Treefrog

I believe I saw them dance Swan Lake together in the Cour Carée of the Louvre in 1973. At least, that's what my journal of the time says.

Well, since I spent yesterday morning dressed in a gray hooded sweatsuit with gray and pink paper ears, pipe-cleaner whiskers, a pink fuzzyball nose, and a duct tape tail, I guess I shall have to go as a mouse from Nutcracker.

Jack, thank you for remembering to mention Dunning and the orchestra. The sound quality was of course much (MUCH) better than at Ravinia, but I also appreciated the interaction of dancers, orchestra, and audience. At your performance, did Exec. Dir. Jon Teuwissen issue public, onstage thanks not only to funders but to Gerald Arpino? And did Arpino take a bow after Petroushka? Neither of these things have happened in past performances. We had many discussions about whether this means the board is supporting Arpino and trying to dispel rumors that his days are numbered (rumor published in the Chicago Tribune, page now unavailable), or whether this was a graceful way of saying his days ARE numbered, or some other interpretation entirely. Let me also add how much I love having another Joffrey-goer here -- especially one with a more practiced eye and informed interpretation.

The Joffrey's fall season program, A Nureyev Tribute, closed today. We caught the final performance of these pieces that Nureyev once staged on or danced with the company: the Pas d'Action from Laurencia, Apollo, and Petrouchka. It was a stunning collection of different styles. The energetic Laurencia pas showed off the Joffrey's attention to detail and line. It's impressive when you see three identical penchée arabesques, each dancer at exactly the same angle. Newcomer Ikolo Griffin danced the lead male role. His solo was electifying! "Where'd this guy come from?" we whispered back and forth, as he whipped off multiple sets of tours, alternating one set to the right and one to the left. (A little research here has informed me that he came from Dance Theater of Harlem; presumably the Joffrey snapped him up when DTH went "on hiatus".) Alas, his abundant charisma and charm evaporated before he next partnered the also-charming Julianne Kepley (who had turned in her own stunning solo). Giving her barely a glance, he continued to dance as though he were the center of attention. Very disappointing partnering, especially in the role of a groom who by all rights ought to be worshipping his bride (unless there is some background to the story I don't know). I appreciated Apollo SO much more this go-around! First, the juxtaposition of Balanchine's choreography against the more classical Laurencia enhanced the contrast of styles, and enabled me to understand better what was different about Balanchine. I saw the shapes, the way the dancers' bodies interact. Second, the lighting that could be achieved in a dark theater made much more sense. When I saw this piece performed on the outdoor stage at Ravinia, Apollo was fully visible throughout the birth scene. How much more dramatic to have the spotlight die on Leto and suddenly reveal the fully-grown Apollo! Third, the cast had changed. Instead of the tall and admittedly godlike Fabrice Calmels, we had the diminutive and more experienced Calvin Kitten, who I thought conveyed a more complete vision of the young god maturing. His interaction with Terpsichore made sense. Petrouchka ... well, this is another perverse advertisement for non-story ballets. I mean, really: a love triangle among dolls? We're supposed to relate to this? I guess I'd have to say I enjoyed it as spectacle, although the stage was not large enough to accomodate the fair scenes and the divertissements (I guess that's the right word?) literally got lost in the crowd. Extensive program notes explain Petrouchka's "superstitious terror of his creator and master, the showman. He beats the walls of his cell in revolt." Good thing I had this explanation, or the reason for his terror would have been lost on me. Anyway... I suspect that this is one of those ballets that is enhanced by an understanding of its place in ballet history. No doubt the choreography was innovative, and I'm guessing the tale would have been commonly known to the audience. What probably was a novel interpretation originally, comes across now as merely mystifying. Is there a message in this desperate beating of the cell walls? Is it a metaphor for the doll's entrapment in his inanimate body? Or, is it nothing more than his frustration at being imprisoned and kept apart from Columbine? What are we to make of the appearance of Petroushka's ghost?

Well, gosh, don't warhorses become warhorses for a reason? They do have some enduring appeal to them. I do think that when the more experienced members of the audience reject them as "overdone" or "common", it is mostly to boost their own ego and set themselves apart from the masses. (If they are simply saying, "Gosh, if I see one more Swan Lake this season, I'm gonna moult!" that is a different issue.) On the other hand, -philes DO appreciate things those of us with a less-educated palate cannot. They experience and observe things differently. Thus, I think it's okay for a balletomane to laud something I found boring; quite possibly they understand something about it that I do not. This doesn't really answer your question, but I don't know any balletomanes in real life. The only ones I know are on this board, and they should speak for themselves (and about each other, I guess ...).

I would like to get a DVD (or videotape) of Don Q before we see the Bolshoi in a few weeks. Amazon (yes, through the BA link ...) has the 198? Baryshnikov/ABT version and the 1973 Nureyev/Australian Ballet version on DVD, and the Kirov version on VHS only. After a search here, I've concluded that people like the one they have ... I've seen all three recommended. Can anyone advise me which version to get? Overall, I prefer DVD, but if the Kirov version is markedly better I would like advice on whether to get the VHS now or wait for the DVD coming in November.

