Jayne

saw this Saturday night. Dramatically I really enjoyed the book, with the layered themes of flight, humanity's tug of war between adventure / risk vs safety / familiarity, the greek myth of Icarus, and the main character's name sake Amelia Earhart. The set and lighting design were finely excuted, and the scenes in Vietnam were great. What worked less for me was the music and the libretto. I am not a fan of late 20th century genre of opera, so I am probably the worst person to evaluate it. Behind me, a gentleman commented that the music never rose above the paint by numbers movie soundtrack that one forgets as soon as one leaves the theatre. Perhaps it would have been better if a more melodious composer were in charge. If the music is going to resemble a movie sound track, I would have had Ennio Moriccone, or Patrick Doyle. But I'm sure they're a little rich for Seattle Opera's blood. I would have liked this story better with a traditional rhyming libretto. Much of the libretto was banal and I was disappointed. The vietnamese was well sung (I took conversational vietnamese, so I understand a little). That said, English never sounds as good in the Opera genre as Italian. Something about the way the romance language rolls when sung... Often the opera told multiple stories in the same scene with time shifting (there is a dramaturge word for this, but it escapes me) but I found it confusing, and it was over used, and not always necessary. One niggling problem with suspension of disbelief / dramatic license: the "mad scene" is sung with the wife entering the husband's workplace, where he is involved in top secret planning. No way in hell she would be allowed inside, such places are guarded by multiple stops with security guards, screening with badges, etc. The book would have worked great as a drama on broadway, I'm hoping Tony Kushner or Terrance McNally takes it on at some point. The themes are fascinating, the staging was brilliant, but the libretto and music were uninspired. JMTC.

Different post to the dance performance under discussion: http://www.youtube.com/watch?v=MvhvHBrhlOM The parents and other adults involved are so densensitized themselves to the sexuality in the choreography. And they are desensitizing their daughters to the real world responses to that type of choreography. I wouldn't call this choreography a very good 3rd generation imitation of Fosse anyway. On the other hand, this is a great homage to Gaga: Corps of the Royal New Zealand Ballet

I am going Saturday night, will try to take notes... video with excerpts http://seattletimes.nwsource.com/flatpages...tid=84121275001

Actually, I thought...."wait, is Edyta back"? . The Seattle Times used to publish a weekly blog on DWTS with an "Edyta Nudity Scale" each week. Not sure if they still do it, but very funny. Here is a sampling:

well, this hit the internet yesterday like a cyclone, thought I'd link to get your opinions... http://www.youtube.com/watch?v=Wjehii-jjHE...player_embedded Apparently the dancers are ages 7-9 and this type of choreo is now common on the dance competition circuit. Personally I don't think of myself as a prude, I'm all about free speech, self expression, etc. But I really cannot find any redeeming value in teaching 7-9 year old girls to shake their money makers like they are on poles. These young ladies are so talented, and there are so many types of choreo that would highlight that talent without sexualizing them to the Nth degree. I just wonder what they will learn to dance to by the time they are 13? Will they think this type of hyper sexualized choreo is the "normal" way girls dance? The "normal" way to get attention from people? Beyonce's choreographer created his "Single Ladies" dance as a direct homage to Bob Fosse. In turn, Bob Fosse was inspired by his childhood observing women dance inside houses of ill repute. Will little girls soon do the choreo from "Cabaret" to top this? I'm disturbed that the few commentators who defend this dance in the comments below the video claim that "everybody's doing it" at dance competitions. Just because it has been normalized within the dance competition world does not make it acceptable. Anyone remember the stage scene from "Little Miss Sunshine"? I have to wonder what this dance routine prepares the girls to do next? I don't think it prepares them for professional dance careers in ballet, broadway, or modern. Maybe dancing at Scores, or the occasional video vixen. ok, jumping down from my soap box now...

The female vocal lead is also in the "ballet club" and ballet has been featured in two production numbers that I've noted. Great show, revelling in its political incorrectness! Jayne Lynch is funniest of the very talented performers.

