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Everything posted by lmspear

  1. I guess this would count as collateral damage: Martins set the example for young dancers in the company and the children in the school of how to treat people who report to you. It will be buried somewhere in their memories that it is acceptable to bully and throw tantrums.
  2. Interesting article, same topic but the players are judges and their staffs. http://www.slate.com/articles/news_and_politics/jurisprudence/2017/12/judge_alex_kozinski_made_us_all_victims_and_accomplices.html?utm_content=buffer4a46b&utm_medium=social&utm_source=facebook.com&utm_campaign=buffer
  3. The cases of alleged physical assault and coercion being discussed in this case and the others made public in recent weeks are over 25 years old, which does not lessen the yuck factor. How do we create an environment where young people can feel safe and confident enough to stand up for themselves before decades have gone by. As a child you're taught to be on guard around strangers not those you come into contact with during your regular daily activities (i.e. relatives, clergy, teachers, coaches, doctors). In an ideal world we would be able to identify and oust the predators before they reach the overripe dirty old goat stage of their lives.
  4. Discounted tix available for tonight and both shows on Saturday!!! They want bodies in the seats. The Kennedy Center is offering tickets at the special price of $25.00 for all remaining orchestra seats for the performances of Suzanne Farrell Ballet on Thursday, December, 7, 2017 at 7:30pm and Saturday, December 9, 2017 at 1:30pm & 7:30pm in the Opera House Theater. You can click the link below and your discount will appear automatically. If you call or stop by the Box Office for the discount, be sure to mention Offer Number "280398." Suzanne Farrell Ballet Discount Forever Balanchine: Farewell PerformancesDec. 7 at 7:30 p.m. & Dec. 9 at 1:30 p.m. (Program Timing: Approximately 2 hours, including two 20-minute intermissions.) Chaconne (Gluck/Balanchine)Tzigane (Ravel/Balanchine)Meditation (Tchaikovsky/Balanchine)Gounod Symphony (Gounod/Balanchine) Special treat for Thursday, Dec. 7 attendees: Ms. Farrell will be presented with the Pola Narenska Award for Lifetime Achievement in Dance. Dec. 9 at 7:30 p.m. (Program Timing: Approximately 2 hours, including two 20-minute intermissions.)Gounod Symphony (Gounod/Balanchine) Tzigane (Ravel/Balanchine)Meditation (Tchaikovsky/Balanchine)Serenade (Tchaikovsky/Balanchine) Program subject to change."The wit is Balanchine's, but still nobody communicates it better than Ms. Farrell… she understands rare secrets of time and space."--The New York Times This season, we celebrate the culmination of our own ballet company led by the beloved muse of choreographer George Balanchine. Throughout her career as a dancer, Suzanne Farrell created and redefined many of the great roles of the Balanchine canon. Since 2001, her company has revealed unique insights into "Mr. B's" works, drawing out their musicality and nuance as no one else can. The farewell program is a pageant of favorites, all handpicked for their special meaning to Ms. Farrell. Staged last year by the company with new costumes to accentuate the revelatory choreography, Gounod Symphony intertwines one delightful pattern after another. Two short works on the program were specifically created for Ms. Farrell: the pas de deux Meditation, the first ballet Balanchine made on her; and the gypsy fantasy Tzigane, which begins with a mesmerizing five-minute solo. Finally, two large-scale ballets will alternate programs, showcasing the range of Ms. Farrell's deep connection to Balanchine's ballets. The 27-dancer Chaconne is a sublime suite of dances from his stagings of Orfeo ed Euridice, featuring an expansive main ballerina role that was created for her. And the seminal 26-dancer Serenade is the first ballet Balanchine made in America, which includes the "Dark Angel" role that, years later, became Ms. Farrell's first solo as a dancer. up.. TO RECEIVE YOUR DISCOUNT BY PHONE OR IN PERSON AT THE BOX OFFICE, MENTION OFFER NUMBER “280398” (202) 467-4600 | Toll-free (800) 444-1324 TTY (202) 416-8524 |
  5. I think Justin Peck has potential as AD (but he still seems soooo young). I like the way he's been portrayed in profiles and interviews over the last few years and the current company members appear to trust and have confidence in him.
  6. For me there has been a dark cloud hanging over Martin since the dropped domestic violence charges early in the Martins-Kistler marriage. No judgments or proof of anything, just a sense of foreboding for years.
  7. One of the free daily performances that is livestreamed. Honors Tribute: Central Pennsylvania Youth Ballet 11/29/2017 at 6:00 PM Central Pennsylvania Youth Ballet is a celebrated leader in the world of dance education, honors past Kennedy Center honoreeGeorge Balanchine with a performance from some of his most famous ballets. Excerpts include Who Cares?, Western Symphony, and dances from George Balanchine’s The Nutcracker®.Featured Artist(s) Central Pennsylvania Youth Ballet http://www.kennedy-center.org/video/performance/64245
  8. I just came across this review of Gregory Maguire's new novel, Hiddensee, a backstory for Drosselmeyer. https://www.washingtonpost.com/entertainment/books/if-you-liked-wicked-youll-be-enchanted-by-hiddensee/2017/10/30/cfad3890-bd6d-11e7-97d9-bdab5a0ab381_story.html?utm_term=.3b516d0927d6
  9. I would rather see one Minkus ballet (Don Q or Bayadere or Corsair) per Met season and have them fill the opened dates with more Swan Lakes or Giselles so that each cast can have more than one performance. The audience could have a better chance of seeing the casts they want and the dancers would have a chance to grow in their roles.
  10. I've sometimes wondered why we haven't seen a production of one of the classics with supertitles that could explain the mime sequences in detail. Hardcore balletomanes would object of course, but I think novice audiences would find the addition an ehancement. You wouldn't have to explain to your friends ever again that Odette told Sigfried the story of the curse that she's under.
  11. Carmen de Lavallade has announced that she will skip the White House reception. https://mobile.nytimes.com/2017/08/17/arts/kennedy-center-honors-trump.html
  12. If he's accepted the award he'll be at the theater. The White House portion of the event is a small reception with the honorees and their personal guests, mainly a photo-op. The big social event of the weekend is a banquet at the State Department.
  13. They haven't gotten around to Mark Morris, Bernadette Peters, Emmanuel Ax, Frank Langella, Cynthia Gregory . . . I could go on ad nauseum. Here's the link to past Honors web site https://www.kennedy-center.org/pages/specialevents/honors/ You can find the list of honorees by selecting "History" from the drop down menu in the upper right-hand corner. I'm looking at this on my phone and it may display differently on other devices.
  14. Throwback to last year. http://courtney-lavine-avons-new-fragrance-2412905089.amp.html There might be potential for a thread on ballet and perfume/cosmetics/fashion.
  15. lmspear

