Treefrog

(down off my high horse now) I suspect this is a case of different people viewing things through different lenses. I thought it tremendously exciting that a fictional character exhibited (what I thought of as) such interesting, clearly defined behaviors. Not everyone's cup of tea, I know. But it's mine. That's the way I go through life: I look or (or simply notice) patterns and try to make sense of them. Sometimes it does take away the magic of the theatrical spell, but sometimes -- as in this case -- it enriches it. I agree that it would be very useful if Ashton had spoken about his motivation and models. Does anyone know?

So it's okay to laugh at Alain if he's a simpleton and not if he exhibits socially awkward behaviors we now lump together under a particular diagnosis? I wasn't trying to imply that Ashton set out to create a character with autism, or any other diagnosis. This suite of diagnoses wasn't even in the public eye when Fille was created. To me, the possibility existed that in creating his character Ashton drew on a set of behaviors he had observed somewhere, that are very different from what we expect of most people in a particular situation, and that often cause a great deal of discomfort and not-very-nice laughter in response. We call this type of thinking "a hypothesis". Then we seek information to confirm or deny it. So far, I have not heard anyone who is familiar with autistic-spectrum behaviors say, "No, I have seen these type of behaviors a lot, and Alain's behavior is not characteristic." All I have heard is "don't overthink." Well ... who among you has met a village idiot or simpleton? Read any studies about how village idiots acquire their status? Perhaps, just perhaps, village idiots comprise the set of people who exhibit socially awkward behavior and become the targets of derision. I can tell you as a school teacher that people find non-standard social behavior far more queer and laughable than mere lack of brains.

Well, that's the thing, I wasn't thinking at all. It just seemed very clear to me. I'm wondering if there's anyone familiar with autism spectrum disorders who has seen Fille who had the same thought. And, why not?

I lucked into last-minute tickets for "Fille" at Paris Opera Ballet last summer. (Hubby, bless him, didn't blanch a bit at paying top dollar.) It was thoroughly charming, as everyone says. As it was a first for me, I cannot say if the French "got it" as well as the Brits. I wonder if anyone else has thoughts about an observation I had: that the character of Alain is autistic or has Asperger's syndrome. It seemed a pretty dead-on characterization to me: socially awkward, fixated on his umbrella, and if I remember correctly, with awkward and stereotyped movements (although maybe I'm making that last bit up). I've heard him described as a simpleton, but it seemed to me there was much more to him than that.

Neither is showing in Chicago.

Yes, exactly. Thanks for setting me straight.

I attended the Sunday matinee (Paloma Herrera, Angel Corella, and Veronika Part). This was my first Beauty ever, so I went in with an entirely empty slate. About the costumes: I rather liked them at first, until we got to Acts II and III and they all began to look too gaudy, not to mention unrelentingly identical. I thought Caraboss' insects were pretty cool! Nothing headless about them, though; the headpieces were like giant eyes. My major complaint is that until Corella arrived on the scene, most of the dancers looked as though they wished they weren't wasting a perfectly good Sunday afternoon at work. Is the christening traditionally a sober, understated scene? I imagined it would be joyous and celebratory. (There WAS the Fairy of Joy, but I found the choreography frenetic and annoying.) Part was the Fairy of the Sour Demeanor -- oops, I mean the Lilac Fairy -- who seemed to bestow on Aurora the gift of Everlasting Resignation. Herrera just didn't meet my expectations for Aurora. Girlish? Winsome? Beautiful? No, no, and no. I thought she seemed particularly heavy and earthbound in playing the part of someone who is supposed to be sublime. And I didn't care for her costume either; the gauzy sleeves really bothered me. Corella was a sweetheart, not to mention his usual technical whiz. He was the only dancer all afternoon who connected with the audience. Part and Herrera threw out little choreographed glances every now and again -- 'Did you see me balance? Look, I did it again!' -- but Corella came out and immediately had us all in his back pocket. The single best dancing moment for my money was a set of pirouettes that must have been done by Corella, but maybe it was Jared Matthews as Bluebird? (Those of you who know the choreography can set me straight; it seems odd that I don't remember, but there you go.) He just kept turning, perfectly balanced, until he .... stopped. Still balanced. No 'finish' in the traditional sense. It was beautiful.

Sid Smith in the Chicago Tribune has a column today on current happenings at the Joffrey.

The topic says it all. Gotta run.

Amy, it feels like déja vu all over again!

Sid Smith in the Chicago Tribune is less enthusiastic about this company (albeit in a different performance): Perhaps the dancing shines in a mixed bill, whereas the choreography distracts in the full length ballet.

Hmmm. Interesting indeed. I wonder how Basden's departure will affect plans to stage Les Noces and Rite of Spring next season? It does seem there is quite an allegiance to Gerald Arpino among long-time company members. In the article, Basden had this to say about her plans: And on Friday, dancer Maia Wilkins -- whose contract is not being renewed after 18 years with the company -- was quoted in the Chicago Tribune about her future plans. I cannot located the (very short) article online, and have recycled my paper copy, but she mentioned plans to document Arpino's choreography.