I love the idea of having them do barre/warm up amongst the kids. In fact, I don't have anything to add to your scenario -- I think you've covered it pretty well! Middle schoolers, especially, would like your "competitive" aspect, although I know the purists among us would cringe. In order to convey the expressiveness of dance, it could work to have two dancers dance the same bit -- one going through the motions, one really expressing the part. Then have the kids discuss what they noticed, liked, felt, etc. Which would they want to see again? (and then, DO that one again).

Jury's still out on that one, but probably not. DD will surely want to go to two shows here (gotta see BOTH children's casts, with friends in each). On the other hand, she has a friend, a one-year transplant from Chicago to DC, who will be a Polichinelle in DC .... Add to that the need to satisfy TWO extended families hungry for our company in a limited time frame ... plus a couple of friends from when we lived there ... and the likelihood diminishes. But, I'll let you know if we do go. It would be fun to meet up. Incidentally, Alexandra, the Joffrey used to do school matinées with just Act I. What a great idea to have a "family matinée"!

Now that you've tantalized us with descriptions of this tasty-sounding nosh: Here's a conversation about Banh Mi from the Roadfood.com forum. Besides additional paeans, suggestions are given for places all over the country to find this treat. Looks like I might have to run a side trip over to Virginia when I'm in DC next month!

Yes, great thread! As for boards, one can hope to educate and instill good taste in a person of means, but it is much harder to instill means in a person whose sole asset is good taste and a sense of aesthetics. I'm afraid that companies, of necessity, have to travel the former route.

Much depends on your particular toddler. Two hours of dancing (plus an intermission) is a lot for any youngster to sit through. If you can bring yourself to do it, you might have a fallback plan of leaving after Act I. The ending (with Clara and the Prince being waved offstage by the assembled Snowflakes and Snow Winds, as well as the Snow Queen, King, and Prince) works well as an evening-ender, and the child would be none the wiser. You, however, might regret the "waste" of money if you have to leave early. (I'll be in DC, though, and if you'd like to pass off your ticket to me at intermission, I'd take your seat ... I'd offer to take the kid and let you stay, but even though we're all apparently friendly here at BA, that seems just a little TOO funky.) As for the production itself, I couldn't be fonder of it. I think it's a great one to bring kids to. The first act party scene is very lush, the battle scene is crowded and hard to follow but exciting nonetheless, and the snow scene is quite magical. If your youngster does not like flashes or loud noises you might prepare them for the cannon shot during the battle, and the flash during the Nutcracker's transformation to the Prince (which is done very well and truly seems like magic). Act II can drag in places -- I dislike the Arabian variation, which goes on too long, and even thought Waltz of the Flowers is gorgeous it has the potential to drag too -- but the other variations are exciting and short. Chinese, Spanish, and of course Russian are all quick crowd-pleasers. I happen to like the Prince's mime at the opening of the act, and it would probably be worth tipping off the kid ahead of time as to what he's doing. It could get lost as "just more dancing", but if the child knows ahead of time it's a recap they can watch for familiar bits. The corps serves as a sort of chorus during the mime, and their rendition of the mice -- fingers twitching in front of their mouths -- is hilarious. I happen to think that the Prince's lingering glance on Clara as he points to her, then his own shoe before miming its removal and use to conk the Mouse King is one of the glorious moments of the ballet -- seconded by the Prince's retelling of his own fall and triumphant rebirth. But, that's just me. Something that would help a child of any age enjoy the production is to tell them what to expect, in terms of plot (if you can call it that) and characters. Let them know that some parts will drag, and it's okay to lie across your lap then (quietly), and promise to wake them for the exciting bits. Speaking of which, I forgot Mother Ginger, who is a huge puppet (made by Kermit Love of Muppets fame)! Her Polichinelles, who are the oldest child dancers, are also fun to watch. I also can't say enough about playing the music ahead of time. Recognition is a great tool for keeping a kid's interest. That might be a key to keeping them engaged through Act II. Let us know what you decide, and let us know how it turns out if you go!

Looks as though I'm not the only one wondering about the Joffrey's future. Sid Smith in the Chicago Tribune writes about the Joffrey after Arpino.

Then here's a double hope that things don't change too much -- I also got tickets for Gracheva's "stunning" Raymonda!

Oh, I hope not! I just got tickets yesterday for Alexandrova's Don Q.

What luck! There's a gamelan at the University of Chicago! Thanks to all, and especially to sandik for providing a good synopsis of the context.

This raises a question about which I've wondered for a while. Does the current Joffrey resemble the old Joffrey in style, choreography, repertoire? I keep hearing about eclecticism and youth and upstartness. They don't seem much younger to me than other companies (who all seem to hire 16-20 year olds). Is there a vibe that I'm missing? And, if it is still there, is (was) it philosophical or a virtue born of economic necessity? They surely aren't the company that toured around in a minibus or whatever. What are they?

