having (many years ago) a tremendous rake. When we performed Monument for a Dead Boy by Rudi van Dantzig, you felt as though as you had a few drinks too many, the rake playing havoc with your balance. It also had a few boxes,for the audience, right next to the stage, so they could watch everything that went on backstage. I also remember the market near the stage door- I hated the odd odors from there. I also believe that the theatre had a claque.

As a former company member, I don't remember anything about this. However her good friend, Robert Scevers was from Texas, maybe that is how the idea for the (Ballet Farm) got started. She certainly had some unusual ideas, this one does not surprise me.

Andre Eglevsky, I think left ABT for NYCB.

I could not believe what I was watching. Absolutely hilarious- I'm surprised that the dancers (all beautiful artists) could keep a straight face while performing these pieces. Even Osipova- in the last piece, towards the very end, seems to lose track of the silly arm movements. Thanks for showing these as it lightened my mood- we've been snowed in for about three weeks!

Thanks Christian, keep them coming!

Simon, I'm totally in agreement with you about Somova's improvement. She seems more centered and in control of her turns. I was impressed at the end of her fouettes, where she almost loses control of them, but seems to adjust her placement to finish them well. As a former dancer, I think these things take a tremendous amount of work. Good for her.

The ballet with the gorilla looks like the finale of Souvenirs by Todd Bolender. The costumes and set look very familiar to me, we performed it with the Harkness.

I still love watching Gene Kelly's dancing in an American in Paris, and in Singing in the Rain, Donald O'Connors amazing rendition of Make em Laugh - now that really makes me smile every time I see it.

I believe the two male soloists in Waltz of the Flowers were Victor Barbee and I think (but not sure) Charles Ward.

I knew Lone well(many years ago)as a fellow member of the Harkness Ballet. To hear of her passing(too young) made me very sad. When you share many hours together in the studio- rehearsing, taking class, traveling on long tours, it feels as though you have lost a family member. She was very quiet, worked very very hard, I remember during a performance,her practicing piroettes over and over in the wings. She was a great role model for me (we were about the same height)she never missed class, and danced totally full out in rehearsals. I never saw her mark a step.I loved watching her in After Eden (Butler) and the Abyss (Hodes). She had an otherworldly quality to her dancing and a very individual approach to every piece that she danced. I remember a postcard that she had sent me (she was with the HET ballet at the time)telling me to audition for the Joffrey Ballet. I'm very grateful to have known her. May she rest in peace.

Simon, these clips are wonderful. They make this ballet look easy, while doing the difficult transitions,a true testament to their artistry.

She looks angry.

There is something unfinished to me in her dancing. I'm surprised that the Marinsky would showcase such a dancer. I'm wondering about her coaching, if she was given too much too soon. She dances like a student. I don't know if her bad habits,could still be corrected,I haven't given up hope for her as yet.I hate to see such high extensions in Beauty and Giselle. I'm astounded that her coaches permit it!

I totally agree, I also love her singing. The dancers look perfectly at ease with Duato's movements. I have on tape a documentary that was on a cable channel(many years ago) about Duato and his performing and choreographing for NDT. Included were the rehearsals for Jardi Tancat and at the end, a complete performance of this piece.

Peter Martins Romeo and Juliet- very difficult to see the dancing- the colors of the costumes are a bit too bright, I found it difficult to focus on anything.

This was great fun. I am Tatiana, the second Juliet, and the third a streetwalker- go figure!

Once during a performance of Nutcracker(Snow Scene) a bat decided to make a appearance flying out way above the audience and back to the rafters of the theatre. This was at the Academy of Music here in Philadelphia. Those of us doing snow were terrified of it landing on our heads, being stuck to our hairnets, while trying to dance. The bat disappeared after about five minutes of flying back and forth. It was a Nutcracker season I'll never forget!

Bart, I don't remember very much about a la francais, it was one of the ballets on a program on which I performed many years ago (Eglevsky Ballet) What I do remember that it is absolutely charming, very different from any Balanchine ballet I've danced or seen. It moves very quickly, a very short piece,and I think to make it work well, the casting has to be very good. The ending comes as quite a surprise on viewing this piece. I wish it had not been given away in the NYtimes review. I did have the good fortune to watch Mr.Eglevsky rehearse the ballet. I think he enjoyed dancing in it as well.