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I used to love everything about Suzanne Farrell's solo in the first section of 'Union Jack'. The music, choreography and the way she danced it. I remember seeing on the Balanchine Part 1 & 2 special that Mr. Balanchine had originally choreographed this solo for Diana Adams in 'The Figure In The Carpet'. Did anyone from Ballet Alert see 'The Figure In The Carpet'?

I remember a woman who was highly talented and who sort of got the reputation of being too athletic because she could do triple a la second turns on pointe, and double saute basques. But she was an artist who only lived to dance. Very clean, clear and strong technique. Her legs were very strong and still are! When the company would be arriving for company class, she would be leaving the studio. She would, by that time, have already given herself a full class and have practiced classical variations. On tour in her hotel room, she would sculpt ballet dancer figures in her free time. She loved to laugh and still does.

Interesting that you bring her up Manhattnik. Rebecca Wright was the first ballerina in the U.S. to dance Titania with The Joffrey Ballet, first U.S. company to do 'The Dream'.

With Jeannie's move to Saint Petersburg and her detailed descriptions of the beautiful theatres and palaces, many memories are revived of my trip to Moscow and Saint Petersburg, a few years ago. After reading Jeannie's post about the Hermitage Museum Theatre in the Winter Palace, I decided to look through a particular book and find a picture of it. While flipping the pages and passing by beautiful images of Russia's last Imperial Family, I was reminded that there is a full length ballet about the youngest daughter of the last Tsar of Russia, Anastasia. I've never seen 'Anastasia' and have read just a little bit about it. I know that it was originally created by Sir Kenneth MacMillan as a one act ballet for Lynn Seymour, and that it was so striking it was expanded into a full length. Are there Ballet Alert posters who saw 'Anastasia'? Any memories or stories to share with the rest of us?

Now don't forget how much I love Balanchine and NYCB but my vote goes this way in order of my favorite Dreams. 1) Ashton 2) Bruce Wells 3) Balanchine

Now don't forget how much I love Balanchine and NYCB but my vote goes this way in order of my favorite Dreams. 1) Ashton 2) Bruce Wells 3) Balanchine

I will never forget one night in Chicago when the conductor and orchestra "blew" the opening of her "Don Quixote" variation. She stepped out, shook her closed fan at them, (as if to say "tsk, tsk, tsk") and marched back to the wings. Humbled, they began again. This time, she danced -- brilliantly, of course. I recall that, even then, I could not think of other dancers who would dream of doing that - much less actually dare to do it. [/b] Oh, I believe she would dare to. I'm reminded of a story I was told back in the day of Natalia Makarova's reign at ABT. She was not scheduled to dance and was asked to substitute at the last moment because of another dancer's injury. Someone said to her "With you dancing tonight, it will be just like a gala!" Makarova's response: "Darrrrrling, Every time I dance is gala!"

In the John Cranko/Jurgin Rose version, Juliet has several costumes. The one she wears in the wedding scene is blood red with ivory. I didn't find the costume sexy. I only found it pretty and flattering for the ballerina wearing it. I know for a fact that Cranko ballets have been getting redesigned in recent years. When I last saw Elizabeth Dalton who designed the original sets for 'The Taming of The Shrew', she showed me her designs for a new production of 'Onegin', she was making for a company other than Stuttgart. I also have a rough sketch of her new design for the costumes of the 'Taming' carnival scene costumes for Stuttgart's new production.

Jeannie, your posts are like a tonic for those of us who love the great city founded by Peter the Great, and are not able to be there! The Hermitage Museum Theatre is the historic site where in 1903 the Romanovs stood for a picture, wearing 17th century costumes, on the occasion of what turned out to be the last great ball thrown by the Russian Imperial Family. I will never forget attending the ballet there and often wonder upon which Romanov's cushion I was sitting. The Forbes Magazine Collection in NYC (which is free!) has the ostrich feather fan with the hidden mirror, designed by Faberge, which Nicholas II's sister, Xenia used to spy on other guests at the ball. For those interested, there is a very good, full page picture of the theatre on page 65 of Peter Kurth's book: 'TSAR, The Lost World of Nicholas and Alexandra'.

