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The new Stephen Sondheim musical BOUNCE closes this Sunday after a three month run at Chicago's THE GOODMAN THEATRE. Book by John Weidman Music and Lyrics by Stephen Sondheim Directed by Harold Prince Choreographed by Michael Arnold Set Design by Eugene Lee Costume Design by Miguel Angel Huidor Lighting Design by Howell Binkley Sound Design by Duncan Robert Edwards Hair and Wig Design by David H. Lawrence Orchestrations by Jonathan Tunick Musical Director David Caddick Dance Arrangements by Robert Lindsey Nassif Addison Mizner - Richard Kind Wilson Mizner - Howard McGillin Nellie - Michelle Pawk Hollis Bessemer - Gavin Creel Mamma Mizner - Jane Powell Ensemble: Sean Blake, Marilynn Bogetich, Tom Daugherty, Jeff Dumas, Deanna Dunagan, Nicole Grothues, Rick Hilsabeck, Herndon Lackey, Jeff Parker, Harriet Nzinga Plumpp, Jenny Powers, Craig Ramsay, Jaquelyn Ritz, Fred Zimmerman Notes on the play "The Mizner boys were at least as famous for their wit as for their escapades of fortune. Wilson was the laureate of one-liners whose offhand quips have become part of the common parlance. One of his biographers, Alva Johnston, said Wilson's bon mots were of two sorts. The first entailed "bringing a calm spirit to bear on boiling emotion." The second used "fantastic exaggeration." Though Wilson's attained greater notoriety, Addison also had a knack for witicisms. With humorist Ethel Watts Mumford, Addison contrived The Cynic's Calendar. This lucrative publication twisted the epigrams and platitudes of the day: "In the midst of life we are in debt," and "God gives us our relatives - thank God we can choose our friends." Here follow some of the choice selections from the Wilson Mizner canon: "Flesh beats scenery" "Your ninety-proof breath could start a windmill in an old Dutch painting. If I put a wick in you, you would burn for three years." "Always hit the man with a catsup bottle. Then he'll think he's bleeding to death." "An honest crook doesn't stand a chance against a political crook." "Wrestling is not a sport. It is an inferior brand of Shakespearean comedy." "If you steal from one author, it's plagiarism; if you steal from many, it's research." "Oh, the place almost made a good picture once, but they caught it just in time. But don't get me wrong. I love Hollywood.' Hollywood: "It's a trip through a sewer in a glass bottom boat." "Stop dying. Am trying to write a comedy." - Wilson's telegraphed reply to news that Addison was near death. On his deathbed: "much obliged, Padre, much obliged. But why bother? I'll be seeing your boss in a few minutes... I don't expect too much. You can't be a rascal for forty years and then cop a plea the last minute. God keeps better books than that." "I respect faith, but doubt is what gets you an education." "You sparkle with larceny." "You're a mouse studying to be a rat." "I never saw a mob rush across town to do a good deed." "Most open minds should be closed for repairs." "Be nice to people on your way up because you'll meet them on your way down." Though I am a longtime Sondheim fan who adores "A Little Night Music", "Sweeney Todd", "Pacific Overtures" and "Follies", I had trouble with this one. I did not care for the characters and wanted most of the songs to end much sooner than they did. Act II had some magical moments. Though I applaud the effort to create a new musical in this era of revivals and the Mousifcation of Broadway, I would assume BOUNCE will go through many changes before hitting Broadway.

The (un)Original Cast Recording - Volume 5 is the best since Volumes 1 and 2, in my opinion. Created and written by Gerard Alessandrini, "Forbidden Broadway Cleans Up Its Act" stars Bryan Batt, Lori Hammel, Edward Staudenmayer and Kristine Zbornik. This study on the 'mousification' of Broadway spoofs the raunchy "Cabaret", "Chicago" and "Swan Lake". Other selections are "A Jolly Holiday With Rudy" - Julie Andrews and Rudolf Giulianni, "The Lion King" - "The Circle of Mice", "Can You Feel The Pain Tonight?", and a very wicked tribute to Julie Taymor, "Titanic, The Musical" - "Ship of Air", Bernadette Peters in "Annie Get Your Gun", Ann Miller in "I'm Still Weird" (I'm Still Here), "Gagtime" medley, "Super-Frantic-Hyper-Active Self-Indulgent-Mandy"(Pitinkin), "Find Mary Martin" (Climb Every Mountain). This CD is perfect for a four mile run!

