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About lmspear

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    former student, avid fan, once fantasized about being a critic
  • City**
    Washington, DC
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  1. I believe they are desperate for the Hamilton revenue and will try to preserve as many performances as possible.
  2. They'll put off making a cancellation announcement for as long as possible, Maybe as late as June first.
  3. I don't recall ever hearing about a City Ballet dancer spending time at the Kirov Academy. The author doesn't specifically say that that any Kirov Academy students eventually joined NYCB, just a company like ABT or NYCB. "Nearly all landed at top companies like American Ballet Theater and New York City Ballet."
  4. Trouble at Kirov Academy of Ballet. From the NY Times website https://www.nytimes.com/2020/03/16/arts/dance/kirov-ballet-academy-embezzlement-moonies.html
  5. That spotlight has been finding Hurlin at least since she originated the role of young Clara in the Ratmansky Nutcracker. Her picture and name were in every piece of ABT's publicity material for the production and the resulting press coverage. From Alastair Macaulay's review in the "paper of record." Yet amid several superb interpretations on Thursday, none surpassed those of the two central children. Young Catherine Hurlin’s partly angry, partly vulnerable, never picture-perfect Clara exemplifies the individuality of Mr. Ratmansky’s approach. Catherine Hurlin and Tyler Maloney as Clara and her Nutcracker as children.
  6. I'd been hoping to read here if the results of Copeland's work with the new coach were beneficial.
  7. The daisy bikini always felt to me like something a Star Trek alien might wear. I wonder if a interplanetary setting reimagining the cast as aliens would work for Bugaku.
  8. Here's an interesting article that mentions several familiar names: https://www.google.com/url?sa=t&source=web&rct=j&url=https://www.nytimes.com/2004/05/30/arts/dance-the-drill-sergeant-of-dance.html&ved=2ahUKEwjx96impcbnAhVRYTUKHcirAfsQFjABegQIARAB&usg=AOvVaw3DgeQpRMcjdwuZFqPfh_c2&cshid=1581314362833
  9. The Kennedy Center is offering $35 tickets for select orchestra seats for the Tuesday, January 21 and Wednesday, January 22 performances at 7:30 p.m of Matthew Bourne’s Swan Lake in the Opera House. Tickets are $25 for select orchestra seats on Friday, January 24 at 1:30 p.m. Tickets are regularly as high as $89 in that area. You can click the link below and your discount will appear automatically. If you call (202-467-4600) or stop by the Box Office for the discount, be sure to mention Offer Number "386468". Matthew Bourne’s New Adventures Swan Lake Matthew Bourne’s Swan Lake returns to the U.S. with a fresh look for the 21st century! After charming our audiences in 2019 with a unique take on the fairy tale Cinderella, Matthew Bourne brings his breakout international hit to the Kennedy Center for the first time. Retaining the iconic elements of the original production loved by millions around the world, Matthew Bourne and award-winning designers Lez Brotherston (set and costumes) and Paule Constable (lighting) have created an exciting re-imagining of the classic New Adventures production. Thrilling, audacious, witty, and emotive, this Swan Lake is perhaps still best known for replacing the female corps de ballet with a menacing male ensemble, which shattered conventions, turned tradition upside down, and took the dance world by storm. Collecting over 30 international accolades including an Olivier Award in the UK and three Tony Awards® for Best Director of a Musical, Best Choreography, and Best Costume Design, Matthew Bourne’s powerful interpretation of Tchaikovsky’s masterpiece is a passionate and contemporary Swan Lake for our times.Performance Timing: Act One - 65 min.; Intermission - 20 min.; Act Two - 55 min. Conditions: Offer subject to availability. Not valid in combination with any other offer. Not valid on previously purchased tickets. Offer may be withdrawn at any time. Service fees may apply.
  10. I've never had the opportunity to see anything by Nijinska.
  11. Perhaps another contributing factor for available tickets to the NYCB Nutcracker is that the production is available at several other be companies, i.e. Miami and PNB, and out-of-towners no longer need to make the pilgrimage to the mother ship if casting is not a priority.
  12. The Kitri variation from Act 3 of Don Q used in the Russian/Soviet videos I've seen. They second part of the choreography is reduced to a classroom exercise for echappe and passe. It drives me nuts every time I see it.
  13. Strictly speaking there's nothing to do with ballet, but I couldn't resist sharing. our favorite topic, but I couldn't resist sharing.
  14. I could see where Morris might have meant that Balanchine was the first to come to mind when considering ballets made to existing instrumental music, given the enormity and longevity of Balanchine's output. I'd like to assume that Morris knows his stuff and that some error occurred in between the editor and proofreader and printer.
  15. Well, Les Sylphides dates to 1909 and The Dying Swan dates to 1905 (neither written as dance music) and Balanchine was born in 1904. Unless Balanchine was choreographing in utero, Morris and the fact checker (if there was one) didn't do their research.
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