I have only been involved in the Cranko version. However, I 've seen the MacMillan version many times. In my opinion, the Cranko version looks more like a play and less a dance, in comparison to MacMillan's version. The Cranko is all dance, but the choreography at all times lends itself to telling the story, where as MacMillan's has long passages of choreography which I think is much harder and is there just for sake of dancing. Even the scenery in the MacMillan version makes me use my imagination more. It's less real and more suggestive. The Jurgen Rose sets and costumes for the Cranko version look like a theatrical representation of what the audience should be thinking they are seeing. As a male dancer who performed in the Cranko version and danced in the pas de trois before the ball, I've noticed that though Cranko's steps are not easy and take skill and stamina, I was glad to be doing those steps because MacMillan's look much harder to me. I will finish by saying that both are beautiful to me. I love the pas de deux in each version.

I think PNB has had this ballet in their rep as well.

I first saw Glen Tetley's 'Voluntaries' performed by The Stuttgart Ballet in 1977, at the MET with the original cast (of principles). It was an extremely moving experience seeing legendary artists: Haydee, Cragun, and Kiel, dancing in tribute to John Cranko. It was also a new experience for me, seeing the beautifully schooled dancers in a very comtemporary work. I later saw 'Voluntaries' performed by ABT, (more than ten years ago). Even with my favorite ballerina Makarova in the lead, it never lived up to the first experience I had with the ballet. Of course there can be many reasons. Maybe I was not sitting in the ideal area of the theatre, or maybe I was not in the correct frame of mind. Makarova's interpretation seemed light compared to Haydee's very grounded, rich performance. The pas de trois wasn't as dramatic and daring. Maybe I was expecting too much. I'm pretty sure that the Stuttgart dancers went to a very deep place when performing the ballet. It would be great to take a look at this ballet again, many years later. I don't know if it is being performed much in the U.S. Does anyone know if there is a performance of 'Voluntaries' on video or DVD, for sale?

And what do you do by day Jeannie? Stroll the Nevsky Prospect? View the paintings of the Hermitage - inside the glorious Zimny Dvoretz? Tour the Yusupovski Dvoretz, Peterhof, the pretty palaces at Tsarskoe Selo, or nearby Pavlovsk? Have you been to Orienbaum or Gatchina? I'm pea green with envy!

I seem to remember hearing that the mime scene in which Lise dreams of having three children was taught to Ashton by Karsavina. Can anyone confirm this?

Thanks for the info AmandaNYC. After reading the Ballet Alert reviews of the SAB workshop, I see that there are many ahead of Ellen.

Can anyone tell me if Ellen Ostrum is in the company yet? Or is she still an apprentice? She and ABT's Angela Snow grew up together at The School of Oregon Ballet Theatre, and it seems that both of their futures should be bright.

I love the way her body can be angular and yet romantic. She's got it! She's beautiful!!!!!!!!!

Twelve actors from The Goodman Theatre read the script in studio B at the Joffrey Ballet of Chicago studios with Barbara Turner, the head of Killer Films, the dancers, artistic staff and Artistic Director of The Joffrey Ballet of Chicago in attendance, on May 29th. Barbara Turner spent the past two years off and on with The Joffrey. Many times Neve Campbell was also there taking classes, watching rehearsals, watching performances, riding the tour bus, watching the open call audition, and joining Barbara Turner's interviews with dancers, artistic staff, wardrobe, stage management, and even the partners and relatives of people associated with 'The Company'. The script will have to be trimmed because there is enough material for a three hour movie. Ms Turner who is known for the quality of her writing, is very happy to have Mr. Altman direct even though he might totally go in other directions. She said that he is the person she wants to direct this movie.

In my opinion it's the Robbins rep that might need more help. His ballets depend so much on perfect timing. That was lacking when I saw 'The Concert' last year. I went to dress rehearsal and saw that the problem was not for lack of trying, but I realized that Mr. Robbins had been so specific and in control of his work that no one can do the job he did. Balanchine on the other hand was so free and generous with his work in general. It is well known that he was always changing his choreography to suit different dancers, and giving his work away to other companies, etc. I went to opening night of the spring season last year, as the companion of Vicky Simon. It was an All Balanchine program and I thought the company looked exquisite and impeccable. (I am a spacing freak) and this was obviously a well rehearsed performance. At the first intermission I went with Ms Simon to meet Barbara Horgan and some others that were not in "Peter's Family". Never the less very important people were there. I met Suki Schorer for the first time. The elegant Karin Von Aroldingen asked Vicki Simon: "As the expert on 'The Four Temperaments' what did you think?" Vicky Simon said: "Very good, maybe just a bit too hard edged". I thought about that and realized that dancing a little hard edged is more the norm these days, so if that is the only criticism, this ballet is doing quite well. I still hear Mr. Balanchine's voice on the Balanchine Part 1 and 2 for PBS, saying that his works will look different when he is gone.

