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pirouetta27

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About pirouetta27

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    dancer, avid balletgoer
  • City**
    Seattle
  • State (US only)**, Country (Outside US only)**
    WA

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  1. Congratulations to the Suddarths on their upcoming baby! I think this answers my question as to why Emma wasn't dancing as much in the last rep as I would've expected Also, per their Instagram, another company family is expecting!
  2. Oh, and I one more note: I was surprised to see that Emma Love Suddarth hasn't been cast in anything beyond general ensemble dancing for either weekend (but please correct me if I'm wrong; I was reading the casting on a smartphone screen so it's possible that I missed something). Her dancing is always very strong and I'd love to see more of her.
  3. After attending the Saturday night performance, I have to say that I've never realized before how FUN Agon can be! The dancers have taken Russell's notes to heart; there were plenty of moments I could hear her corrections (from the livestream rehearsal) in my head, and see how the dancers had adjusted accordingly. Lucien's coup├ęs in his solo were clear; the partnered arabesque promenades at the end revolved smoothly; Mullin's traveling echappes glided in perfect unison with Macy's. I especially enjoyed the gailliard with these two women. Sometimes with the Balanchine black and white ballets I get the sense that the driving emotion is "look how spiky we can be! Look how fierce and neoclassical!" Elements of that were there, but more than anything, I felt that Macy and Mullin were playing a wonderful game onstage, feeding off each other's energy and daring. Oh, and the pas de trois--such excellent chemistry between the two of them and Lucien, and what a glorious tendu ending! In the other sections, Pantastico brought a coy charm to her bransle solo, and Laura Tisserand was both cool and eminently personable as she and Josh Grant wrapped themselves in knots during the pas de deux. I could watch that pas over and over again. With Grant, I still don't think I really have a sense of who he is as a performer, but there was nothing dislikable in his presence or partnering. I mean, I do wish that Laura had reached the floor in the split-walk section, but with those legs I don't think there's time in the music for it! The whole cast kept up such crisp unity from start to finish that it really seemed like they were all pieces in an elaborate game of chess (a very fast game of chess, so there are holes in the metaphor, but you get the idea). There's no hiding in these leotard ballets--and this cast had nothing to hide, just wonderful musicality, teamwork, and sky-high extensions to show. I was a bit nervous to see Carmina, just because I'd adored it in the past and didn't know how I'd receive Stowell's choreography from an adult perspective. Happily, I found that his patterns, partnering steps, and conceptual flow held up to the power of the music, especially with the beginning Fortuna Plango Vulnera section where the men spring to life from the floor. Chills. Because this piece has such a large cast and often necessitates casting Professional Division students, there were a few moments throughout where one couple would be lagging in partnering, but it didn't detract from the spectacle or youthful exuberance. It's a great learning opportunity for all of them, and I must say that Mark Cuddihee (apprentice) and Noah Martzall (PD) really caught my eye in their commitment to the work, along with Abby Jayne DeAngelo (her face during the kneeling lines at the end captured the whole arc of the ballet). Another young one to watch is Sarah Gabrielle Ryan. She and Steven Loch in Primo Vere had chemistry out the wazoo as they progressed from teasing village couple to the more mature sections in unitards. I also greatly enjoyed Elle Macy as the siren female in In Taberna; she brought a sense of decisiveness and hedonistic abandon to every developpe, and it was interesting to watch her/Lin-Yee shift the power dynamics back and forth in the group. Something in her interpretation seemed fresher than those I've seen in the past: with other females it's felt more like an inevitability that the tavern would orbit around her, but with Macy it was a wicked party that just barely stayed in her control. Of course, Liz Murphy and Lucien were full of melting arabesques and silky solos in Cour D'Amour, and you could feel the audience stunned into silence during Dulcissima as the purity of Murphy's steps matched the soprano's impossibly high notes. What a treat! But on a sour note, in many of the other sections, someone kept bumping into a microphone, which inserted a horrible "ka THUNK" into the rest of the singing. And it. Kept. Happening. Seriously, I don't know if it was onstage or off, but its recurrence was both irritating and baffling. I heard one of the other audience members mentioning it as we filed out...hopefully the problem is fixed for future performances. I could go on and on but the last thing I'll mention is just how much I love the Carmina costumes...sure, the nude unitards provide minimal costuming, but the flecks of reflective material and waving pieces of fabric highlight the dancers' lines so nicely. And Murphy's buttercup-colored dressed for Cour is regal in its simplicity. It's so nice that, although PNB presses ahead with new and exciting works, Boal also takes time to revisit classics from the company's heritage: the architecture from Balanchine and gesamtkunstwerk revelry from founding director Stowell.
