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Carl Steeg MD

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About Carl Steeg MD

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    Ballet Alert!

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    avid balletgoer
  • City**
    New York
  • State (US only)**, Country (Outside US only)**
    New York
  1. Yes, and Mel A. Tomlinson should have been a principal - he was truly unique!! Presently, NYCB's Craig Hall is a soloist who should also be promoted. Other recent past black male dancers include Henry Seth, Darius Crenshaw, Sam Greenberg, and James (I think that was his first name) Johnson. There have definitely been more black male than female dancers with NYCB. Oh, and I omitted the brilliant Silas Farley who is a recent corps member
  2. Yes, and Mel A. Tomlinson should have been a principal - he was truly unique!! Presently, NYCB's Craig Hall is a soloist who should also be promoted. Other recent past black male dancers include Henry Seth, Darius Crenshaw, Sam Greenberg, and James (I think that was his first name) Johnson. There have definitely been more black male than female dancers with NYCB.
  3. NYCB has had a number of black dancers, both male and female, including two principals (both male) - Arthur Mitchell and Andre Evans. Some of the past black female dancers include Debra Austin, as mentioned above, Andrea Long, Aesha Ash, Myrna Kamara, and Cynthia Lochard. Olivia Boisson is a very talented new corps member who I think may really move up.
  4. Sandik's observations from "the left side of the continent" are incisive. "Accurate" and "authentic" are terms that can only be subjective in nature. Balanchine left no specific instructions as to how his ballets were to be staged or presented nor who is best qualified to represent his work. Who knows the "authentic" Firebird. Is it Tallchief, is it Hayden, is it Verdy? Which of the many principal dancers who have performed Serenade is the "expert?" Who can best instruct the nuances of Apollo - D'Amboise, Villella, Martins? Sandik concludes by describing Martins's main responsibility belonging to the "current moment." Mr. B always disdained the past and the future. What could be more "Balanchine-esque" than the concept of the "current moment."
  5. A recent interview published in the New York Times on April 21 heralds Peter Martins's 30 years as Ballet Mater in Chief of the New York City Ballet. The interview does not begin to give Martins the great credit that is due this rather phenomenal man. His leadership at New York City Ballet has been extraordinary. The interviewer, Roslyn Sulcas, introduces her piece by remarking that "Mr. Martins's tenure has been stormy.......Mr. Martins was - and still is - ruthlessly criticized for failing to maintain Balanchinian style......" "Stormy" is hardly the appropriate description here. Controversial would be more apt, I think. Sulcas does not deign to mention the critical acclaims of Anna Kisselgoff and Clive Barnes. To be controversial, is to be doing the job well. The mere fact that New York City Ballet exists at all 30 years after Mr. B.'s death is itself a tribute to this man. He has stayed true to its history and its repertory. He has maintained the "House of Balanchine" (and the "House of Robbins," if you will) as the core concept of the company, while advancing the works of new choreographers, new set designers, new costumers and contemporary composers. He is responsible starting and advancing the careers of amazing post-Balanchine dancers. He has been responsible for the company's financial health and its ongoing development. He has understood modernity - websites, social media, patron connection, fund raising. From a distant stage presence, his dancers have moved into our homes with YouTube and with NYCB videos. He has engaged amazing musical directors who have all garnered critical acclaim and who have made the music - the all-important music - more a part of every performance - even having it highlighted with talks and orchestral demonstrations before some performances. He leads the School of American Ballet and founded the New York Choreographic Institute which was critical in the developing talents of Wheeldon, Ratmansky, and now Justin Peck. Martins, himself, has choreographed some 80 ballets for the company, including full-length pieces, merging the classical with the contemporary. He instituted the Moves program to promote the art across the country using small "boutique" groups of performers. Peter Martins is a marvel. When thinking back to all that he has provided for me over the past 30 years, I just want to say "Thank you Peter." "Thank you Peter." Its high time for a Kennedy Award for Peter Martins, and it baffles me that it has yet to occur.
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