Just last week I was at a middle priced restaurant, the family on the opposite side allowed their 3 year old to throw a tantrum for 20 minutes before I finally walked over and asked them to take the child to the restroom and quiet him down. Spanish was their primary language, they followed my advice, but they definitely glared at me! I just could not believe the lack of manners to allow a child to disrupt the entire restaurant like that! The waitstaff did zilch.

As a university student, the nearby theatre had a young mothers' room at the back. It had windows to watch the screening and piped in sound. The mothers could settle down infants without disruption. My childhood church had a similar room. I wonder if this could work for fine arts?

more video....not really related to this rep, but a PodCast with Karla Korbes and a clearly awestruck Arik Korman

here here! I would note that Kaufman's criticisms could just as easily be redirected at the Russians for their flexibility-pyrotechnics. Is this Balanchine? Or just 21st Century artistic gymnastics trending throughout ballet?

I saw "Dancing Beyond Borders" a few weeks ago, and stayed for the QandA with Sy Sar and Anne Bass. Anne was more down to earth than I imagined a woman with 200million in the bank would be, but I felt they were very honest about how Sy came to America and that Anne would be ok if he decided to quit dance. He did quit PNB last fall, he was ready to leave ballet. But after a few months, he really missed it! So now he is auditioning for other companies, and to paraphrase him, would like to go some place warm. Which makes me think Miami or Houston would be a good fit!

I was blessed to get an extra ticket from a coworker to Thursday's performance. I attended the pre-performance lecture with the education director. Some interesting factoids: -Serenade was originally pronounced the American way by Balanchine, due to American inferiority complexes, it has come to be pronounced the French way, with the accent. -the dancers were adults, this was essentially a workshop for dancers to refine their technique. -The original production was on a make shift stage on a farm in NY, the first night was rained out and the host had to come up with a second day of food for the dancers. -the iconic costumes came later, the first production was wearing practice dance wear. on to floor - I sat on the orchestra floor right, about 5-6 rows back, next to some russian speakers who chatted throughout Serenade until I shushed them. They also had a cell phone go off, particularly obxious ring at that. Everyone else around me was grumbling at the intermissions about the cancellation of the Thursday opening series and worried about where they would be placed for the 2010-2011 season. Music: I am not an expert and could not detect any difference in quality of performance between the 3 guest conductors on Thursday night. I also went Saturday night and spoke to 3 musicians afterwards. They said the selection has been narrowed to 4 candidates. The orchestra does not get to vote, but an advisory board has a few orchestra members on it. They said they want to be pushed by their next leader...if that means anything.. Serenade: Wonderful production, PNB was "on" that night. Kaori Nakamura excelled in her role. It's been a few days and I cannot recall all the particulars, but I was impressed by the totality of the performance. Square Dance: All hail Carrie Imler, this role fits her perfectly. I think she dances "big" and that is what separates her from the more petite, delicate interpretations of this solo. Lucien was a fine partner, and the corps was very strong. 4 Temps: I cannot watch 4T's without thinking of the movie "White Christmas" where they mock modern choreography "they're doing". Choreography". It is technically insanely difficult, not a single step is underused, Jonathan Poretta was particularly strong as Melancholic. Ariana just takes over the whole stage when she comes out as Choleric. Incidently, according to the lecture, PNB uses the mid 50's choreo that Francia Russell learned, which is different than the NYCB current version. She wrote to Balanchine in the late 70's when she first staged it, asking if she could stage what she remembered, rather than his later changes. Balanchine wrote back and said "do what you feel is best". I also went Saturday night, Carla Koerbes was the lead in Serenade, not as strong as Kauri, she did the moves, but lacked the "x" factor on stage. In contrast, Kauri took on the lead in Square Dance and made it her own. The cast was mostly the same for 4T's, except Carrie Imler took on Kauri's Sanguinic role, and was fine. I felt the Thursday performance was quintessential PNB performing Balanchine "in the zone". Looking forward to Coppelia!

