53 minutes ago, BalanchineFan said:

Wow! i can't believe you found that. The weird thing is, I remember it happening in July of 1976. I don't think I'd have been in NYC in April.

In July 1978, Nureyev danced in his own production of R&J at the Met with the London Festival Ballet (now the English National Ballet). Perhaps this is the performance you remember. https://www.nytimes.com/1978/07/19/archives/ballet-nureyevs-version-of-romeo.html

1 hour ago, YouOverThere said:

Her performance had emotional nuance, beautiful phrasing and line (gorgeous arms and back), and was technically assured. She and Bell were terrific together. It was a star turn.

 

I was there as well. Her Odile was extremely glamorous.  I've reminded of the film I've seen of Tamara Toumanova. Her Odette made me think of our beloved Stella Abrera.  May Misseldine have a career unhindered by injury and bad management decisions.

1 hour ago, MarzipanShepherdess said:

Agree keeping the lights lower could help.

At performances I've seen that use this option with the curtain coming down (operas covering a scene change during what would have been an intermission in olden days) audience members couldn't wait to grab their phones.  Either they were trying to read their programs, send out a few quick texts, or play a round of solitaire while there was nothing to look at on stage.

My first reaction to this is wouldn't the faculty be better served by one of the large teacher's unions, the National Education Association or the United Federation of Teachers? 

46 minutes ago, lmspear said:

 

1 hour ago, abatt said:

No.  This is not normal.  It's indicative of  Tiler Peck's inexperience and lack of forethought, in my opinion.   It was almost like a stream of consciousness interview, where she forgot she was speaking to a publication that will be read by thousands of people.  That's proper to say in private, but it is not proper in a NY Times interview.  

Many years ago I did administrative work at a multidisciplinary think tank (defense, health, education, labor, etc).  When describing our jobs we would often just say "We help the geniuses keep their shoes tied."🤣 The "geniuses" were interviewed frequently by print and broadcast media and during my time there management instituted interview training for the researchers because of a few choice bloopers. Public speaking wasn't covered in their educations or early career experience. 

Anyway, it wouldn't surprise me if a similar training were implemented by a ballet company.

Thank you for the extra digging to find the info on which version they are showing, Volcanohunter.

It looks like AARP is streaming this for free on Jan. 9th.  It says membership not required, just an account on their Web site.  See below I won't be anywhere near the Internet 🤣.

AARP Theater: ‘Giselle’ by the Dutch National Ballet

Tuesday, Jan 9, 2024

8:00 p.m. ET • 7:00 p.m. CT • 6:00 p.m. MT • 5:00 p.m. PT

Fun & Fulfillment    findfun@aarp.org

Duration: 135 Minutes

And it would save some of brain power needed to program the Met season.🤓

37 minutes ago, YouOverThere said:

[somewhat off-topic] I would think from a marketing standpoint there might be some risk in presenting The Nutcracker outside of the holiday season. If it ceased to be identified as a part of holiday celebrations, would it still be as big a draw? [/somewhat off-topic]

Right, the public seems to think of the Nutcracker as the dance equivalent of A Christmas Carol or a concert of Christmas music.  

Trivia: The Terrence Mann connection to NYCB is as son-in-law to Jacques D'Amboise via Charlotte D'Amboise, a Broadway performer.

🤞 Fingers and toes are crossed for a good outcome.

7 hours ago, California said:

Here's the Etude final with Tereshkina, Sarafanov, and Skylarov (very poor quality, alas). The lift where Roxander almost dropped Teuscher is at 3:15.

 

For history, nostalgia, comments, whatever here's the finale danced by ABT for a 1973 PBS special:

https://youtu.be/P1Bxh4vcmzk?si=OOch5bRxn0xySDDJ

6 hours ago, Barbara said:

I agree wholeheartedly that her first season rep is wonderful but how can she assess the dancers ability if they are not cast? Example, Curley in The Dream. 

We don't know who has been cast as an understudy.  I think that Jaffe will be watching rehearsals and classes   I think that ABT is just beginning to emerge from the McKenzie era.

3 hours ago, abatt said:

I have not seen these new costumes, but they could not be worse than the awful Santo Loquasto costumes they are replacing.  Any photos of the costumes?

Segment on Who Cares starts at 2:56, including discussion with the NYCB costume shop.

https://youtu.be/O3xUU8gDnQc?si=yc9LSH_oymcMItHX

5 hours ago, daughterlovesballet said:

This is concerning.  TWB must be a pretty prestigious position.  Could it be the debt or difficulty obtaining performance space that is making the job not attractive?

Another problem might be that the board of directors doesn't know what it wants or needs.  Septime Weber the director before Kent had great marketing skills that connected with the community.  His choreography has been ditched except for the customized to DC Nutcracker.  

