Doris R

So, RD.... are you one of my rivals when bidding on ebay for ballet pictures? My daughter and son-in-law collect old ballet pictures from the 40's up through the 60's. At last count they have well over 120, their walls are covered in them. They also have a few figurines. Other than on-line, antique malls are a good place to check out, and if you're willing to really search, you can still find an occasional picture at Salvation Army,Goodwill stores, and yard sales and old-fashioned flea markets. Enjoy!

Haven't seen it. Would it be something that my husband the physics teacher might be able to use with his students? Let me know what you think and maybe I'll get it for him.

Two comments -- first on FWDB -- I haven't seen them perform in several years, hopefully with new leadership next year they will become what they were under Paul Mejia-- a company of beautiful talented dancers who knew how to perform. By that I mean not just going through the steps, but actually making you feel and believe in the magic. Several of the names mentioned especially Enrica, Michael, and Margo I remember well (Michael and Margo were there during the Mejia years). They are mature, talented, expressive dancers. I hope Ben Stevenson will make use of their gifts. Comment number two, I will be attending PABallet performance of Stevenson's Cinderella next month. I haven't seen it yet so I will give you my take on the staging and performance in May.

HOWEVER, on a different slant....If I really know the dancers, I mean personally, not just as stage personalities, sometimes I find I concentrate so much on an individual's performance that perhaps I miss other things going on with the choreography. That's one of the reasons I like to watch different casts doing the same performances. I find I sometimes see things differently. On the same slant, I will often sit one performance in the orchestra and one in the balcony -- just so I get a diffrent perspective.

Like many others, I found it while "surfing". I was looking for ballet sites and this one came up. If I remember correctly, I lurked for a while before becoming a member. This site has not only helped educate me but has given me such wonderful articles and reviews to read in the "links" section. I realy enjoy being a part of these forums. Its a great outlet for someone who loves going to the ballet, but has little opportunity to "talk dance".

Dale, there are some areas in the Academy of Music with obstructed views -- they don't sell the ones directly behind the poles, but there are a few where you might have to lean over your seat mate to get a good view of the entire stage. Best bet would be center parquet, or balcony. I've sat in the cheap seats (most upper level)too with my handy binoculars and as long as you make sure you're in the first few rows you'll be fine. Actually although it goes up pretty high, its not a deep theater if you are not behind a pole (or a lady with really large hair) you can see quite well. Go to PA Ballet's website for a link to both the Academy of Music and the Merriam (their other venue) and you can pull up seating charts. If you're driving, plan on using a parking garage. There are several self-park and also valet available on The Avenue of the Arts. Trying to find onstreet parking will just frustrate you. The theater doesn't have a gift shop, but the Ballet runs a lttle boutique with PA Ballet logo items, and some ballet related merchandise for sale in the lobby. A REALLY NICE gift shop is in the Kimmel, just about a block south of the Academy. Take the time to visit it while you're there. You can find some unique and very nice items there. As far as food is concerned, again, not a problem. Jack's the bar off the lobby of the Double Tree has good American Fair -- hamburgers, chicken salad, etc. and its a nice atmosphere. There's also the Italian Bistro just up the street, and they always have a 20% off coupon in the Playbill. There are many, many places to eat -- it depends on what you want and how much you want to spend. There is a fabulous Mexican restaurant nearby, Tequillas, Ruth Chris is right down the street, Bookbinders is closeby. Its all a matter of what you want. Enjoy your visit!

Whoa... well that explains why we don't see Balanchine at auditions doesn't it? I never thought about that aspect of needing permission for an audition -- but I'm quite sure you are right. Thanks! So....forget Divert! (#15 yes, brain went numb)

Kitri's variation from Don Q -- the one with the "hops on pointe" shows off both style and technique quite nicely and is short. The fairy variations from Sleeping Beauty of course, Paquita, they aren't used often for this, but what about Balanchine's Divertimento variations? One hint, if you are performing to recorded music opposed to an accompanist, take time to listen to several different recordings to find the one that best suits your dancing before buying -- sometimes music recorded for listening is not the tempo you want for dancing. Good luck!

When our daughter was a student dancer her father would sometimes transport her to and from her Young Dancer demonstrations at elementary schools. He got such a kick out of watching all the little girls spinning and twirling as they left the auditorium following the "performance". When several years later she performed the Siren in Prodigal Son, his comment when leaving his seat at intermission was he wanted to go outside and watch all the little girls twisting thier bodies around all the little boys. ;)

