Jayne

Dance Review: Merce Cunningham's "Roaratorio" by Debra Levine / Huffington Post http://www.huffingtonpost.com/debra-levine...n_b_611195.html

I saw this post attached to a YT video of Margot Fonteyn, regarding criticisms of her technique: I've been mulling over this comment, because I think it can be applied to so many other areas. As a figure skating fan, I've been trained by the fan culture to look for the "perfect" performance, unmarred by a step out of a jump landing, or traveling on a spin. Fortunately the new scoring system rewards the positives of performance in total, instead of awarding medals based on lack of mistakes. Somehow we've got to reclaim the original appreciation part of Art.

I wish someone would pay me to clap for them!

The entertainment world can be very difficult, everything could be held up by the production company. Two excellent examples in film: James Bond Untitled movie and The Hobbit movie both held up by their production company fiscal straits in the midst of a failed merger and possible bankruptcy. Films get held up by these issues all the time, getting copyright approval on an old ballet from the 70's is no different.

Oh! SUCH a loaded question! Forgive me if this sounds like a stereotype, but I am far more likely to read about a British titled girl with a hyphenated name going club hopping and turning her gap-year into a gap-decade than to see pictures of her attending the Royal Ballet's opening night gala. For all of her flakiness, at least Princess Diana patronized the Royal Ballet and provided it with some glamour, providing some great publicity and setting an example for young ladies everywhere of wonderful things to do when you dress well and go out on the town. Now....it's just club hopping in about Spanish Isles and "working" as interns for Vogue. Audrey Hepburn and Grace Kelly were proponents of ballet and the arts in general. We really don't have an "icon" today that lights the way. Miley Cyrus? Brittney Speers? Lindsey Lohan? Paris Hilton? At least Michelle Obama has been promoting the arts by attending Broadway shows, ballet, and inviting a wider range of artists to the White House events. 150 years ago, there were more Shakespeare plays performed in the US than in the UK. Americans were ravenous for entertainment, and Shakespeare really hits all the notes of the human condition. American oligarchs have supported the Arts in the US for over 200 years (and thank god!), although yachts and yacht racing seems to be gaining in popularity of late. We've never had a very history of communal support for the arts, although I am quite happy that Seattle has a law setting aside a specific percentage of tax revenue for the arts each fiscal term. The city is all the better for it. I suppose every country has its share of "lager louts" (or NASCAR rednecks) and "culture snobs", each side disparaging the other to feel secretly superior. I am trying to view the world as Auntie Mame did "Life's a feast and most poor suckers are starving to death!" In other words - go see everything you can fit into your budget, and enjoy it all. Somehow the arts still survive in America - though perhaps not always thrive - and studies have shown that municipal support for the arts is a net gain. The funds spent come back to the municipal coffers through increased - and sustained - spending in local restaurants, parking fees, shopping, etc. Sports (which I love, do not take this the wrong way) have limited "event" revenue generation for small businesses and city tax revenue. But a variety of arts provides year round spending, and sustainable job creation in the services that surround the arts (restaurants, retail, etc). Maria Shriver just wrote an interesting article on voluntary support of the Arts through specialty license plates (a very American idea indeed!) http://www.huffingtonpost.com/maria-shrive...d_b_626294.html Stepping off my soap box for the evening....

I doubt any of us will ever understand the politics of Russian Ballet dancer promotions / assignments (or any ballet company for that matter), but I can only imagine that they resemble a mash-up of 3rd grade "pick me! pick me!" for recess teams, and the medieval cardinals poisoning the popes.