3 hours ago, abatt said:

 One thing that distinguishes the classics is that each act has a major dance divertissement of the leads.  I thought there just wasn't enough impressive choreography in this to justify a nearly 3 hour run time. 

I think that the recipes in the book could have provided the opportunity for divertissements based on the ingredients,  herbs and spices required.  🌞

Here's a link to Rollé's post from LinkedIn.

https://www.linkedin.com/posts/janetrolle_it-was-announced-this-morning-that-i-resigned-activity-7074761270733721602-evXf?utm_source=share&utm_medium=member_android

She may have been recruited for another opportunity.  She may have decided that the nonprofit arts sector is too much of a headache for a long-term career.

I would choose the second tier for this program.  You see the whole stage and can really appreciate the full cast and the formations they make.  In the orchestra you see the front plane view of the stage and it becomes easy to lose the feel of the whole stage. If you prefer being closer go with the orchestra seat.

Here are the details:

The Kennedy Center is offering $25 tickets in SELECT ORCHESTRA PRICE ZONES SEATING on Thursday, April 6, 2023, at 7:30pm, Friday, April 7, 2023, at 1:30pm and Sunday, April 9, 2023, 1:30pm in the Opera House Theater for THE JOFFREY BALLET ANNA KARENINA.

ABOUT THE PROGRAM

The Kennedy Center celebrates the return of The Joffrey Ballet, one of the premier companies performing in America today. The largest dance company in Chicago, the Joffrey expresses an inclusive perspective on dance, proudly reflecting the diversity of America through its company artists, extensive repertoire, academy, and community engagement programs.

Looking beyond the stories we always see; The Joffrey Ballet presents a new ballet based on the novel Anna Karenina by Leo Tolstoy. Love is all-consuming for Anna, a married aristocrat, who finds herself caught in a life-changing affair—where the consequences are grave. The ballet uses vivaciously intricate movement to bring Tolstoy’s riveting tale of desire and passion to life in groundbreaking fashion. Choreographed by the visionary Yuri Possokhov and with music by composer Ilya Demutsky, the production’s world premiere in 2019 marked the first full-length ballet with a commissioned score in the company’s history.

RUNNING TIME: APPROX. 2 HOURS WITH AN INTERMISSION

To purchase your tickets online, visit the event Joffrey Ballet Discount Offer enter "510263" in the Have A Promo Code? Section to apply your discount. (Please note, this discount is applicable in ORCH PRICE ZONES F, G & H-APRIL 6^TH & 9^TH  $25. ORCH PRICE ZONES E, F, G & H-APRIL 7^TH $25).  

• To purchase by phone, please call Instant Charge at 202-467-4600 and mention offer number "510263.” Instant Charge is open every day from 10am-6pm. 
• You may also purchase in person at our Box Office, located on site at The Kennedy Center. The Hall of States Box Office is open Monday – Saturday, 10am – 9pm and Sunday,12pm – 9pm

Please visit our Frequently Asked Questions page for more information: https://www.kennedy-center.org/contact/ 

TO RECEIVE YOUR DISCOUNT BY PHONE OR IN PERSON AT THE BOX OFFICE, MENTION OFFER NUMBER “5102632”
(202) 467-4600 | Toll-free (800) 444-1324
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On 3/20/2023 at 2:29 PM, YouOverThere said:

I find it fascinating that both the Best Actress and Best Supporting Actress awards went to 60-something actors.

It's even more fascinating if you consider the fact that the award went to someone in that age range not named Judi Dench!😃

8 hours ago, volcanohunter said:

I remember that in the past there were some sticky negotiations between NYCB and the Kennedy Center precisely on this point. Basically, the NYCB orchestra insists that it has to accompany NYCB performances, and the Kennedy Center insists that visiting companies have to use its orchestra.

They had reached a compromise that the NYCB orchestra would come every other year.  Of course that was pre-pandemic and I don't know what agreement is currently in place.

AARP is sponsoring a free live streaming on Sunday 3/5 at 7pm.

You don't need to be a member, but you do need to open an account on their website.

Details here:

https://watch.aarp.org/aarptheater/play/6392520772c73d00b3449e0b

Standing room is only offered for sale if every seat in the house is sold.  I've never seen it used during a dance performance of any sort in the Eisenhower, but I have seen it used for musicals and comedians.  The Concert Hall and the smaller spaces have no standing room.

21 minutes ago, maps said:

There were printed programs for Sunset Boulevard which played concurrently in the smaller Eisenhower Theatre.  

The Actors Equity contract requires printed programs at this time, no matter which theater is hosting the performance.

23 minutes ago, maps said:

Opera House is the only KC venue with standing room. 

The Eisenhower has about 10 standing room spaces behind the orchestra.  The are only offered when the seats have all been sold. Just like in the Opera House.