    Joy Womack

    Ditto. One trait of hers that has bothered me since her student days, is a lack of gratitude or even recognition of the role others had in nurturing her talent. According to Joy, her teachers all recognized a remarkable talent and loved her, but were in no way responsible for her achievements. But I don't recall seeing any quotes from professionals in the field, including her teachers, that confirmed these claims. This is the impression I formed from the coverage of her time at the Bolshoi Academy. She projected a sense of entitlement beyond reason. As the years have gone by and prima ballerina status has eluded her it actually seems she was delusional. As a professional dancer it's obvious that she hasn't learned how to play well with others.
  16. I witnessed one case of good natured booing recently; it was a tribute to the effectiveness of the characterization rather than a comment on the quality of the performance. It was at a Washington National Opera showing of Madame Butterfly and Pinkerton was such a cad that at the curtain call booing was very clearly heard mixed in with the applause. Luckily the tenor got it and played along with the crowd and it felt very appropriate for the old fashioned melodrama.
  17. There is the unfortunate possibility that the donations are given and board memberships sought by some individuals for social standing rather than love of the art. There is a danger that they are unaware or uncaring about the differences between good governance of "for profit" and "non profit" organizations. The distinction between "buying" and "giving" is irrelevant to them. Balanchine and Lincoln Kirsten established a culture at NYCB where the needs of the artistic personnel were more important than the desires and whims of the donors.
  18. lmspear

    Veronika Part

    I can see her having a career as a guest artist, but I doubt that there are prospects for a new home company.
  19. lmspear

    Veronika Part

    Was Ashley Tuttle the first to ABT ballerina to be treated this shamefully?
  20. Once upon a time, when the theater had it's original name, I saw Farrell and Martin's do Other Dances. They were wonderful.
  21. Nana, I just noticed a typo in my original post. The article dates from 2011 rather than 2001. I'm sorry for throwing off your math.
  22. I wanted to double-check my memory. A quick Google search didn't mention a promotion to soloist, but I did find this 2011 article in Pointe Magazine, which does short interviews with Tamm, Hoven, and Hammoudi, labelling them the next potential star danseurs of ABT. The Next Guys of ABT
  23. And I'm still missing Eric Tamm, who left the company before getting out of the corps
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