ballet training is very demanding, expensive and time consuming, and if you don't have the family support or cultural approval, it's even more difficult. On top of all of this, if female, you have to fit a specific body type that 99% of the population cannot achieve. Small head, short torso, long limbs, natural musicality, and the abilty to weigh no more than 110 lbs so the Ballerines can lift you without blowing their backs out. The men should be taller than the ballerinas if possible, yet slim without too much bulk. The irony is that regularly lifting a 100-110 lbs object generally builds bulk. That's a tall order! no pun intended. By the time 15-18 year olds are auditioning with the regional ballet companies, many kids who don't have the support system have ceased training. I do think most of the artistic directors care more about technique than skin color in 2010. But if only young people of races other than African American show up at auditions....who's fault is this? We don't see too many Asian American football players, and yet we can attritute this to shorter stature, rather than going nuts about stereotypes and political incorrectness. We can easily talk about Samoan football players making great offensive linemen - without causing offense to sensibilities. But we cannot do the same for ballet. I think meeting the ultra-slim esthetic is going to get harder, not easier, for ballet schools as the childhood obesity rates crash through the roof and fewer kids of any race meet Mr. B's esthetic (think Maria Tallchief eating half an apple per meal to please him)). However, kids who are not willowy thin but move beautifully may find more homes in modern dance companies. BTW, many sports face similar challenges with "white bread" preconceptions; rowing, fencing, lacrosse and others struggle to attract African American participants. But sports writers don't repeatedly harp on this when they cover the NCAA championships.

Ms. Kaufman has brought up the lack of in diversity in Ballet companies repeatedly in her ballet criticism. This is the most recent example, in the links section for June 21. I had a knee jerk reaction, and wanted to explore this further. First - is this criticism appropriate just for ballet? Has Ms. Kaufman also peered into the orchestra pit to check the race of each member of the orchestra? The stage crews? The lighting crews? Does this only apply to the performers on stage? Second - why does she only mention African Americans? Most ballet companies in the United States do have a variety of minorities, but not all of them are African American. Indeed, in many of the regions represented in "Ballet Across America", the other minorities (hispanic, northern asian, southeast asian, etc) are much larger minority populations than African American populations. I believe this is a blind spot for many Americans, and not just about Ballet. They think "minority" and instantly think African American, and the Asian or Hispanic soloist on stage is somehow invisible to how they perceive the company's make up. Third - as has been mentioned before, ballet was invented in Europe, most of the dance schools are in Europe or European-American dominated cities in North and South America, and it's not really a surprise that the majority of dancers come from those backgrounds. If she reviews Alvin Ailey's troupe, will she say they need more white people? What would she say about the dominating Asian American troups on "America's Best Dance Crew"? (My guilty pleasure TV show) Fourth - Like it or not, in North America you need parents with adequate income to fund a ballet education at a high training level, or an interested financial sponsor who can fill the void. That excludes a lot of talented kids of all races, who pursue other cheaper dance forms in public schools or private groups.

Link here http://www.huffingtonpost.com/kimberly-bro...n_b_527465.html hopefully will include some interesting ballet writing...

The Village Voice had a great investigative piece a few weeks ago. Don't rely on NYC crime statistics, most crime reports are downgraded to be listed as petty offenses by the Powers That Be. They WANT the crime stats to look lower, so the politicians can get re elected by sayng "crime went down under my watch". There are even recordings of precinct meetings where the lieutenants tell the beat cops to "pay the rent" (write more tickets). And yes, they do have quotas. would not surprise me if this is true in most cities.

http://www.nwasianweekly.com/2010/06/rhyth...cal-performers/ Here is your answer - he formed his own dance company!

Even if they had performed the "homage Fosse" choreography with the Beyonce leotards, it would have been far more tasteful than the "ripped from the strip club" choreo and dance wear. I hate to sound like the Church Lady, and I don't like to see the costumes and choreo "normalized" for young kids. Let them be kids for a while longer.

not exactly on the "leaving" side of things, but here is who really ought to be promoted based on performances that I saw (note that I don't have to deal with budgets): From Soloist to Principal James Moore Seth Orza From Corps to Soloist Kiyon Gaines Sarah Ricard Orza Jerome Tisserand Laura Gilbreath Stacey Lowenberg Not that Peter Boal listens to me, but if I were Queen of Anything, as the Sara Borreales song paraphrases...