I know the pony dance, but not the year it was created. Sorry about that. Another fun episode with Lucy on stage exposing her beautiful gams is: "Ethel's Hometown." :grinning:

Was watching a video of Royal Ballet's production of "Petrouchka" today and enjoyed Alexander Grant as Petrouchka, Antoinette Sibley and Merle Park as the street dancers and Nadia Nerina as the Ballerina Doll. I know she was the first Lise in Ashton's "La Fille Mal Gardee." Did anyone see her perform live?

Lucy was a great physical comedienne. Her pas de deux with the barre is genius. Mary Wickes as ballet mistress is hilarious too. :grinning: Dancepig, if you enjoyed Lucy in ballet class, you must find the episode "Lucy Meets the Queen". In this episode Lucy will do anything to meet the queen of England and finds herself in Ricky's act (one of the only times with his permission) dancing a number called "Trained Ponies." Now you must find this episode for the outcome. :shhh:

It's almost thirty years ago, so I might not remember correctly. I'm quite sure that AHG did have Lacotte in the studio to see a run through. I had the impression (up until now) that he was the other interpreter.

On a birthday gala performance for Thomas Armour in Miami many years ago, we saw Hiller Huhn's Grisi pas de bourree - fouette right into the proscenium. Vincente Nebrada's Cerrito was so young and vivacious I thought she might explode. Ben Stevenson as Taglion entered for the variation with a pistol. No second bow there! :grinning: :sweating:

If Mendes directs I'll see it in a second.

Wondering if anyone saw Margot Fonteyn dance the 'white pas' in "Les Patineurs" and or Julia in "A Wedding Bouquet". B)

I suspected this as well! Thanks for pointing out the Robbins influences Carbro. Next time this film is on, I'll pay less attention to my computer screen and give my undivided attention to "You Were Never Lovelier".

"You Were Never Lovelier" was on TCM the other night and it introduced me to the teaming of Fred Astaire and Rita Hayworth. I can see what all the hoopla was about Rita. She was so pretty and talented. There was also a Lolita's older and good sister quality about her. She must have driven men crazy. Fred certainly looks like he is enjoying his work day with her. Seeing that movie reminded me of a question I've wanted to post for a while. What is your favorite Fred and Ginger movie? There is nothing better than waking up on a Sunday morning, flipping on the television and finding a Fred and Ginger movie about to start. My top three favorites and I change the order depending upon which I am watching are: TOP HAT (1935) (The opening credits with the lower part of their dancing legs is the best!) Director - Mark Sandrich Music - Irving Berlin Choreography - Hermes Pan Songs and dance numbers include: Isnt' It a Lovely Day (To Go Out in The Rain?) Cheek to Cheek The Piccolino SWING TIME (1936) Director - George Stevens Music - Jerome Kern Choreography - Hermes Pan Songs and dance numbers include: Pick Yourself Up The Way You Look Tonight Waltz in Swing Time (LOVE IT) A Fine Romance Never Gonna Dance (LOVE IT) SHALL WE DANCE? (1937) Director - Mark Sandrich Music - George and Ira Gershwin Choreography - Hermes Pan Songs and dance numbers include: They Can't Take That Away From Me Thay All Laughed Walking The Dog (no lyrics, but great music with passengers walking their dogs on the deck of a luxory liner) - I'm trying to get this tune for class. I love Ginger because she is a strawberry blonde, wisecracking, smart woman. But she is also very elegant in her beautiful costumes and they just don't make stars like that any more. Her acting is down to earth and yet she is almost unreal looking. Lighting, make up and her God given gifts make her very special. I'm sure someone here will write a bit of what they like about Fred.