Sarah Kaufman won the Pulitzer today for her ballet criticism. http://www.huffingtonpost.com/2010/04/12/p...0_n_534556.html "Awarded to Sarah Kaufman of The Washington Post for her refreshingly imaginative approach to dance criticism, illuminating a range of issues and topics with provocative comments and original insights."

I could not hear her well; I missed much of what she said. So she did eventually ask a question then. Do you remember what her actual question was? My bad -- it wasn't so much a question as looking for agreement with her point of view. The rising inflection at the end of a sentence that is so popular now makes everything sound like a question even when it is not. At the Q&A I attended, there were many lengthy statements, without any real questions. I wished we were in court, so I could rise up and say "Objection, your honor. Is there a question for the witness, or has opposing counsel moved on to closing arguments?"someone needs to emphasize Brevity and actual questions at the start of these Q&A's.

At the start of Q&A Peter introduced the dancers and their biographies. I had previously noted to my seat mate at intermission that Kiyon has been a corps member for 9+ years, yet gets solo parts, yet isn't classified as a soloist. So many other dancers have been promoted, but why not him? So....at the end of Q&A, I raised my hand and Peter called on me. I sad I had a 2 part question. First - has the Dove family ever come to see performances of his work at PNB? Peter nodded yes. Second - I am putting Peter on the spot here, I think Kiyon is an amazing dancer, and (with emphasis) when are you going to promote him??? The audience laughed and clapped loudly in agreement. Peter chuckled and said dancers' agents will be banned from future Q&A sessions. But that I should go ahead and hold my breath, because he agreed that Kiyon is fantastic, and that then made a few more cryptic remarks about wait and see. I'm pretty proud of myself for asking as an audience member, I have nothing to lose. What is Peter going to do? Yank my season tickets?

I attended the post performance Q&A. Lindsi Dec and Kiyon Gaines were the featured dancers. Both are well spoken, friendly, and full of good humor. They mentioned that Victor Quijada made them mix tapes to play on ipods to get into the mood of break dancing, and how they had to reset their postures lower than traditional ballet requires. They also noted at the first few performances they weren't sure what to do with themselves when all the scenery is taken away, revealing the full stage. What was the proper etiquette? ok to drink water? stretch? move around to keep your body warm? But Kiyon said by the end, they were fully relaxed off stage, scratching the itches, adjusting costumes, etc. Most of the discussion was about Serious Pleasures. Peter said they had 2 videotapes to work from, one was a grainy back of orchestra level filming, where he couldn't really see if foot placement was in front or back. The second was a hand held audience member, a friend of an ABT dancer. But he feared the ushers would catch him, so there were some good shots of the performance, followed by the camera showing his shoes, then back on stage, then the shoes.... Kiyon said the stage set was only ready 3 days before the first performance. They had a 1 door mock up to work with in studio, but not the full stage. Behind each door a red and green light is rigged, so the dancers know when to come onto stage. But Kiyon noted there were a few miscues during the first weekend. Dancers entering / exiting the wrong doors! Whispers of "you're in my door!" and then internally freaking out to find the right door.

Suspension of Disbelief Meh. I didn't dislike it, but I wouldn't see it a 3rd time (I saw it in 2006 as well). It just looked unfinished to me, like an attempt at Jerome Robbins fight scenes 2.0 for the 21st century. The set reveals to the barebones stage was interesting, but also distracting from the dance itself. Serious Pleasures The doors reminded me of Amsterdam or Frankfurt's Red Light Districts (yes, I've walked through both, but during the daytime, and no, I didn't buy anything). I enjoyed this and would see it again. It seemed like a much longer dance than the others. Jonathan Poretta was the and he was great in a very athletically demanding role. Although one could say that of any Ulysses Dove creation. But. this one had more hairography. Wish I could have seen ABT perform the original. BTW the sexual warnings were overblown, the sexual content was far more subtle than the R+J performed last autumn.

