Jump to content
This Site Uses Cookies. If You Want to Disable Cookies, Please See Your Browser Documentation. ×


  • Content Count

  • Joined

  • Last visited

About jerryb

  • Rank

Registration Profile Information

  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
  • City**
    Fort Lee
  • State (US only)**, Country (Outside US only)**

Recent Profile Visitors

350 profile views
  1. I got as far as the ballroom scene and stopped. Maybe I'll pick it up again at some point but to me it was neither a good "film" nor good "filmed dance". Too many close ups. the background murmuring in some scenes, the repeated use of flower pots or planters to give an illusion of depth, the sound of Romeo knocking on the apothecary door yet no sound when crockery and wine bottles are swept from a table, Tybalt pushing a sword into Romeo's chest which surely would have drawn blood just a few examples of pretentious film making. Trying to twist something into something else and failing badly
  2. I remember well the NYCB version with the caller. Saw it many times. I'll never forget "Come on Nick, Come on Pat. Make those feet go wickety wack." Quote it to my friends from time to time - they have no idea what I'm talking about.
  3. I agree Kathleen. I've been telling friends and family for years that this Sleeping Beauty doesn't breathe. I call it Sleeping Beauty on "speed" and I don't mean metronome markings. The first Sleeping Beauty I saw was the Royal Ballet's at the Met many years ago. It was a prologue and plus three or four acts (I've forgotten). I'm not advocating that for NYCB but a breath here and there would be welcome.
  4. Saw the Saturday evening 5/19 performance. While DAG was decently danced what was missing for me was the feeling of dances at a gathering. The dancers seemed to have no relationship to each other or a particular place (with the exception of Tyler Angle, Joseph Gordon and Lauren Lovette). It doesn’t matter specifically where that place is or who these people are because each of us will bring our own perception of that. “Who am I and why am I here.” Most of today’s DAG dancers have no sense of that and it has been so for a few years with DAG. Ballet Alert old timers will remember Villela a
  5. Saturday May 5, 2018 standing ovation at NYCB for "Something to Dance About" which is a pleasant but mediocre work. Well danced but very poorly sung (the person who did the amplification really did the singer no favors) but hardly worth anything but polite applause. However, great work by the corps, Sara Mearns, and Andrew Veyette.
  6. Saturday Evening February 25th. Neverwhere, Mothership, The Decalogue, Namouna. Martins and those responsible for programming must have thought that this program would be good for the $30 ticket night which attracts a full house and a younger demographic. Well I think they made a huge mistake. I half expected wild cheers and huge applause but all the works were greeted very, very tepidly. It seems even the uninitiated know garbage when they see it. I doubt that a single additional ticket will be sold as a consequence of viewing this program. The saving grace was the dancers. From
  7. Both Applebaum and Scordato were very good in Divertimento and I agree worthy of promotion.
  8. Kathleen - I feel much the same. For me it's been 60 years going back to City Center and like you I still feel "Oh wow!" and thankful that NYCB continues to exist.
  • Create New...