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lmspear

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Posts posted by lmspear

  1. 9 hours ago, maps said:

    Cancelling Kauffman and the Sunday magazine could impact subscriptions-digital only locals M-Sat cancelling Sunday delivery?    The Washington Post will end its Sunday magazine, eliminate positions - The Washington Post 

    This is the situation I find myself in.  The magazine was the major attraction of getting Sunday delivery.  The separate op-ed section "Outlook" has been reduced to 4 pages and uncluded in the back of the main section. It's an incredible shrinking paper.

    I imagin we might get an occasional review of a major company by a music or theater critic and local companies might receive a human interest story buried in the "Metro" section.

  2. Whatever the outcome of this new work, it is not a new phenomenon.  Inclusion or "wokeness" is part of ABT's original DNA and mission statement.  Here is a description from the ABT website of the early days, https://www.abt.org/entry/black-ritual/.

    First performed one week into Ballet Theatre’s inaugural season on January 22, 1940, it was the first time Black dancers had appeared in a large-scale production from what was a typically all-white ballet company. Though some may have seen that as a bold move for a new, very different kind of ballet company, it did not stray from what Ballet Theatre was all about. In a letter to the World-Telegram of New York, publicists for Ballet Theatre singled out Black Ritual as an example of Ballet Theatre’s emerging identity: “This is a far cry from some of the traditional ballets being presented in the Ballet Theatre repertoire. But this was how the Ballet Theatre was meant to be—a combination of tradition and ultra-modernity."

  3. I'll throw William Carter and Marcos Paredes into the discussion to represent the Lucia Chase era.  And lets not forget Norah Kay, the original dramatic ballerina. And Sallie Wilson who I think is considered the last of that breed. There was a time when being a principle dancer didn't mean that you were guaranteed a shot at the leading role in the classics, but more that you were performing your specialties at an exceptionally high level.

  4. $39.00 NYCB tickets for this Thursday and Friday!

    The Kennedy Center is offering $39 tickets in ONLY SELECT ORCHESTRA PRICE ZONES SEATING on Thursday, June 9, 2022 at 7:30pm and Friday, June 10, 2022 at 7:30pm in the Opera House Theater for New York City Ballet: A Midsummer Night’s Dream. Tickets regularly priced at $89-$129.




    New York City Ballet



     

    ABOUT THE PROGRAM

    A Midsummer Night’s Dream is dance maker and company co-founder George Balanchine’s first original evening-length ballet. Based on William Shakespeare’s cherished comedy and set to music by Felix Mendelssohn, Balanchine's two-act version is dance storytelling at its finest, portraying the adventures and misadventures of three couples in an enchanted forest. Featuring radiant choreography, bravura performances, and talented young student dancers as swarms of dancing insects, A Midsummer Night’s Dream culminates in a grand wedding celebration and a tender pas de deux that ranks among the most moving in ballet.

     


    To purchase your tickets online, visit the event NYCB Midsummer Nights Dream Discount Offer enter "471879" in the Have A Promo Code? Section to apply your discount. (Please note, this discount is applicable in ONLY ORCHESTRA PRICE ZONES C-G SEATING ).  

    • To purchase by phone, please call Instant Charge at 202-467-4600 and mention offer number "471879.” 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 “471879”
    (202) 467-4600 | Toll-free (800) 444-1324

  5. This renaming may also be the Russian donor's way of protesting Putin's actions.  I doubt there would be a rush for the Kennedy Center to cover the expense of new signage and updated publicity materials. A quick Google search resulted in recent articles showing that oligarch/donor Vladimir Potanin is critical of Putin. It wouldn't surprise me if the rebranding was initiated by the Russian donor.  Welcome to post Soviet Kremlinology.  🤪🤪

  6. The Kennedy Center has renamed the Russian Lounge in the Opera House.  From their website https://www.kennedy-center.org/rentals/event-rental/opera-house-circles-lounge/ :

    The Opera House Circles Lounge is located on the Box Tier of the Opera House. Prior to 2014, the space was known as the Golden Circles Lounge, featuring a magnificent Waterford crystal chandelier and collection of sconces, gifted to the Center by Ireland. In 2011, after a gift by the Vladimir Potanin Foundation in honor of the Center’s 40th anniversary, an architectural design and artistic competition was held to renovate the space.  In 2014, according to the terms of the Foundation’s gift, the re-named Russian Lounge opened, celebrating Russian arts and culture. The Waterford crystal chandelier and sconces were refurbished to compliment an updated, sleek look and two new paintings were commissioned by famed artist Valery Koshlyakov.  In 2022, after the expiration of the naming rights, the space was re-opened as the Opera House Circles Lounge.  The Lounge is used as an event space, meeting room, and private lounge for the Center’s Circles donors.

  7. Discount offer for Akram Kahn at KenCen for Thur. And Fri.

    This just arrived in my inbox:

    Welcome back to The Kennedy Center!

    The Kennedy Center is offering $25 tickets in Orchestra price sections B, C, D, and G for the Thursday, November 18, 2021 and Friday, November 19, 2021 performances of Akram Kahn Company’s XENOS in the Eisenhower Theater at 8:00PM. Tickets regularly priced at $25-$99.