Just back from the Season Encore. Peter Boal began the evening by briefly discussing retiring conductor Stewart Kershaw. After choosing his first season program as the director, he received a cell phone message from a man with a plummy British accent: "Petuh, you've forgotten the trombones". For all the care and feeding Mr. Boal had put into programming a mix of contemporary, classic and new works, there was nothing exciting for the trombones to play! The program notes begin "Dear Friends, Stewart Kershaw would often quip that he did not want the words One too many Nutcrackers written on his tombstone...." (Mr Kershaw formally retired in October, prior to PNB's 30+ winter performances of Nutcracker). Peter then gave the stage to Louise Nadeau to describe what it was like to dance with Mr. Kershaw at the baton, it was easier to use his silver hair as a spot for 32 fouettes than the traditional red light visible in the first balcony! She noted his attention to small details in the musical cues for dancers, his constant note taking at rehearsals, and support for new choreographers and their music choices. Maestro Kershaw then began the evening with Prokofiev's Romeo et Juliette, excerpt of Tybalt's death & funeral cortege. After highlighting the past of PNB, we saw glimpses of the future - Lesley Rausch as Aurora in Rose Adagio. Lesley has the technical skills and she is still developing as a romantic lead. Mopey was next on the schedule, but was cancelled without explanation. Scenery was moved, and then we saw Autumn in "The Seasons" with the always faboosh Ariana Lallone (may she never retire!) and Karel Cruz, who is a great match for height and body build. I liked this the second time around, I think I wrote in the original review that it seemed under rehearsed, the reprise was more successful. More notes in the program by Peter Boal: "There are two dancers I wish to write about. One is Mara Vinson. Before coming into this job, I had my eye on Mara as an Aurora. She was a budding young solist who struck me as ready for the challenge. Seeing her again in the role this past season revealed a technically flawless dancer and an accomplished artist - one with wings that seeks to fly. I support Mara's decision to explore a world outside of PNB, but I am sorry to see her go." (it is worth noting that last week Mara starred in an Asian-American oriented dance production, with another former PNB principal). In the final set, Ms. Vinson and James Moore danced the pas de deux and Finale with the corps to close the night. I felt their dancing was more mature and secure than Rachel Foster and Benjamin Griffiths last Thursday. James Moore had his hair slicked back, under the lights he looks like Joaquim Phoenix (minus the beard and David Letterman interview problems). Ms. Vinson received flowers and an extended ovation, but she seemed (as always) very in control of her emotions. She was a lovely dancer at PNB, but never the star dancer - opening night castings always went to to Carla Körbe or Kaori Nakamura. The second half began with The Four T's / Choleric (Alisdair didn't come see this rep, but he gave a great review to Ballet Arizona, and I think he would have liked this performance). Lindsi Dec also punches her faboosh club card tonight, but the corps really stood out to me. The future of PNB is in good hands / feet. But this was Jordan Pacitti's night, and the crowd was with him 100%. More from Peter Boal's program notes..."The other dancer who can't escape without a few words of praise is Jordan Pacitti. I've known most of these dancers since they were students of mine as teenagers in New York. Jordan is one of these." (an old picture from the 1990's is in the program, showing Peter leading an SAB young men's class filled with dancers who later came to PNB). The crowd went wild as the dancers come on stage for Red Angels. We had the "A" team: Carla Körbes and Batkhurel Bold were on fire, and Carrie Imler and Jordan Pacitti were cheered from start to middle to finish. Each artist has a short solo at the end and each cheer got louder and louder and louder. Partial Standing O when they came out for bows. Red Angels needs to catch on fire at more companies, this work is genius, the dancers love it, the audience loves it, even the families who stuck around from the matinee of Coppelia were cheering wildly tonight for Red Angels. (Hint to any artistic director reading this!) Peter Boal came out to announce an unpublished encore. I'm not sure who the choreographer is /was (maybe Mr. Pacitti?) anyway, it involved a rug, a ton of happy dancing on the rug, comedy, and a short solo by Mr. Pacitti that was verbally encouraged and cheered. More cheering, when Mr. Pacitti came out for his final curtain call, he was overcome with emotion and had to rush back behind the curtain before he completely lost control of his tears.

Also I believe this was a regular season performance, so it wasn't an "extra" performance designed as a Borree Love Fest, nor was it the 18 month "farewell tour". Obviously so many past dancers flew in because they thought Ms. Borree was pretty special.