Red Angels By far my favorite, it was dance boiled down to the purely visceral experience. I was fortunate to see Kiyon Gaines debut in the 1st lead, and had an amazing performance. I think he has a charisma that cannot be coached, it is simply a gift from above. Andrew Bartee took the role Peter Boal originated. He was wobbly the famous balance arabesque, but worse for me, he maintained a half-grin throughout. I don't know if that is simply his expression when executing strenuous moves, or if he was trying not to laugh at an off-stage dancer. I understand from PNB dancers that they try to maintain some levity off stage to deal with the pressure. It was distracting. The women were both technically great, and maintained the super serious demeanor required for the piece. Lindsi Dec is having a break out year. She is the quintessential Balanchine dancer -- slim, tall, hyper flexible, beautiful face, and she performed in all 4 pieces. Rachel Foster was strong, but I don't remember specifics about her performance (it's been 7 days).

My belated review, which I will post on sections, as my new laptop keeps "accidentally" deleting my half-written posts......I think due to a hyper sensitive touch board, that I am still getting used to... I saw the March 28 matinee (last performance) Vespers Loved it, Carrie Imler and Kaori Nakamura were the lead dancers. Everyone threw themselves into the choreography. I did long to see Alvin Ailey's troupe perform it. Fortunately YouTube.

http://www.nytimes.com/2010/03/22/theater/...tml?ref=theater Be sure to read the 6+ pages of suggesting poor and good performances of American accents. Even some interesting suggestions (not footnoted so the no way to verify) the origins of accents, Shakespearian accents, etc). Yes, I know, American performers butcher British / Australian / New Zealand / Irish / other accents all the time. One merely has to pay attention around St Patritck's Day to hear all the butchered Irish accents. However, rarely is the criticism directed in the reverse direction. I will note that often American actors get the regional accents wrong. Debra Winger had some sort of unplaceable southern accent in "An Officer and a Gentleman" when she portrayed a home town girl in Washington State. I found it distracting to the performance, and wondered why she did not have a west coast accent??? your thoughts?

HuffPo review from March 01 (just saw it!) http://www.huffingtonpost.com/donna-perlmu...t_b_481141.html

I pretty much ignored all the relationship "gossip" - but the mother earth getting bloody, dry humped, and thrown into a dumpster isn't really your mother's oldsmobile, now is it? Is it art? Is it misogynistic? (sp?) I was out of town so couldn't attend, but if Donald Byrd is talking about it (he wasn't gossiping, just criticizing the dancer's dry humping), I think we can have a legitimate discussion of what is dance and what is just shock value.

http://thesunbreak.com/2010/02/08/donald-b...-whims-3seasons criticism of the choreography

Pamela - you should try to get these video feeds: www.nbcolympics.com www.hulu.com if you scroll 3/4 down the screen, you can watch the figure skating, opening and closing ceremonies in repeats. Usually without the appallingly poor commentary by the NBC millionaire broadcasters. I am on the west coast, so haven't seen anything yet, but saw the news feed pictures, looks like the Sochi portion of the program features ballet dancers. Curious to know which ones were given the honor...looking forward to seeing it on tape delay, with commentators talking over it, freqent breaks for commercials, interrupting performances for shots of American athletes, etc. I watched everything I could - to answer dirac's question - curling, skiing, snowcross (which is a seat of your pants, nutty sport), and of course - hockey!!! both men's and women's were completely enjoyable. But I missed watching the figure skating exhibition on Saturday evening, as I was too busy watching curling and hockey. However, my mother tells me they would show one skating performance....then 45 minutes of fluff....then another skating performance. I figured better to watch MSNBC live, and watch the exhibition skating the next day online.

This is what I've been able to find out regarding the choreographer, Marina Zoueva (I think that's the correct spelling) http://en.wikipedia.org/wiki/Marina_Zoueva