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    ABOUT THE PROGRAM

    XENOS

    Akram Khan is one of the most innovative choreographers in the world, drawing on the Indian classical dance form kathak to create contemporary movement. Khan has most recently choreographed for the English National Ballet, and has worked with BalletBoyz, and Cloud Gate Dance Theatre of Taiwan. In 2012, his choreography was featured in the Olympic Games Opening Ceremony.

    Khan makes his Kennedy Center debut with this visceral solo work that has toured worldwide and won the 2019 Lawrence Olivier Award for Outstanding Achievement in Dance. U.S. audiences now have a final opportunity to see the “work of defining greatness” (The Observer) that also marks Khan’s last full-length solo dance performance. Shifting between kathak and contemporary dance, Khan conjures the shell-shocked dreams of a colonial soldier in World War I and explores the chaos and emotions of humankind during war. Khan is joined onstage by five international musicians: percussionist B C Manjunath, vocalist Aditya Prakash, bass player Nina Harries, violinist Fra Rustumji, and saxophonist Tamar Osborn.


    To purchase your tickets online, visit the event page Akram Khan Company XENOS Discount Offer and enter "443587" in the Have A Promo Code? Section to apply your discount. (Please note, this discount is applicable only in the Orchestra B, C, D, and G price sections).  

    • To purchase by phone, please call Instant Charge at 202-467-4600 and mention offer number "443587". 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 “443587”.
    (202) 467-4600 | Toll-free (800) 444-1324
    ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
    *Offer subject to availability. Not valid on previously purchased tickets. Not valid in combination with any other offer. Service fees may apply. Offer may be withdrawn at any time without notice.

  8. 20 hours ago, vipa said:

    I'm actually interested in what you mean by the shape of her body. Her feet and legs are quite beautiful IMO. So do you mean her weight or some other aspect to her shape?

    I wasn't commenting on Peck's shape, which I think is lovely. It was about my surprise at realizing that other dancers received comments on their physiques in reviews and that with Peck the dancing was the focus.  Here are two examples of what I mean.  They may both be from Alistair McCauley, but I don't have a way to trace them.  The first was an ode on David Hallberg's arches and the other was a review of Janie Taylor and her hair.  My point was the delight I  found that Peck's artistry is the primary focus of her reviews.

  9. The Kennedy Center has started a new online group, KC Community Ticket Offers Group, to replace the Yahoo Group informally known as "Scotty's List."  Over the years I've posted several offers on Ballet Alert.  These were for last minute deep discount tickets to a variety of dance, music, and theater performances.

    I was given permission to share this info with you all.  They are defining community as area of interest rather than a geographic location.

    Since resuming  in-person performances, offers have included tenor Jonas Kaufmann and Ronald K. Brown/EVIDENCE.

    Here is the link to the new group:https://groups.io/g/KCCTOG

    This program is currently managed by Stephanie McLean Atkinson,
    Instant Charge Manager
    The John F. Kennedy Center for the Performing Arts
    smatkinson@kennedy-center.org 

    You can also join by contacting Stephanie directly.

    Here's to many happy hours viewing in person pleasure.

     

  10. 39 minutes ago, Kathleen O'Connell said:

    No, it's not. The 103 foot width specified for the Met includes the wing space. The proscenium openings for the two stages are comparable: 56 feet wide by 30 feet tall for the Koch and 54 feet wide by 54 feet tall for the Met. The Met stage is deeper than the Koch stage: the Met stage is 80 feet deep from the curtain line to the rear wall; the Koch's stage depth is 54 feet at the center of the stage. 

    I was lucky enough to get backstage tour of the Met several years ago by one of the set builders.  At least for the opera, there are three platforms the size of the stage, one behind each wing and one behind the stage area.😲  The set pieces and props are preset on each platform which is then rolled into place for the appropriate act. The tour was before a performance of Hansel and Gretel that I took my then 7 year old niece to see several years ago. The family home was on stage, the forest to the right and the witch's house complete with gingerbread children was to the rear. The fly space had room and rigging to preload scenery for multiple operas as well, at least five or six. We also got to see the shop areas, but that's not a ballet story. 

     

     

     

  11. Tom47,

    Your post just reminded me of an elective I took in my senior year of high school back in 1975, "Women in Literature."  We ended up reading Madame Bovary, Sons and Lovers, A Doll's House, Tess of the D'ubervilles and a bunch of others.  There wasn't a single female author on the syllabus, not a George Sand nor George Elliott, nor a Bronte in sight.  It still amazes me.  Many of us were reading Erica Jong's Fear of Flying on the sly.

  12. On 6/18/2021 at 7:31 PM, On Pointe said:

    I did think it was a bit unfair regarding Misty Copeland and Virginia Johnson.  And while the article cites Debra Austin and Aesha Ash at NYCB,  there's no mention of Cynthia Lochard,  Myrna Kamara or Andrea Long,  or Anne Benna Sims and Nora Kimball at ABT.  (Not to mention Llanchie Stevenson,  a DTH pioneer who converted to Islam,  gave up ballet,  married and had seven children!)

    I'm surprised the article totally avoids mentioning fellow DTH alum Theresa Ruth Howard.  Her Memoirs of Blacks in Ballet website  https://mobballet.org/index.php/about-us/  is phenomenal and the NYT even did an article on her last August. https://www.nytimes.com/2020/08/06/arts/dance/theresa-ruth-howard.html

     

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