I think it is great that companies do this. Whether you like it or not, Ms Borree was a principal and all principals are feted in this manner. The corps dancers do not have an easier job, they put in just as much time at the studio and suffer injuries, they earn lesser pay, and often take second jobs. I believe it is a sign of respect to any dancer who dedicates his/her youth and early adult years to this demanding profession. The other dancers are showing their respect, no matter the official "job title" bestowed by the artistic director. While the reviewer has the right to critique Ms. Borree's performance, a little kindness would go a long way. Finally, I believe it is always difficult for a second generation to continue in a profession where the parent was hyper successful, Michael Jordan has two talented sons but they will never achieve their father's success. There are statistically very few superstars in the NBA, perhaps a handful every decade, and the same is true for ballet principals.

Saw the Thursday June 10 performance. Now suffering from insomnia and hopelessly humming the prelude in my head. It does get repetitive after a while....all advice on cures would be greatly appreciated. Casting as listed was as delivered. Debuts: Rachel Foster was Swanhilde, Bejnamin Griffiths as Franz and Jordan Pacitti as Dr Copellius. Then we had the *Titans* - Titanias? in supporting roles: Dawn was Carrie Imler, Prayer was Carla Koerbes, Spinner was Chalnessa Eames, Waltz of the Golden Hours lead by Mara Vinson, and Discord (or was it War?) as Lindsi Dec. I believe I was lucky to see the second week because the corps and supporting cast looked so relaxed! There was a level of confidence and ease in their roles. The corps was fantastic, and at the first intermission, I discovered why. Swanhilde's friends and the townspeople were nearly all solists or soloists-in-training for PNB. The Waltz of the Golden Hours was well received by the audience (you have to have the heart of Kim Jung Il not to feel they are the most completely adorable dancers ever). I felt the sets were amazing - SFB fans, a treat awaits you next season! Rachel Foster started off strong as Swanhilde. She has solid technique with better acting skills than many dancers. Handled the point work beautifully, but I felt she showed some rough edges in her upper body. More on that later. Ben Griffiths as Franz started out a little shaky, his jumps were not secure and I believe he needs more time to grow into a leading man. He lacks the masculine charisma. Nevertheless, he played the duped cad of a boyfriend very plausibly. During the second and third acts, he gained confidence and danced his solos with more panache and security. Jordan Pacitti was a revelation (though unrecognizable) as the Doctor. I felt that Ms. Foster and Mr. Griffiths danced solos well, but were not a good partnership. The pas de deux adagio, with all the balances, was shaky from the beginning, middle and end. I held my breath through the entire thing. Fortunately no lost balances, but it was touch and go. Mr. Griffiths seemed to be a calm partner, but I felt this was purely mental on Ms. Foster's part, she simply lost confidence (or lost energy, this is the 3rd act and she must be exhausted). The response to the pas de deux was probably more relief than anything else. And yet, they both came back 5 minutes later for beautiful solos! As noted above, one can have multiple levels of performance all within one night. I have seen both dancers in other things and they were wonderful. Mr. Griffiths has the makings of a wonderful character dancer, I can see him owning Puck in next season's Midsummer. Ms. Foster has been gorgeous on so many evenings, particularly the modern and "plotless" Balanchine ballets. Next October for Halloween, I am definitely dressing up as Discord or War. Those costumes were *to die for*! Afterwards, I went to the lecture (but I was about 15 minutes late). Jordan Pancitti and Peter Boal spoke, and Benjamin Griffiths arrived half way though in the back. Peter noted that he inquired about PBS filming Coppelia for a Great Performances broadcast, the Balanchine Trust is interested, but wants to hold off until the second season of Coppelia, they prefer to see all the kinks worked out in the first season. He also noted that the Trust gave approval to the sets, but that they do differ from the NYCB version. But the basic layout is the same. Mr. Pancitti spoke of his coming retirement (he has a side business making custom candles, which he plans to expand). He noted his favorite roles over the years - Red Angels is at the top. He first saw it at NYCB while a student at SAB, and wrote his parents that someday he wanted to dance the role. He said this year has been a dream season with roles he's always wanted to dance, and that he has great memories of dancing Jardi Tancat in D.C. o n tour. Peter did not mention any other retirements (perhaps I missed that from the earlier part of the lecture). Benjamin Griffiths is really short - maybe 5'6" at the most. I was surprised, but then again, I never thought Rachel Foster was statuesque until tonight. I guess it's all relative and proportion. I will be sad to lose Mara Vinson from PNB and hope her next "home" in the dance world is gratifying for her. I am also sad to miss the fall 2010 season of PNB, as I depart for Lima in 3 weeks, for a 6 month tour of S. America. Fortunately for me, the Lima Ballet is also performing Coppelia this summer (their winter) so I am anxious to view their interpretion. Right around the time I get the endless loop in my head of the prelude to stop.... Finally, I am convinced that some things in story ballet are just boxes checked off by choreographers, and every story ballet must contain at least 75% to be considered legitimate. Examples: (1) Dopey Male Lead / Cavelier who gets duped by a doll / potion / evil character, cheats on his true love, but realizes his mistake in the end (2) Tangental reasons to have soloists / corps extravaganzas that have little to do with the story (discord and war as 2nd century Roman military in 19th century Galacia?) (3) Female lead role who is clearly too smart / witty / courageous to deserve her dopey male lead character's lame behavior (4) eccentric old man who fixates on a teenage girl, and gives her gifts / toys (it's kinda creepy) (5) folk dancing! Preferably a Russian derivative! Looking at the 2010-2011 season, only one Balanchine piece (Midsummer), but at least I will be back in the USA to see it!

