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lmspear

Senior Member
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Posts posted by lmspear

  1. 3 hours ago, DeCoster said:

    I forgot about Eric Tamm.  I really thought he was a soloist!  I recall him partnering Gillian and Stella, so he must have been tall.

    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

     

     

     

  2. 3 hours ago, Helene said:

    Plisetskaya "dumbed down" the choreography, so Boylston is in good company.

    Plisetskya routinely did the 32 fouettes when she danced Kitri, so we know it was their omission from her SL was by choice. I can't begin to understand why.The fouettes start about 7:24.

     

  3. 1 hour ago, YouOverThere said:

     

    I've always wondered how one gets on the email list for these discounts. I wasn't on when I had a KC membership and I'm not on now that I've let my membership expire (any organization that can afford to pay $2.7 million/year to a below average orchestra conductor is clearly not in need of donations).

     

    Here's the info for this particular list.

     

    There's an open Yahoo group called kc-scotty. It's run by one of the managers in the subscriptions deparment. Knowledge about it is spread by word of mouth. All you need to join is a Yahoo account.

     

    They never know when they'll have something available and the offers are usually made the day of or the day before via email. Very rarely they will offer comp tickets (usually for the symphony).

     

    Here's the URL for the Yahoo group

    https://groups.yahoo.com/neo/groups/kc-scotty/info

     

    I apologize for not sharing sooner. You can never be sure how "open" you can be about someone else's "open" secret. ;-)

  4. $25 ticket offer now includes the weekend performances!!!  And I'm out of town.:wallbash:

     

    Dates Added!


    The Kennedy Center is offering tickets at the special price of $25.00 for orchestra seats for the performances of the New York City Ballet in the Opera House Theater on Friday, June 9  at 7:30 p.m.; Saturday, June 10 at 1:30 p.m.; and Sunday, June 11 at 1:30 p.m. Tickets are regularly as high as $79 in the orchestra.


    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 "263834." See you at the Kennedy Center!

    New York City Ballet

     

  5. This is for remaining orch. seats Tues. - Fri.

     

    Good news!

    The Kennedy Center is offering tickets at the special price of $25.00 for orchestra seats for the performances of the New York City Ballet in the Opera House Theater on Tuesday, June 6; Wednesday, June 7; Thursday, June 8; and Friday, June 9  at 7:30 p.m. Tickets are regularly as high as $79 in the orchestra.


    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 "263834." See you at the Kennedy Center!

    New York City Ballet

    .

    ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
    Balanchine, Peck & Ratmansky
    ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

    June 6, 7 & 10 at 7:30 p.m.  | June 11 at 1:30 p.m.
    Performance Timing: approx. 2 hours 8 minutes

    Square Dance (Antonio Vivaldi and Arcangelo Corelli / George Balanchine)
    NYCB’s legendary co-founder offers high-spirited fun by joining the traditions of American folk dance with classical ballet. 
    CASTING: M. Fairchild, Finlay (June 6 & 7); Bouder, Ball (June 10 & 11)
    Approx. 25 minutes, intermission following

    Tarantella (Louis Moreau Gottschalk, orch. by Hershy Kay / George Balanchine)
    This virtuosic, Italian-flavored pas de deux showcases two pyrotechnical dancers in an ever-growing profusion of steps. 
    CASTING: Pereira, Hoxha (June 6 & 7); Woodward, De Luz (June 10 & 11)
    Approx. 8 minutes

    Odessa (Leonid Desyatnikov / Alexei Ratmansky) D.C. PREMIERE
    Critics have acclaimed Ratmansky’s NYCB works as resounding hits; his latest creation premieres in NYC in May, danced to Desyatnikov’s “Sketches to Sunset.”
    CASTING: Mearns, Bouder, Hyltin, T. Angle, Stanley, De Luz (June 6 & 7); Phelan, T. Peck, M. Fairchild, T. Angle, Stanley, Ulbricht (June 10 & 11)
    Approx. 24 minutes, intermission following

    Rodeo: Four Dance Episodes (Aaron Copland / Justin Peck) D.C. PREMIERE
    This highly praised 2015 work from NYCB’s Resident Choreographer pairs a lone woman with 15 energetic and charming men performing to Copland’s Americana score. 
    CASTING: T. Peck, J. Peck, Ulbricht, Garcia, Veyette (June 6 & 7); Mearns, J. Peck, Ulbricht, Garcia, Veyette (June 10 & 11)
    Approx. 24 minutes

    ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
    Balanchine, Peck & Wheeldon
    ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

    June 8 & 9 at 7:30 p.m. | June 10 at 1:30 p.m.
    Performance Timing: approx. 2 hours