At the Nureyev lecture referenced elsewhere, the Joffrey asked audience members to suggest (on a response form) ballets they would like to see the Joffrey perform. My knowledge is so limited that I stumbled on this one, although some Robbins did occur to me. What comes to the minds of others, who both know what is out there and what the Joffrey's style is? And, while we're at it, what do you project for the Joffrey's future when Gerald Arpino leaves the helm? (DISCLAIMER: I'm not intending to suggest that he is planning to anytime soon.)

Last night the Joffrey offered a special treat to season subscribers: a lecture on Nureyev, in preparation for their upcoming fall performance. (The performance includes Petroushka, Laurencia Pas de Six -- or Pas d'Action, if I was hearing correctly -- and a reprise of Apollo, which they performed at Ravinia for their Balanchine homage). Assistant Artistic Directors Adam Sklute and Cameron Basden were the evening's hosts and presenters. Against a slide show of cameos, snapshots, and performance poses of Nureyev, they gave us a biography of his life. Emphasized throughout was Nureyev's iconoclasm, his pure love of dance and movement, his efforts always to break out of existing idioms and find something more. The stressed in particular how Nureyev broke out of the danseur noble mold to become an attraction, a focus, in his own right, and not just a presenter or backdrop for the ladies. Nureyev's work with the Joffrey of yore was also discussed. The evening featured a special visit from Anna-Marie Holmes, who told anecdotes and enlightened us from her personal perspective. Ballet mistress Charthel Arthur also contributed a few reminiscences. Perhaps the highlight of the evening were some video clips of Nureyev in Le Corsaire, L'Apres-midi du Faun, Spectre de la Rose, and Petroushka. This last was wonderfully filmed, and highlighted Nureyev's expressive face (as well as, of course, his expressive dancing and impeccable body control). Although it certainly wetted my whistle for next month's performance, the clip set a particularly high bar for Joffrey dancer John Gluckman to attempt. I'm not sure this was what the company had in mind by showing it to us. Sklute (or Basden) mentioned that more such programs might be in the offing. I certainly hope so. The turnout was more than respectable -- a pretty-much full house of about 250 people, mostly grey-haired. This is a great way to gin up interest in the program, as well as to educate the audience.

Jack, sadly no, I was not at the lecture. I'm sorry if I gave that impression. We attended the previous evening. Believe it or not, this is the first time I saw any Balanchine choreography! So of course, I cannot compare this performance to any other, and I lack your knowledgeable eye. Despite the critics' raves for Apollo, I found it rather tepid. Is Apollo supposed to project such a disinterested, detached mien? I thought he was supposed to be captivated by Terpsichore? I thought Square Dance was really cool. I loved the juxtaposition of classical music and choreography with the square dance figures. I did not mind the caller; in fact, since it was the contrast that so captivated me, I thought it really enhanced the effect. I wonder if one's opinion on this is affect by one's own experience? I have done some square- and contra-dancing in my day, so it created a kind of visceral response. Tarantella was stupendous. When I saw the casting, I was amused at the pairing of Maia Wilkins with Calvin Kitten. But why not? Both are charismatic, explosive -- but nuanced -- dancers, and they played off each other brilliantly. Great fun.

Nice summary of the panel, Jack. It captures the flavor beautifully. What did you think of the dancing?

And I would like to know the casting for Chicago. Any idea how/where to find out? We had been planning on seeing Don Q, but I see from the article that Raymonda is rarely staged outside Russia. Would we be foolish to miss it?

I don't know the on-stage consequences of this, but several years ago at a Joffrey Nutcracker, one of the male dancers was entertaining the little dolls in their backstage dressing room. He was wonderful, regaling them with stories and telling little jokes. Suddenly, his face got as white as is possible under stage makeup. "I've missed my cue!" he moaned as he dashed off.

In all the remakes of Swan Lake, has anyone ever told the story from Odette's perspective? Is this feasible? Is it the next Bad Swan Lake? Is it fodder for Summer Silliness?

The Cranko "Shrew" is in the Joffrey's repertoire. You could try emailing someone there and asking. Here are some possible contacts from the Joffrey website. At this moment, however, the company is quite busy with the Ashton festival in New York. You might not get an immediate reply.

MUCH shorter! As someone who adored TOTC, and tried to get through Les Mis several times (and failed each time), I'd vote for Dickens. Don't worry about length, though -- she might as well get used to the HORRENDOUS reading load in that course. :green: When my daughter gets back from her SI next week I'll run this by her; she just finished AP Euro. Here's an interesting question, though: what counts as "historical fiction" in this case? Must it be historical from the author's perspective, or just from ours? Must it deal with a significant historical event/period, or may it portray ordinary lives in ordinary times?