I would just note on the statistic of 50,000 audience members....that's about the same as season ticket holders for most major sports... IMHO, same difference. Both opera and sports are televised at times, but since we live in a free society, we can pick and choose which season tickets to purchase, or watch on TV, or none of the above. If Mr. Thicknesse doesn't like this opera, go see a different production! Lord knows there is plenty of opera in Europe.

I'd like a William Forsythe piece, thank you very much. Not that my opinion means anything...

Hola! I am planning a sabbatical July - December to travel to South America for a spanish immersion program. I will be sad to miss the fall season at PNB, but I am excited to explore ballet (and other classical music forms) during my travels. I plan to travel to Lima, Peru, Santiago, Chile, Mendoza, Argentina and Buenos Aires, AR. Lucky for me, after several years closed for renovations, the Teatro Colon reopens May 24. Checking the website, the following ballets will be presented in 2010:: June 19-27: Kenneth MacMillan's Manon Sept 05-12: Mixed Bill: Balanchine's Theme & Variations / Donizetti Variations with NYCB's Tiler Peck & Joaquin de Luz, plus Séptima sinfonía, choreographed by Vittorio Biagi October 29 - Nov. 11 Le Corsaire, choreography by Anne Marie Holmes Guest Artists Paloma Herrera and Marcelo Gomes of ABT December 17 - 22 La Bayadere, choreography by Natalia Makarova Guest Artists Alina Cojocaru (Royal Ballet) and David Hallberg (ABT) In my head, I hear Ella Fitzgerald's version of "Dancing Cheek to Cheek" heaven, I'm in heaven... So...can anyone help me research options whilst in Lima, Peru and Santiago, Chile? I also understand Uraguay has a well regarded ballet company in Montevideo, but I haven't looked into it yet...

ok, so if you were king / queen of the world over at NYCO - what needs to be done? Assume the board backs you 100%, what would you do to "right the ship"?

BTW for those of you who watch the Classic Arts Channel, there is a circa 1960 version of Balanchine's "Apolo" featuring the pas de deux of Diana Adams and Jaques d'Ambrose currently in the rotation (they schedule a 12 hour program, play for a week, then switch). " It was clearly filmed live, without any "do overs", Diana is amazing, but she does wobble during one balance. I watched thinking "that dancer has legs for *miles*!"

I think I remember that, injury related (as usual). A physically taxing profession for sure!

Lenny Brisco was the heart and soul of the show and it wasn't the same without him! I hate to say, reading the announcements for upcoming fall slate of new shows, I think fully 75% of dramas on TV are now police procedurals, legal procedurals or medical procedurals. Doesn't anyone have new ideas?

Ah well, to each his/her own. I doubt the gentleman behind me was unfamiliar with Wagner, this is Seattle Opera, after all! e perhaps the dramatic theme of risk / reward also holds true for commissioning new operas. Sometimes Seattle audiences are accused of the "cheap standing O" - meaning they will jump out of their seats for just about anything. I don't think it was the case for Amelia. The response was may 1/3 standing, the rest standard seated clapping at the end. The Crosscut reviewer probably best expressed my own sentiments: