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Everything posted by puppytreats

  1. I know Jared has a lot of enthusiastic fans who always praise him, and he is praiseworthy, but he often gets solo spinning parts, which are central to his section of the dance, and I think he is not the best spinner. The Spring brochure shows him as "Puck", and I can't imagine him in that role. (Besides, I really want to see Herman in that role). I agree with comments regarding how good Gabe Stone Shayer, Jose Sebastian, and Tom Forster were in "Clear." I was surprised by Forster, since I really did not think he had any presence in the rehearsal for "Sylphides".
  2. Ample possible explanations exist: 1. lack of power 2. threats 3. fear 4. extortion 5. politics 6. corruption 7. training ballet dancers to be silent, obey, not ask questions, not defy authority 8. futility 9. they did make demands but were not successful
  3. Is there any evidence that the opera complaining? Is it a non-functional building from their point of view? I suppose if the opera depends on the ballet for its funding, then the inability of the ballet to function in the space would preclude the ballet from working and thereby supporting the opera, making the space ultimately unsuited for its intended use. The house of cards collapses if level 2 is excluded and level 1 has no foundation upon which to rest.
  4. Other R&Js feature a stone, rectangular shaped monument in the crypt. This featured a mattress, a real bed.
  5. I am watching the documentary series on English National Ballet, in which the company is preparing to perform Nureyev's "Romeo and Juliet". The dancers discuss a death scene on a bed. Does the ballet not end in a crypt? What occurs in the crypt, mentioned above, if not the death?
  6. From my seat, I could not tell what was on the reverse side of the four trees wheeled in by (I think) the fairies in Tempest". It seemed important, based on the reaction when revealed and then withdrawn. Does anyone know what was portrayed and then hidden?
  7. I spent a few hours this afternoon writing a post containing my comments on the mixed bill, and, through the magic of control, alt, backspace, undo, sh*t, what did I just do, the review disappeared. So here is an abstract, or a "fragmented meditation", on my earlier post. I saw a rehearsal of "Bach Partita", "Clear", and "Les Sylphides" on Friday; a performance of "Les Sylphides", "Clear", and "Theme and Variations" on Saturday afternoon; and a performance of "Theme and Variations", "Clear", and "Tempest" on Saturday night. "Clear" 1. I did not choose to see this ballet, but ended up seeing it three times, because it was sandwiched between ballets that I wanted to see. As stated above in my review of the rehearsal, thank God the music was beautiful. 2. The audience seemed to love this ballet. The awkward clappers were out in full force in the afternoon, applauding after jumps and spins, at odd times and in disregard of intervals. 3. Much of the choreography was unmusical, or as someone stated above, unrelated to or not revealing of the music. Many of the movements were ugly, awkward, and embarrassing, such as the bobble head shakes, chest slapping, and knee knocking, even though the dance also included eye-covering motions, and expressions of shame, fear, forgiveness, and looking the other way. 4. Paloma and Julie seem to have returned to fine form, after some regression last year. At this point in her career, Julie seems to excel in this type of choreography. 5. The ballet is described as a showcase of ABT's men, but I thought it said more about man and woman, and ultimately, about women. After the journey of the seven naked men, or 7 expressions of 1 man (perhaps through time and space), the woman enters from behind to retrieve the core man, and he fights, but ultimately surrenders, to her comfort and authority. She emerges as the powerful one who has done and must do the hard tasks. Even after the music has stopped without achieving the final note of resolution, she concludes the music and the dance, as the man rests his head on her shoulder, and she points to the sky above while standing strong on a shrinking circle of light below her feet. 6. Paloma presented a woman who was a companion. Julie portrayed a woman who was authoritative while also acting as comforter, a wife and mother. She gave us strong, powerful, Mama Kent, who was ultimately the person in control, and was caught but then relied upon by the man for that purpose. 