Did anyone out there make it to the Academy of Music this weekend? There were five of us who went, and three of us really enjoyed Matt Neenan's Le Travail (inspired by the Degas exhibit at the Art Museum). Sixty percent -- that's passing! and four of us thought the set design quite impressive (80%). (The set design and costumes were done by Steven Weber.) The colors of the huge panels that moved across the stage definitely said impressionism, and costumes of the dancers evoked memory of Degas works wonderfully. Riolama was beautiful, and the throws they did with tiny Jennifer Smith had us catching our breath. I thought it an entertaining work which I hope they keep in the rep. The panels made for an interesting way of moving from segment to segment of the ballet and I liked it! Four of the five us really enjoyed Carmina Burana. Two of us definitely preferred parts of Kent Stowall's choreography and staging and found part of Butler's less intresting especially the opening which is only chorus and orchestra opposed to Stowalls which opens with the huge "wheel of fortune" suspended over the dancers. But it was hugely entertaining. And the performance we saw was danced beautifully. The section where the girl in white (Meredith Reffner) is rejected left me feeling her pain and longing -- the woman seated next to me whom I did not know was wiping away tears. Arantxa was quite seductive in her animal print, and there was one leap that Heidi Cruz made into Meredith Rainey that gave us all a jolt. One of our dinner companions was really excited about the section where the four soloists were in red and the lifts the men (David Krensing and Alexei Borovik) did with Arantxa Ochoa and Meredith Reffner. He kept saying that Meredith looked like she went on forever --- like she was ten feet long! It was a wonderful evening. Too bad the snow came when it did and we had to cut short our stay in the city -- but we saw we had a window of opportunity to leave at 8:00 on Sunday morning and took it -- it took us three hours and ten minutes to make the normally under two hour trip home. Our friends decided to order breakfast and left about 9:30 -- it took them five hours. Hope everyone here in the East enjoys their snow day! The ballets are being performed again next weekend -- 1st cast (the dancers we saw) is performing Thursday evening and Saturday afternoon, and the other cast is performing Friday and Saturday nights next weekend. If you have a chance -- go, I think you'll enjoy it.

Now that I can see, Iron City, the official beer of the Pittsburgh Ballet. Hmmmm?

You know Mel, sometimes I've felt that way myself.

Oh, this discussion has made me smile. I have to agree with Mel on most of his comments -- (but sorry, I kinda' like a snow queen). The mouse/rat commentary actually made me laugh. Let's see... January 12th? I think some "Nuts" are only 10 months away.

Several years ago Paul Mejia did something for Fort Worth Dallas Ballet using all Glen Miller music. Parts of it were moving, but the over-all feel was fun! It ended with a swing band on stage with the dancers. The audience loved it!

As I said in another area,I've been away for awhile. ANYWAY... I too thought Valerie was wonderful in Bugaku, don't look for her too much more during this season though. I understand that she and her husband, fellow PA Ballet soloist Edward Cieslak, are anticipating an addition to their family toward the end of this season.

I just posted on the choreographers forum for information on John Butler's Carmina. But maybe it should have gone here. Anyway... can anyone give me a brief run-down of his interpretation? And please -- not just "monks get bored with cloistered life and want to experience worldly pleasures."

Wow! This area hasn't been touched in a while! Anyway...PA Ballet is performing John Butler's Carmina in February. My daughter had the pleasure of dancing Kent Stowell's Carmina Burana several years ago, and one of her first on-stage experiences as a young teen was Ballet Theater of Annapolis' "Eleventh Commandment" to Annapolis Chorale's accompaniment. But I know little about John Butler's choreography for Carmina. Can anyone give me a brief lesson? Is there still anyone out there reading this forum?

Thanks for the update, I'll see what I can find.

My daughter and son-in-law have quite a collection of "old" dance books. I'm always on the lookout for them and often give them as performance gifts. They also collect dance paintings/prints from the 40's through the 60's. The walls of their apartment are literally covered with them. The challenge now is to find something they don't already have!

Okay, I don't subscribe to The New Yorker, so I checked out their website and it doesn't mention this article. Is it in the current newstand issue, or do I need to make a trip to the local library to see if they still have it? I'd really like to read the article. My daughter thinks the world of Miss Farrell so I'm always interested in reading about her. Please let me know if I need to go to Borders or the library to find it.

Pennsylvania opened its season this weekend with an all Balanchine program. http://www.philly.com/mld/inquirer/enterta...end/4309231.htm[/url]

Thanks so much for the update on the re-issue of this booK. Now I have to decide if I want to order it now or wait for it to appear in the stores!

As the mother of a dancer who used to live quite some distance away, I would often "go it alone." I'd fly out to see performances throughout the year and many times her father was unable to go with me. I still go by myself, often to see the same program on Sunday afternoon that I saw the evening before with my husband sitting in the orchestra. But on Sunday I'll get a different perspective and try one of the balconies or family circle. And, this way I get to see different casts do the major roles too. I'll be honest, I enjoy those times when I'm alone most, there are no distractions -- once the lights go down and the curtain goes up its just me watching these wonderful beautiful dancers on stage, it really is magic.

Okay, the first was a Nutcracker ... ;) but after that I was in my 30's and two of my daughter's dancing friends' mothers and I took our 11 year olds to see ABT performing Romeo & Juliet at the Kennedy Center. Marianna Tcherkovsky (I'm sure I've butchered her name) was Juliet. I remember the girls wanting to wait around to get her autograph, but she didn't exit inside. We were starting to leave when she pulled up in her car to help her mother who was in a wheel chair into the car. The girls cautiously approached her and she was so lovely and gracious and wonderful to them. Just what I believe a ballerina should be. I'll never forget her kindness to these three star-struck little girls

Alexandra... I'm surprised. " Not to say there's anything wrong with rock or pop music nor the people who listen to it, just as there's nothing wrong with stockcar racing or world championship wrestling -- but it's a different audience." This is the kind of comment that leads people to say that ballet is elitist. Why can't I listen to Mozart, Bach, Williams, and Copeland and continue to listen to Rock Music, or Country Western music for that matter? A different audience, not necessarily. And although you won't find me at a professional wrestling match, I've been known to watch a race or two as well as attend plays, concerts and the ballet. And I do try to get others to experience ballet. If we don't expose new people to the art how will they know what they're missing? Ballet can be so exciting and beautiful and wonderful, I want my firends to know it too.