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Everything posted by lmspear

  1. Clifford also has a blog where he has posted several chapters of an autobiography manuscript. I haven't heard about it from any other source. This link goes to the chapter on Goldberg Variations and PAMTGG. http://johnclifford26.blogspot.com/2013/09/ch-28-goldberg-variations-reveries-and.html?m=0 Moderators, I wasn't sure where this would fit in the writings on ballet forums. Please post where it is appropriate. There are several chapters that are scattered among the blog entries. Thanks, Lisa
  2. http://www.amazon.com/Swan-Lake-Mark-Helprin/dp/0395498589
  3. I hadn't gone to the hotel website. Now we know she was an active participant.
  4. For all we know the hotel is using her name without permission or knowledge. A stage door meeting implies that no contact was necessary and the signed copies of the book could have been picked up at any of the book signings. There's no proof that Team Misty engineered this stunt.
  5. <quote> And another thing Sylvia is set in Ancient Greece, so the Goddess of the Hunt should be credited as Artemis, not Diana.</quote> When I saw Balanchine's Apollo as a kid way back when, with the birth scene, I had to wonder what happened to Artemis, his twin. Where do you think the six missing muses are? ;-)
  6. Here's a link to the Kennedy Center's virtual tour. If your computer or device supports Flash you can get a view of the sightlines from different seating areas. Each tier has only seven rows. The usual rule applies that if you want to see facial expressions and a front focused view get the orchestra tickets, if you want to see the whole stage, choreographic patterns and all the dancers go for the tiers. My personal preference is to sit towards the center from left to right. You start losing the view of the edge of the stage for the side you are sitting on about two thirds of the way toward
  7. Then they'd have to mention that it was made famous by Ethel Merman in 1930. And of course with Gershwin's death in 1937 the film makers and now the show creators got to cherry pick and repurpose from a bunch of great songs that have no association with the time period of the movie or the show. The title piece dates from 1928. Gershwin is timeless, but if you insist on historical accuracy the music is Broadway of the Roaring Twenties and the Fred and Ginger RKO movies in all their glorious art deco escapism.
  8. I'm very very happy. This is the first time during this series of annual visits that I'm seeing a production that's completely new to me.
  9. I haven't seen Dancers, but Nijinsky was painful to sit through.
  10. A short preview: http://www.broadway.com/videos/155764/exclusive-sneak-a-peek-at-rehearsals-for-an-american-in-paris-with-craig-lucas-christopher-wheeldon/?page=1&sort=newest#play
  11. Sorry for the delayed report I actually attended this past Saturday instead of the previous one as I thought. (Guess I really really wanted to see it.) Anyway, Natalia, I also LOVED LOVED LOVED the show. I don't have the playbill in front of me so I can't identify individuals and credits, but there is a lot of solid training and performing experience on that stage and it shows. I particularly enjoyed the the dancer playing the Opera choreographer. He graduated from Julliard and danced with both the Merce Cunningham and Mark Morris companies. Visually it is the most gorgeous thing I've se
  12. lmspear

    Locating dancers

    I was at Dance Acadamy of RVC too. It was from 1973-1975 during high school. I took ballet with Karl Klauser and got my first taste of Graham technique from Marty Morginsky. I have no further information about either of them, but would love to learn anything. My family is still in the area and my travels take me by the studio every once in a while when I visit. The name is different and the signage indicates that the main focus is now on ballroom dance.
  13. Peck is working on the "Little Dancer" project which is also aiming for Broadway. She'll be playing the young version of the Degas statue with Susan Stroman directing/choreographing. So Fairchild & Peck could possibly be on Broadway at the same time in the near future, but they would have to find a worm hole that would let them time travel to appear on the same stage at the same time. (I'm being very very silly .)
  14. I'm going to put Alex Wong up for consideration. He was recently on Broadway in Newsies we know he can tap.
  15. Is the KAB still associated with the Unification Church (www.nytimes.com/1990/09/08/arts/moon-church-founds-ballet-school.html) ?
  16. There's a wonderful old segment where Marilyn Horne does a version of "C is for Cookie" in an Aida inspired setting. Sorry I'm at work and don't have time to find the link, but I know it's on YouTube.
  17. There was a documentary of Jock Soto that showed up on PBS a few years ago. It looked at his background, professional and peronal lives. I'm drawing a blank on the name. He was another openly gay dancer who was perceived as "masculine" and treasured by his partners.
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