Thanks Natalia. I only saw her once, with ABT (but also as Kitri), and that was only 4-5 years ago.

Advice time, please. After purchasing the two tickets to Don Quixote for next Sunday, it turns out that my daughter's friend would like to attend also. Should I bother to buy a third ticket (for myself) or just let the girls go? They will have a ton of fun, and will think it all marvelous (they are 16). I am worried that I will regret spending the $80.

She was a favorite of mine too, and of many people, judging from the applause she got. "Shocked and disgruntled" is a good way of putting it, Cliff. Your analogy is apt, although being a biologist I would have likened it to how a male lion kills the existing cubs -- the offspring of his predecessor -- when he takes over a pride. It brings the females into heat sooner so he can sire his own cubs right away instead of waiting. Mel, she HAS had a good long run with the company, and I wouldn't have been the least surprised to hear she was retiring. Wheater, by the way, will be interviewed on our local NPR station's "Hello Beautiful" program this morning (10 am Central time) -- this is just a general heads up, I don't know or expect that he'll be talking about hiring/firing decisions.

Now, I'm a little stunned by the lack of chatter about this. We're not talking "3rd dancer on the left" here. Wilkins has for most of the company's time in Chicago been THE leading ballerina, the woman cast in the leading role on every opening night. She is also a great audience favorite. I'm not surprised that Wheater is making changes, but .... getting rid of one of the most prominent dancers in the company? Is Calvin Kitten next?

This is stunning news. Sid Smith reports in this morning's Chicago Tribune that Wilkins' reaction: In addition,

I'm curious to hear how they do in "Giselle". It's a good thing I got my tickets for "Don Quixote" (March 6 in Chicago) yesterday, before I read your review and Rachel Howard's. I'm thinking, though, that Don Q sounds like a more comfortable vehicle for this company than the Balanchine.

More confusion Is this the same tour that is advertised -- on Amy's second linked site -- as SoyuzSport Theater?

You have good taste, Bart! If the Joffrey had ranks, Maia Wilkins would be a principal of the highest rank. You can count on seeing her as Giselle, Cinderella, Juliet, Kate (in Taming of the Shrew), and Sugar Plum Fairy. But of course, in the Joffrey's way of doing things you also get to see her as part of the corps. I think she is very expressive in just the way you mentioned -- a little look goes a long, long way with her. Erica Lynette Edwards is one of my personal favorites. (You know ... if you had identified your mystery dancer as African-American I could have told you right off the bat who she was. Now that you have ID'ed her, I remember she was dancing the role in light blue.) She has tons of energy and attack; she is very spirited and takes every role to the max. It won't surprise you to know that she gets roles like Spanish and Russian in Nutcracker -- and, frankly, I'd like to see her as Kate.

Perhaps you can match faces to names here. If you roll your cursor over the faces, names will appear. If you click the face, you'll get a portrait, performance photo, and biography. Or you can click the solitary arrow to scroll through the whole company alphabetically. Let us know if you figure out this mystery. If not, maybe you could post the cast list and one of us could help figure out who it was.

Bart, you've done such a wonderful job summing up my own reactions to this program. I've seen it -- or its components -- several times in the last two years. I really hope Mr. Wheater takes the company in some direction away from this tripe. There is a perception that energetic, 'youthful' pieces such as these will bring in a different audience. But I think you've hit the nail on the head: uninspired recreations of boring choreography to dated music won't really please anyone. If you ever get the chance, contrast the current version of Sometimes It Snows In April to the more contemporaneous version that airs occasionally on the Ovation channel. The quality of the dancing is totally different.

What a cutie! I especially like the regal pose in the pink bed, the fairy wings, and the wistful (?) glance at the Chicago skyline. And, my, how well-traveled she is!

Not at all ... but sometimes buffs look for different things than amateurs. For all I know, the cinematography or lighting or editing is horrid! At any rate, the movie suited my tastes nicely. If you are at all interested in adolescent development or characterization, or family dynamics, or how people deal with emotional dilemmas, give this one a try. And then let us know what you thought!

Bear in mind that my reaction is that of a relatively infrequent movie-goer -- not a film buff, not an afficionado. However, I thought all the characterizations were wonderful and true to life. Juno is a quirky kid, but very straightforward and refreshing. And when you see her dad and stepmom, you understand exactly how she got to be that way. The family dynamics are consistent with the characters. Juno is quirky only in the sense that she doesn't suffer fools gladly, she is self-assured, and she marches to her own drummer -- this is quirky for a teen, but in such a lovely way! A couple of times the film flirts with the possibility that Juno is not all she seems to be -- that underneath, she is as insecure as any other teen and her character is only the kind of facade that teens put on to impress, or push away, or just try on. I think one of the strengths of the film is seeing what happens to Juno in these times.