    American Rhapsody (George Gershwin / Christopher Wheeldon) D.C. PREMIERE
    The Tony Award® winner for An American in Paris draws upon his recent Broadway success in his latest NYCB creation, set to Gershwin’s popular Rhapsody in Blue
    CASTING: Lovette, Janzen, Phelan, Stanley (all performances)
    Approx. 19 minutes, intermission following

    The Four Temperaments (Paul Hindemith / George Balanchine)
    NYCB recalls its early years with Balanchine’s classic evocation of the humours of the body. 
    CASTING: Wellington, Scordato, King, Alberda, Laracey, Sanz, Garcia, Mearns, J. Angle, la Cour, Reichlen (June 8 & 9); Wellington, Scordato, King, Alberda, Laracey, Sanz, Garcia, Scheller, T. Angle, la Cour, Reichlen (June 10)
    Approx. 32 minutes, intermission following

    The Times Are Racing (Dan Deacon/Justin Peck)D.C. PREMIERE
    Dancers perform in street wear and sneakers to rock music from Dan Deacon's America, capturing a mood of modern protest.  
    CASTING: T. Peck, Pollack, Lowery, Woodward, Isaacs, Stanley, Applebaum, Suozzi (all performances)
    Approx. 24 minutes


    TO RECEIVE YOUR DISCOUNT BY PHONE OR IN PERSON AT THE BOX OFFICE, MENTION OFFER NUMBER “263834”
    (202) 467-4600 | Toll-free (800) 444-1324 TTY (202) 416-8524

  6. Thank you, MadameP, for the detailed background.  It sounds like it will be a visual treat if nothing else.  I'll cross my fingers that it turns out well in the acting, editing, etc.

    ________________

    Regarding sainthood (I am asking out of sincere ignorance and mean no offense), isn't there a tradition of reformed sinners becoming saints with the narrative of their misspent youth remaining part of the story, eliminating the need to whitewash the past?

    __________

    Fin de siecle alter egos: I have been accused of being Sarah Bernhardt.???

     

  7. I always thought that the decision to have a curtain bow was made by either the stage manager or a company representative based on the amount of applause.  Of course the audience wouldn't be privy to factors like a dancer's condition or if there was a chance that the stagehands might have to be paid overtime per their union rules.  I remember performances from the dance boom years when the curtain calls could go on for ages.

  8. 5 hours ago, Dale said:

    A release (something fun!):

     

    AMERICAN BALLET THEATRE “WHIPPED CREAM FLOAT” TO TRAVEL THE STREETS OF UPPER WEST SIDE AND TIMES SQUARE ON SATURDAY, MAY 20, 2017, 10AM-3PM

    UNIQUE CARAVAN OF CHARACTERS TO CELEBRATE ABTKIDS DAY AND NEW YORK PREMIERE OF WHIPPED CREAM

    In celebration of American Ballet Theatre’s New York Premiere of Whipped Cream and the family-friendly performance of ABTKids, characters from the ballet will board a 24-foot open-air festive float for a ride along the Upper West Side and through midtown, ending back “home” at Lincoln Center’s Metropolitan Opera House on Saturday, May 20, 2017.

    Cupcake Children, Swirl Girls, Layer Cake Girl, Pink Yak and Chef, all characters from ABT’s new production of Whipped Cream, will set out from the loading dock of the Metropolitan Opera House at 9:30am for their journey up Central Park West to West 96th Street, down Columbus Avenue and back to Lincoln Center, waving to fans and offering photo opportunities prior to the 11:30am performance of ABTKids.

    At the conclusion of ABTKids, the Whipped Cream float will ride again, traveling down Broadway past Columbus Circle and on to Times Square.

    Sounds like an audition for the Macy's Thanksgiving Parade!:toot:

  9. 15 hours ago, pherank said:

     

    Yes, the Neumeier version is strictly adult in its themes: there's the "meta" story involving the mermaid character as stand-in for the "Poet"/writer figure (perhaps Hans Christian Andersen). The Poet (a man) feels unrequited love for the Prince character, and the Mermaid interacts with the Prince as a substitute for the Poet. (San Francisco is obviously not going to have any issues with a reference to homosexuality, but DC?) The Mermaid goes through a physically torturous transformation to be on the land with the Prince, but she is ultimately rebuffed, and this is emotionally shattering for the Mermaid (and the Poet overseeing this narrative). The final scene depicts the Poet achieving immortality through his Mermaid character - they are bound together for all eternity.

