glebb

I heard yesterday (through a Stuttgart connection) that Robert Conn was not chosen for AD at OBT.

Does anyone know if a choice has been made yet?

I recently reread 'Theatre In My Blood, The Biography of John Cranko', by John Percival.

It was nice to remember the 'Stuttgart Miracle' since I had been touched by it when I saw the company at the MET in the late 70s, and actually had the priviledge of learning some of Cranko's ballets.

I was wondering if anyone knows of and has anything to say about 'The Noverre Society'.

An early performance of 'Ondine' at Peterhof.

Now there is something to daydream about!

I'm almost certain they didn't own NYCB. I do know that they were reportedly very good dancers and teachers.

I did take a class given by Richard Thomas (the father),when I was eleven years old.

I saw it near the end of it's three month Chicago previews run. Elizabeth Parkinson still looks mighty good and I was impressed by John Selya as well.

I worked with Ann Hutchinson Guest when she first staged the pas de six from 'La Vivandiere' for Joffrey II in 1976, and on the tour bus had some level one Labanotation lessons from Maria Grandy. The Labanotation scores I saw looked very busy, with a lot of information.

Years later, I glanced at Georgette Tsinguirides Benesh Notation score for Cranko's 'Taming of the Shrew'. Her Benesh Notation score seemed so empty. It was amazing to watch her teach a stage of forty people, (six or seven different groups doing different things) what to do from a score that didn't look like it contained much.

I am certain Ms. Tsinguirides can stage many ballets without a score, but how is it that a Benesh Notation score can hold so much information and yet not look like much?

My first ballet was a studio run through of 'Les Sylphides' that my teacher allowed me to watch after my Saturday morning class. I was nine years old, when I watched the rehearsal danced in practice clothes by a regional, non professional company in South Miami, FL.

Though I have since attended ballets at The MET, and Kennedy Center and even the Bolshoi Theatre, that Saturday morning studio run through in Miami might still be the most special ballet memory I have.

Mine is the moment that the Sylph skims across the floor and does one simple leap in front the friends of Effie and James, only seen by James, during the Scottish Reel.

What is your one favorite moment in your favorite ballet?

I adore Maria Kowrowski as the Siren. What's not to love? But, I think I would like to see Gillian Murphy and Herman Cornejo in the amazing ballet 'The Prodigal Son'. Should they come to State Theatre or should this be done at the MET?

Sounds like Robert Cohn to me.

He was with Joffrey II, National Ballet of Canada and then Stuttgart.

I like fairies in my fairy tales Janna!

I hope you enjoy Ashtons and I look forward to your review of it.

As I posted in the other Cinderella thread, it was over thirty years ago that I saw Ben Stevenson's 'Cinderella'. I was very young and was dazzled by Margot Fonteyn and the scenery, music, magic and wonderful National Ballet of Washington dancers.

To this day I remember most of the steps of the variations that the fairies of the four seasons danced. Were these pretty and musical variations missing? You said the Autumn Fairy received a lot of applause, so I would guess the variations are still there. So there really is a little more to it than just running around waving arms. I particularly remember in the finale waltz of the seasons, (where the Fairy Godmother tosses the pumpkin off stage and horses and carriage enter in the pumkins place), a cannon step of the fairies that to me looked like the passing of the seaons. Maybe my young mind was reading too much into it.

Sorry to hear you didn't like it Jaana. I was hoping that it had held up after all of these years. So many companies are performing it.

It's true about Haydee. She can really turn them out.

Both Ellen and Angela are gorgeous!

Jessica Wyatt, whose parents were principles at DTH, is a new apprentice with The Joffrey. There are definite signs of a soon to be ballerina in that little apprentice.

I think Michael Smuin's version for San Francisco Ballet, which was telecast many years ago in the US, had the step mother.

What interests me is that MERCK will not donate to the arts, only science.

The Ashton version is my favorite.

It was over thirty years ago that I stood in the wings of a theatre in Miami Beach, FL and watched Margot Fonteyn as Cinderella in The National Ballet of Washington's production of Ben Stevenson's 'Cinderella'.

I remember some of the choreography and I think it was beautiful, though I was a newcomer to full lengths and ballet in general, when I saw it.

I enjoyed the transformation of the beggar woman into the Fairy Godmother, with a flash by the fireplace. I was dazzled by the magic of the transformation of Cinderella from rags to riches (a short tutu). Ben Stevenson and Frederick Franklin as the ugly stepsisters were over the top and hysterical. Kirk Peterson as the Jester was a technical whiz. I remember liking the dragonflies with the Fairy Godmother and the variations of the four seasons.

But all of these memories are through the eyes of a child. I will look forward to adult reviews of Stevenson's 'Cinderella'.

I could never get through the movie 'Carousel'. The actors seemed directed to be too prim proper and air headed for me.

Hytners stage version besides being cinematic and amazing to watch, grabbed me with it's dark side of the characters.

Wish you had seen it Dirac. I did not go to see the recent broadway 'Oklahoma' because I didn't think it would live up to the experience I had with Hytners 'Carousel'.

I could never get through the movie 'Carousel'. The actors seemed directed to be too prim proper and air headed for me.

Hytners stage version besides being cinematic and amazing to watch, grabbed me with it's dark side of the characters.

Wish you had seen it Dirac. I did not go to see the recent broadway 'Oklahoma' because I didn't think it would live up to the experience I had with Hytners 'Carousel'.

I have to say that I adored what Mr. Hytner did with 'Carousel' for Broadway, in the late 90s.

His version with choreography by Sir Kenneth MacMillan was among the top broadway productions I've ever seen.

I have to say that I adored what Mr. Hytner did with 'Carousel' for Broadway, in the late 90s.

His version with choreography by Sir Kenneth MacMillan was among the top broadway productions I've ever seen.

It is true.

I recently saw a video of Robert Derosier's 'Blue Snake', which was commissioned for National Ballet of Canada by Erik Bruhn about seventeen years ago.

Has anyone seen 'Blue Snake' or any other works of this choreographer?

The Billy Joel/Twyla Tharp show 'Movin Out' will close in early September after a three month trial run at Chicago's Shubert Theatre. I believe next stop is broadway.

The stars are: Keith Roberts (ABT), Elizabeth Parkinson (Joffrey Ballet, Fosse), John Selya (ABT), Ashely Tuttle (ABT), Scott Wise (who is also the assistant director and choroeographer), Benjamin G. Bowman (NYCB) and Michael Cavanaugh - Piano lead/vocals.

Other names familiar to me are: Drew Moose Allagree (Joffrey Ballet of Chicago), Ron DeJesus (Hubbard Street Dance Chicago), Alexander Brady (Joffrey Ballet), Dana Stackpole (ABT, SFB, Carousel), and Meg (Guerin) Paul (Joffrey Ballet).

It is my understanding that Act II is being worked on and changed daily.

If you like Billy Joel and or Twyla Tharp, this show should be a joy for you. The dancers dance hard for their money.

Kevin Irving was one of two casts of the leading couple in James Kudelka's 'Heart of The Matter' which I staged for Les Grands Ballets Canadiens in 1989.

Mr. Kudelka had already taught the lead couples their part by the time I arrived, so I didn't really work with Kevin a lot. Kevin seemed a very nice person.

I saw him last year in Saint Louis when he toured there with Duato's company. I believe he has been working closely with Nacho Duato, and was the ballet master for the company.

They were magnificent, so he must be quite able.