I'm loving Fred Astaire and Rita Hayworth in the 'I'm Old Fashioned' number from the movie "You Were Never Lovelier." I actually adore Fred and Ginger movies and had not previously seen Fred with Rita as a dancing duo. I saw the ballet "I'm Old Fashioned", by Jerome Robbins many years ago and didnt' love it. But now watching Fred and Rita together I find that maybe I was not ready for their magic back then. Does anyone out there have anything to report about "I'm Old Fashioned"?

Thanks Grace and Alexandra. I was searching for descriptions and impressions. I like Alexandra's recollection of dancers as waves. I am also curious about the famous shadow dance. The original Ondine was Cerrito, correct? I seem to remember reading that she did her own choreography. We discuss many ballets here and "Ondine" seems a bit of a mystery. B) I'll try to get more out of Lynn Wallis this spring.

Has anyone seen any version of "Ondine?"

Yes, it was "Voices of Spring" and it was a delight. Unforgettable entrance. My first Fille was preceded by Sibley and Dowell in Kingdom of the Shades. Sibley, Dowell, Jennifer Penny (as a soloist shade), Park and Nureyev in one evening. What fun ballet performances used to be!

Dame Merle Park was a member of the esteemed panel of judges for the NYIBC last month. It was an honor to meet at the closing night gala dinner. I first saw her dance Lise to Nureyev's Colas in "La Fille Mal Gardee" when Mary Day called the dorm one evening and told me to get my butt over to Kennedy Center (in less than an hour!) Merle Park was delicate and strong in a pas de deux (can't think of the name) choreographed by Ashton to Strauss which I saw at the MET, and of course as Titania in "The Dream" which I have on video. It would be nice to hear your impressions of Merle Park.

In the Else Mariann Von Rosen version of "La Sylphide" the sylph perches in arabeque on a hidden elevator and glides down from the window. In the Erik Bruhn version she walks down via strategically placed furniture. Is the authentic entrance to the farmhouse from the window known?

Interesting comparison. Maybe there was a rivalry. What an excellent platform for a spitfire to get back at the queen.

I've always thought that Taglioni might have had a gliding and floating quality as if she were wearing a crown. By the time of the Pas de Quatre performance she would have been older than the others and maybe had a gracious quality. I've read that her neck, arms and legs were very long. Grahn must have been a jumper with a lyrical side. Maybe this is the quality that Alexandra has spoken of when describing excellent Bournonville dancers? Cerrito must have been a flirtatious spitfire, executing steps with a lust for movement. Does everyone think she took that extra bow? Grisi is hard for me to picture except standing in a front B+ holding her scepter of grapes - Act I Giselle. She must have been quite beautiful.

Maybe like the young Kschessinska, before she became the Tsaritza of the dance.

Thanks ever so much R S Edgecombe! It seems as if your memory is excellent. Congrats on your age and don't scare me about the brain cells. I'm not far behind!

Did Grisi dance mostly in Italy or Paris? I think Carla Fracci is charming as Cerrito in the cast I have on video.

OMG, five acts! Very cool! What follows is from the synopsis provided by the Meyerbeer Fan Club. Act III, Scene II - The tombs of the convent at Saint Rosalie What follows is one of the most effective and haunting scenes in all of opera. This is the burial place of nuns who have offended heaven with impure thoughts. Bertram summons up the sinful dead nuns ("Nonnes qui repose") commanding them to action. They rise from their tombs, at first slowly, and then work themselves into a frenzy, shedding their habits and dancing a bacchanal. They attempt to seduce Robert. Under their spell and guided by the the mistress Helene he steals the magic cypress branch, and makes himself disappear. The nuns sink back into their tombs. Thanks Alexandra and Mel. I look forward to reading RGs comments.

My copy of Lincoln Kirsteins "Movement and Metaphor" is at the office and I am having trouble finding information on the internet. I remember reading that there was a ballet given the year before "Giselle" which sparked the idea for the dance of ghosts or wilis. In Robert Le Diable there was a dance of the nuns who were women risen from the grave at night. Is this near correct?

It's true that Grisi was the multitalented one. She was an opera singer as well as a famous dancer. I'm not sure if it was her sister or cousin who was a famous opera singer. I'm curious Hans as to why you would cast Julie Kent as the Italian Cerrito. Why Nina Ananiashvili as the French Grisi?