     

    I've only seen the SFB version, with Yuan Yuan Tan - and this is considered to be one of her seminal roles. The physical/emotional struggles of the Mermaid can be difficult to watch. I would say the effect is quite similar to watching Tan in Possokhov's RAkU - not for the faint of heart. Most of the audience probably feels like having a good stiff drink afterwards.  ;)
     

    My childhood was pre-VCR and I learned the story from a collection of Andersen tales.  Before her transformation the witch tells the little mermaid that every step will feel like she is walking on sharp knives.  She wanted the human experience and agreed to suffer for it even though her desire for the prince's love might never be satisfied.  I was in second or third grade and my heart ached for her. "The Princess and the Pea" and "Thumbelina" provided lighter moments and then there was "The Little Match Girl" . . .  

     

    By the way, Pherank, the Trocks played to near capacity houses with a very enthusiastic reception in the same theater last week.?

  10. For today and tomorrow 

    The Kennedy Center is offering tickets at the special price of $35.00 for orchestra seating for the performance of the Hamburg Ballet: John Neumeier’s The Little Mermaid in the Opera House for Tues., and Wed., March 28th & 29th at 7:30 PM.

    ·       
    You can click the link below, scroll down to Hamburg Ballet, click “buy tickets” and your discount will appear automatically. If you call or stop by the Box Office for the discount, be sure to mention Offer Number "255778." See you at the Kennedy Center!

     Hamburg Ballet

     Hamburg Ballet: John Neumeier's The Little Mermaid

    Tuesday, March 28, 2017 - Sunday, April 2, 2017

    Returning for the first time in 13 years, the company performs the D.C. premiere of John Neumeier's adaptation of the Hans Christian Andersen fable. This stunning production is a darker meditation on love, loss, and alienation.

    About 
    THE LITTLE MERMAID
    Music by Lera Auerbach
    Choreography, staging, set, costumes, and light design by John Neumeier with the Kennedy Center Opera House Orchestra 
    conducted by Luciano Di Martino
     
    "Scenic sumptuousness… magnificent lighting, set, and costume designs"
    --Los Angeles Times
     
    "Vividly striking… the Mermaid is a unique role for a ballerina."
    --The Financial Times
     
    Hans Christian Andersen's beloved tale of love and loss comes to life in this bold retelling. Following its auspicious 2004 Kennedy Center debut with the mesmerizing Nijinsky, Germany's Hamburg Ballet returns with the D.C. premiere of another ambitious work by John Neumeier, the company's American artistic director who is internationally renowned for creating psychologically complex stories that straddle the worlds of drama and dance.
     
    Neumeier's modern vision for The Little Mermaid is a dark, probing exploration of a young woman who risks everything--rejection, alienation, even physical pain--to follow her heart. Contrasting her fanciful underwater world with the challenges of life on dry land, the ballet also masterfully interweaves elements of Andersen's own biography, making the writer a figure in the narrative. Inspired in part by traditional Japanese theater, the expressionistic sets and costumes, angular choreography, and evocative score by acclaimed contemporary Russian composer Lera Auerbach put the finishing touches on this daring production. 
     
    Recommended for age 10 and up.

    Performance Timing: Act One - 80 min.; Intermission - 25 min.; Act Two - 50 min.

    Note: Composer Lera Auerbach will sign copies of her book Excess of Being in front of the Opera House following the 7:30 p.m. performances on Tuesday, Mar. 28.

    ~~~~~~~~~~~~~~~~~~~
    PRINCIPAL CASTING    (subject to change)
    ~~~~~~~~~~~~~~~~~~~

    Mar. 28, and 29 at 7:30 p.m. & 
    The Poet: Lloyd Riggins
    The Little Mermaid/His Creation: Silvia Azzoni
    Edvard/The Prince: Carsten Jung
    Henriette/The Princess: Carolina Agüero
    The Sea Witch: Karen Azatyan

  11. 2 hours ago, sandik said:

     

    Croce was the staff dance critic during the heyday of the dance boom, which I think influenced both her approach and the willingness of the magazine to cover the scene.  The NYT is the paper of record -- they consider it part of their responsibility to see and discuss the greater part of the season.  The New Yorker has never had that mandate.

    This is an ancient memory and I don't have access to the source material, so please forgive me if I'm wrong or unclear.  Brendan Gill's history/memoir  "Here at the New Yorker," described the magazine during the William Shawn years (1952-1987 per Wikipedia) as an outlet where writers, including critics, were given as much space as they wanted to write about whatever they wanted to write about, as often as they wanted to write.  That was the New Yorker I grew up on.  

     

  12. I fell in love with this book when I found it in the library way way back when.  There were many reproductions of lithographs of the romantic era ballerinas.  

     

    Parmenia Migel, The Ballerinas. From the Court of Louis XTV to Pavlova (New York: The Macmillan Co., 1972)

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