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Posts posted by lmspear

  1. 5 hours ago, On Pointe said:

    Harvey Weinstein's sexual assaults were not public knowledge until recently.  Everybody knew about Martins and Watts and Kistler,  including the board members at NYCB.  And I disagree with you about a mother's responsibility.  Parents should protect their underage daughters.  They could have demanded an end to the cohabitation and bundled the girls back to the dormitory where they belonged.   They could have brought charges against Martins or "persuaded" him to leave their daughters alone by more forceful traditional means.  They could have blasted him in the press.  But they didn't.

    Per the SAB website there were no dormitories until the Rose building opened in 1991.  https://sab.org/school/history/the_1990s.php

    There was zero formal supervision when Watts and Kistler were 16.  

    Often, dancers who were underage became emancipated minors so that they could sign leases and contracts.  They could also board with local families or mom could move cross-country to set up housekeeping with the dancing teen.

    I have vague memories of reading a few articles that looked at how child labor laws affected ballet companies and theater in general.   Ballet seemed to receive some kind of pass due to tradition and mystique, avoiding criticism or changes that would prevent underage dancers from being treated any differently than their legally adult colleagues.  

  2. 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.



  3. 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 Performances

    Dec. 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.

    (202) 467-4600 | Toll-free (800) 444-1324 TTY (202) 416-8524 |

  4. 1 hour ago, sandik said:

    My response to this is pretty much the same as it's been to most of the other revelations -- I'm sad, but not surprised.

    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.

  5. 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



  6. 18 hours ago, Fleurfairy said:

    So no Swan Lake for Lane. I'm even sadder now that I missed her one performance this past spring. 

    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.

  7. 19 hours ago, Kathleen O'Connell said:

    Mime isn't strictly necessary, but when it's done well (and when you've learned even a little bit of the language) it can be absolutely beautiful. A few years ago, The Dutch National Ballet produced a lovely mime "explainer" to accompany its new production of Sleeping Beauty and it was a real eye opener for me, at least. Alas, it doesn't appear to be available online (it's on the DVD).  PNB has a nice subtitled excerpt from Giselle. And this is just plain fun.


    What I've finally wrapped my head around is the fact that an evening-length story ballet needs the changes in texture that mime, divertissements, and pageantry all offer. 

    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. :helpsmilie:

  8. 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


    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.

  9. 11 hours ago, Jayne said:

    For her own future employment (in or out of ballet) I think she needs to take down the vlog.  And maybe take a year off dance.  

    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. 

  10. 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. :devil::devil:  Luckily the tenor got it and played along with the crowd and it felt very appropriate for the old fashioned melodrama.

  11. 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.  

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