Jayne

IMHO, it would be best to sign a 5 year contract with Villella and appoint Ms. Kronenberg Associate Artistic Director. This will give the company the "star power" of both of them, provide a stable leadership transition plan, and take some of the work burden off Mr. Villella, by shifting it to someone he trusts.

Well I am certainly more interested in reading biographies of Lady Thatcher, both pro and con, after seeing the movie. I still think it was an interesting movie, well worth my $12 investment, and I recommend that others see it. I didn't agree with all of it, but I feel the same way about Terrance Malick's movies - unusual structure , thought provoking, with good acting. dirac - Actually it was the Americans who drove off the Argentines in 1831. Took their gunpowder, spiked their guns, and destroyed Puerto Louis. All because the appointed governor was a conservationist, who limited overfishing and overhunting of seals. We'd all be in his corner in 2012. But in 1831 the Americans supported their fishermen / seal hunters, and sent the USS Constitution to do some damage. In 1832 BsAs sent a new governor, but the remaining settlers killed him off and raped his wife. Britain restored order in 1833, some of the locals stayed, others returned to the mainland. There are islands or territories all over the world with similar disputes, the late 18th and early 19th century were full of naval powers exerting their influence. All cite the parts of treaties and history that favor them, and ignore the parts that disfavor them. Just google the Pig War in the San Juan Islands as an example. Today there are lands in Polish hands that once belonged to historical German principalities. Despite 65 years of German democracy, those lands won't return to German hands. I think it is the same for Argentina, though no longer ruled by a military junta, the Falklanders were traumatized by the war and want nothing to do with democratic Argentina. When you boil it down, we have one group of European descendants disputing land held by another group of European descendants. Argentina is 97% European descended, they killed off nearly all their aboriginals. Perhaps when they give up their lands to the Mapuche tribes, then perhaps the Falklanders will give up their lands as well.

I have no idea if the Pearl Harbor analogy was stated in reality. But there are presently about 3000 Falklanders now, I assume the number was slightly less in the early 1980's. I know this is an forum for performance art lovers, but google "The Dirty War" and read up on the torture, deaths, and disappearances of more than 30,000 people, including foreigners. One Swedish teenager was rounded up mistakenly, but killed because she had seen too much torture to be released. Others were drugged, their bellies cut open (while still alive) and then dropped naked from helicopters into the Atlantic ocean. No British subject deserved to be abandoned to the murderous Argentine Junta.Back to the film - I saw it Friday night, and structurally it had many issues. But I relish films that make me think about them - chew on them - in the days that follow. "The Iron Lady" certainly did that for me. Meryl Streep makes the film what it is, although I suspect the true Mrs. Thatcher was more subtle in her relationships, you cannot tear your eyes off her for the entire film. The Alzheimers parts are many - I think too much time for the film - but then again perhaps the audience would not care for her as much if we only saw the shrill debates in Parliament.

Overtime pay is the root of his request to examine playing fewer ballet evenings. I don't think he is trying to disrespect the ballet art form. I read his entire letter, as you'd expect of someone working in the Opera art form, there is a lot of drama in the workplace, on stage, and in his letter. But if you can read his letter and look for the major points - he was given all the responsibility, but no authority. Other people were dictating to him how to cut costs, when other AD's have more authority to look at other cost savings in sets, minimizing overtime pay, etc. It does seem to me that the Europeans have been slow and snobby about finding corporate sponsorships and aggressively fundraising. The financial crisis has been going on for more than 4 years now and not difficult to forsee. Ballet in the US has adjusted by adding more "warhorse" story ballets that attract families, renegotiating contracts, etc. So said Benjamin Franklin in the Continental Congress just prior to signing the Declaration of Independence. It seems to me the Royal Opera, Ballet, Chorale, Orchestra and Theater are all hanging separately.

I read the book in November, but was busy during the holidays and failed to write a review here. I do recall that the book is self-published, which explains the lack of editorial supervision. A good editor would have cut some of the banal quotes to simple summaries and easily cut 200 pages from the book. But it's still an excellent read. I'll try to put together a formal review next weekend.

I have few questions about the politics of promotions at NYCB: 1. The current Artistic Director has also been through a divorce from his first wife, a long term relationship with another NYCB ballerina while he was ballet master, and then married an NYCB starlet while he was ballet master-in-chief (and her supervisor). He also supervised his own son, which in many other places of business would be seen as nepotism. There was a domestic abuse case with his now-wife, and a drunk driving incident. Since none of these bits of news gossip destroyed Mr Martins career, I would deduce that an interpersonal relationship will not derail the correspondent's career. 2. The NYCB Board has approximately 35 people on it, and not all of them are still on their first marriages...or allies of Ms. Bushnell. http://www.observer.com/2005/12/nutcracked/ 3. Based on publicly available books and news articles, Mr. Martins tends to promote rather impulsively. Which leads me to believe that the board is not terribly involved in this process. But I have not studied their bylaws to find out if board approval is required for each dancer promotion, or if they just approve budgets for promotions and allow the AD to choose the specific dancers. 4. Mr. B was remarkably unfaithful to all of his wives. Marital fidelity is not really part of the dancer's job description. 5. To the best of my knowledge, the NYCB costume department does not sew scarlet letters onto costumes of dancers deemed to stray.