  4. I'm getting more and more excited for the show with all of this excellent video footage PNB is producing! After living overseas for a year and a half, it's a treat to be in town for these two powerhouse pieces. Does anyone remember the last time that Agon was programmed?
  5. Did anyone go to see the opening weekend? I live overseas so it's rare that I get the chance to watch a performance in person (thank heavens for the youtube rehearsal streams!) and I'm curious about everyone's impressions of this program. Standout dancers? Overall longevity of these pieces in the repertoire? Feeling/mood of the night?
  6. You can watch new PNB apprentice Abby Jayne DeAngelo dancing in this fun video from Cut; obviously, she's the ballerina with checked pants and a white t-shirt. https://www.youtube.com/watch?v=mUxf7oytC9M
  7. I was able to watch what I think was all of the Act I rehearsal on Instagram stories (from Japan, no less; the time difference worked out well). Leta looked strong and joyful in the Rose Adagio, and I thought that Steven Loch was fantastic as Carabosse. Hats off to the many hard-working corps ladies, too, and their glorious unison work! It always warms my heart to see Francia Russell back in the studio alongside the current artistic team.
  8. Seeing Leta in Afternoon Ball was also revelatory; she was filled with tenacity and grace. Many congratulations to her! Now I'm waiting for Dylan Wald to finally get moved out of the corps...
  9. This whole situation has made me very sad from the moment the first article was published, but I was especially saddened today to read Ramasar and Catazaro's posts on the matter: regardless of what really happened, neither of them acknowledged the hurt that everyone else has been feeling (Waterbury, colleagues, fans...) Posting about how you are a such an honorable person blah blah blah does not make it so; what's honorable is to recognize and validate someone else's pain, particularly in such an icky situation as this. Without saying anything that would entangle the legal side of the case, each of them could have taken the chance to acknowledge the very real hurt that's happening NOW, rather than boasting about previous accomplishments in the world of City Ballet. The world is a better place when humans are able to step outside of their own self-focussed bubbles. Unfortunately, Ramasar and Catazaro have not done that in their public statements, and I fear that peace for City Ballet, Waterbury, etc. will be slow to come.
  10. Not sure where to put this, but an Instagram post by Peter Boal, a Wikipedia bio (currently lacking citation), and public Facebook posts indicate that Sean Lavery may have passed away this week. Quite sad news for the company and all who knew him.
  11. Helene, didn't PNB do Martins' "Fearful Symmetries" back in 2003? It's not listed with the rep on their website right now, but I seem to remember it being performed years ago. From what I've seen, Martins' R & J is not a particularly special interpretation of the tale, but I am excited to be seeing City Ballet for the very first time next week when it's performed! My eagerness to visit NYC and watch the company eclipses the apathetic feelings I have about the choreography and production.
  12. According to several public-facing Instagram posts from PNB dancers, it appears that Ryan may have already debuted Sugar Plum Fairy this weekend.
  13. Blessings on you for recording all this information! FASCINATING!
  14. Clara Ruf-Maldonado is currently in the Professional Division at PNB. She graced the stage in the corps of "Emeralds" during the company's recent run of Jewels,
  15. I was able to take open class at the new facility (pro tip: as of yesterday at 9am, the PNB website still listed the temporary facility's address and the FRC voicemail sounded as though it hasn't been updated since May) and was quite impressed! Although there are a number of construction details that are still being taken care of, the space appears to be even better designed than the original to meet the needs of Eastside students. I'm looking forward to seeing how it all progresses; bravo to the work crews who have put this all together in such a short amount of time and the students/parents/faculty who have rallied to make the transition go smoothly.
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