In my opinion it's the Robbins rep that might need more help. His ballets depend so much on perfect timing. That was lacking when I saw 'The Concert' last year. I went to dress rehearsal and saw that the problem was not for lack of trying, but I realized that Mr. Robbins had been so specific and in control of his work that no one can do the job he did. Balanchine on the other hand was so free and generous with his work in general. It is well known that he was always changing his choreography to suit different dancers, and giving his work away to other companies, etc. I went to opening night of the spring season last year, as the companion of Vicky Simon. It was an All Balanchine program and I thought the company looked exquisite and impeccable. (I am a spacing freak) and this was obviously a well rehearsed performance. At the first intermission I went with Ms Simon to meet Barbara Horgan and some others that were not in "Peter's Family". Never the less very important people were there. I met Suki Schorer for the first time. The elegant Karin Von Aroldingen asked Vicki Simon: "As the expert on 'The Four Temperaments' what did you think?" Vicky Simon said: "Very good, maybe just a bit too hard edged". I thought about that and realized that dancing a little hard edged is more the norm these days, so if that is the only criticism, this ballet is doing quite well. I still hear Mr. Balanchine's voice on the Balanchine Part 1 and 2 for PBS, saying that his works will look different when he is gone.

Interesting Lovebird. I would love any information on this as well, because a few years back, I choreographed a series of three solos to guitar music of Purcell, for a petite blonde dancer who looked like a china doll but also gave off the feeling that one wouldn't want to get into a fight with her on the street. A good friend of mine suggested 'Gamine' as the title for the piece. I looked it up and saw the meaning - street urchin. I never thought of it beyond that, but more information on the history of this quality related to dancers would be nice to have.

That's the best explanation so far! Thanks Victoria! The position seems to express something earnest or humble. Maybe it was an expression of simple femininity in those times. I think Mr. Balanchine gave the "B+" position it's name. Does anyone know that to be a fact?

Thanks atm711! I saw Alonzo dance live twice. The first time, I sneaked into an ABT gala at NYST. Honestly, I folded up dollar bills to the size of a ticket and handed them to an usher and he let me go right in! I saw Baryshnikov and Kirkland with Nureyev in that gala too! Alonzo danced the White Swan Pas for the gala, and the second time I saw her was again with ABT when she danced 'Carmen'. Both of those performances were at the end of her career, though she looked great. I always wished to see her in 'Theme and Variations'. One of my early ballet teachers had danced for her in Cuba and worshipped her. So when you have time and if you can think of any more experiences of viewing Alonzo, atm711, please tell.

I've seen reproductions of the lithograph of Marie Taglioni in 'La Sylphide', standing in the window, in B+ with the foot in front instead of behind. Carlotta Grisi is seen in the same pose holding grapes from the harvest, in 'Giselle'. The pose comes back in Balanchine's 'Square Dance'. Does anyone know the proper name for this position and anything about it's history?

I wondered if someone would be curious about the costume symbolism. The whole cast is in practice clothes in the prologue. The color scheme is black, gray, and a bit of off white. Every cast member's face is white with big blue cirlcles around the eyes. The little girl Juliet is in a nude unitard in her chamber. Paris and Lady Capulet and the Nurse are in costumes. Juliet through the mirror is also in a nude unitard. The full cast gets into costumes that are rolled on to the stage on a wardrobe rack, before the ball. As the cast is putting on the costumes they have unscripted conversation, probably not clearly audible to the audience but loud enough to know that conversation is going on. The dressing scene is to the music that is usually used for the guest's arrival at the ball. The ball scene is the first scene with the full cast in full costumes. After the ball, the cast is in elaborate carnival costumes for Act II, until the strip down out of the ball over coats in the crypt (Act III). The three Juliets are in the unitards as well in the crypt scene. The scenery is minimal. It consists of stuctures that could be a bed in Juliet's chamber, a slab in the crypt, etc. They are of gray/black color. For the balcony scene the structures are arranged to represent a balcony and Juliet (Ingrid Fraley) is in a costume that one would expect to see in the balcony scene. As I said in an earlier post, this production was not a hit, though I always wonder if it would be accepted if it were seen today. Mr. Joffrey was taking a big chance and giving a new choreographer exposure with a major ballet company, just as he had done with Twyla Tharp, Mark Morris and Laura Dean, to name a few.