Can anyone give me an example of another ballet company that succeeded with this model? Any other arts organization? If there is no A.D., who picks the choreographers? The board of directors? I just don't see this working. Even "flat" organization charts at technology companies still have a chief executive officer to run the organization.

To smyte the Americans and their diablo cousins the British, Fidel changed the order of the ABC's. Q now comes between S and Y.

The film is getting about 2 1/2 stars from reviewers. But I think I'll go see it anyway. I spent a lot of time in Argentina in 2010, and Las Islas Malvinas were a hot topic for President Cristina Kirchner. Ironic that she reminds me a bit of The Iron Lady (except for the Peronism, of course).

I think theaters need to come up with some sort of blocking system that disables cell phones altogether. Would be equally useful at concentration-oriented sports events like tennis and golf.

The Trocks are coming to Tacoma, WA on Feb.12 - just emailed my mom asking if she'd like to go. Has anyone else seen them on their west coast swing?

Fired as a teacher, but not as a dancer???

I think the words against Mr. Hübbe are without foundation. We do not know what his actions and words are within the organization. Complaining to the press is merely sound and fury. For all we know, he is banging the drum behind closed doors with upper management, politicos, and private funding sources. He may have a handshake agreement with the dancers to allow them to be in the press (after all they are the real victims here if there are layoffs), while he works behind the scenes.

The union has filed grievances:

I thought Chelsea wasn't great, but wasn't bad either. It's best to start these types of media jobs in smaller markets and work up, so the press thinks you're paying your dues, and you actually are paying your dues (and getting better) before appearing on the national stage. If Chelsea started out hosting an Arts program on a local Connecticut PBS station, it would be a coup for that station, but the spotlight would allow her to grow into a TV role. I think Maria Shriver did this better, starting at the local level. Megan McCain (though I often disagree with her) is the only one out of them all to do really well.

Brokeback Mountain was a good movie, but homophobia is so strong that people prefer to make jokes / ennui about the title, rather than emotionally respond to the tragedy of the story. Maurice actually has a happy ending.

The American media is dominated by coverage of the Republican presidential candidates, and their positions on gay marriage. In my own state, the governor just announced she is introducing a bill (expected to pass both chambers) legalizing gay marriage. Yesterday the Supreme Court of Iowa affirmed a lesbian couple's rights to both be listed on their daughter's birth certificate. Traditional ballet is disneyesque in it's insistance on a young woman and a romantic leading man to partner her. But I say that the world is ready for a classical ballet with homosexual characters, and "Maurice" would be the perfect vehicle. It has parts for 3 male leads, pas de deux, solos expressing joy and grief, party scenes for the corps, and a setting in early 20th century England that would make for gorgeous sets and costumes. American cities with professional companies have liberal-minded audiences that would support such a storyline. If only the Kochs were billionaire Liberals and not Teapartiers, they would finance it. Alas, my dream is not yet a reality. But I hope I'm planting a seed today, and perhaps some balletomane of great influence will read this out of curiosity and make it happen.

GianninaM, I thought you much more youthful. The first 30 years of your ballet experience must have been from your prior lives.

sadly, my sugardaddy didn't buy me anything.

See It's a Wonderful Life in the cinema - it's a much better experience. It is both funnier and darker than commonly thought. New Year's Eve tidbit: For some reason Michael Jeter has been on my mind lately, and for New Year's, I posted this youtube Tony performance of We'll Take a Glass, Together on my facebook page. Enjoy!

well, I would have to agree with cubanmiamiboy on the "worst". However, I also think art takes a lot of risks, and we as audience members also take risks. Dance is like a box of chocolates, you never know what you're going to get! (I say as I savor the last of the Sees Candy chocolate truffles from Christmas)

check out pricing on Ticketmaster to NYC area shows for Foster The People, Tool, Coldplay, etc. Runs from $47 - 428. Art is expensive in the Big Apple.

I'm sorry to hear that, the Seattle area is the opposite - when I checked 6 months ago no theaters within 300 miles were carrying much ballet - I was looking at a trip to Vancouver, BC to see something. But more and more are picking up not only Ballet in cinema but also Opera in cinema. Still, many times this is not listed on the official website. I've had to go to Fandango(dot)com to find local theaters. Perhaps the Ballet in Cinema website theater locator simply is not up to date.

Frailove - turn off the auto correct! Filin has been promoting right and left to keep his primas happy, I think they will want more prima roles as a result.

I wish she would guest with ABT.