7. Marcello seems to really enjoy this type of choreography. I have not often comprehended the level of fanaticism of his devotees, but his portrayal was technically and dramatically superior to all the other dancers in all three performances that I observed. He portrayed a journey, with a range of developing emotions, as well as a strong, beautiful technique, even as he sought Julie's comfort and strength at the end. Sascha's evening performance did not present the same journey, emotionally, intellectually, or physically. Near the end, Marcello's series of fouettes (I think) (but not 32) remained strong throughout, unlike Sascha's, which lacked Marcello's speed, numerosity, and form. Sascha is a good dancer, but he portrayed a less communicative, angrier, silent persona. 8. The costumes were ugly and ill-fitting. I cringed when Marcello turned around in fifth position at the beginning, with the awkward draping and collecting of the fabric. The dying of one dancer's pants to a different color to attempt to match his skin tone did not work well. The sweat was hard to look at. I was surprised that the director let one overweight dancer with poor muscle tone and an awkward, ill-fitting dance belt display himself in that fashion onstage. 9. I did not understand the design of the lighting. I could not tell if the design portrayed distorted smiley faces, an abstract pattern, or some type of symbol. "Theme and Variations" 1. I saw this once from the second row all the way to the right side, over the percussion section of the orchestra, and once from the center of the fourth ring. This greatly affected my interpretation and experience of this dance. 2. ABT seems to dance this at a much slower tempo than NYCB. I prefer the slower presentation of this dance. I understood much better the steps, patterns, and phrases, and more fully enjoyed the development and grandeur of the dance. The fast speed seems too competitive and designed to show off skills, and blurs the choreography. 3. When I first saw Isabella on stage in the afternoon, I felt bad for her, thinking that the dance did not fit her. After I saw Polina in the afternoon, I felt even worse for Isabella. 4. Polina made nearly every step clear, complete, and succinct, whether fast or slow, high or low, spinning or walking, leaping or beating. (OK, not all of her beats were complete, but many in this company seem not to complete entrechats.) She was well-suited to the princess ballerina role in this dance. 5. Daniil is athletic and performs turns, leaps, beats, and speedy steps well, which audiences appreciate vocally. He is very well-suited to roles that involve athleticism, solo variations, and characters who are dramatically impish and youthful, such as the son in "Month in the Country" or Ariel in "Tempest". However, I do not think he excels in Balanchine roles, such as "Stars and Stripes" last fall, and "T&V". He nearly dropped Isabella in the final lift, destroying the coda, when the tutu got caught in his face, and she had to improvise her arm movements to balance herself and cover the major flaw. 6. Daniil received well-merited applause during his spinning solos. However, as MacCauley noted, he needs to work on his arms. Cory's evening performance merits the same criticism. Cory seemed to phone in much of his performance, as I often feel he does. Some of his footwork was nice, such as his beats, but his spins were sloppy. 7. The corps did a poor job during the daisy chain in the evening, disrupting the pattern and shape, with improper spacing and timing. 8. The orchestra seemed to have a major problem in the afternoon on this piece, although I do not know if my being seated over the percussion section distorted my hearing. 9. The set consisted of four flat black panels with a red and yellow columns at the end, and flat red and yellow chandeliers hanging from the ceiling. I felt like the designers were being sardonic and maybe laughing at the audience. NYC now has Disney and mall-stores occupying Times Square, and the designers gave us Disney in the theater. 10. Has anyone ever discussed this ballet as a commentary on fifth position? I don't know what position one would call arms when the body is held like a "Y". "Les Sylphides" 1. The music and choreography of this ballet, presented live, are beautiful and moving. 2. Veronika created an internal world on the stage, separate from the world outside, from the theater, and even from the glade in which she was situated onstage. I agree that her poses are swoon-worthy. She is a true poet and special artist. Her many fans were vocal and expressive. 3. Melanie looks a bit like Veronika's cousin, in the hairdo and headpiece used in this dance, adding an interesting element to the performance. 4. I did not like Polina's jetes in this piece. They did not seem to move through horizontal space, but rather, landed flat. I have seen other tall, Russian ballerinas jete in this fashion, so I do not know if this was a function of training, style, or choreography. I felt this more strongly after seeing Daniil's different style of jetes, such as the higher arching, but shorter traveling jetes in the beginning of the Ratmansky piece, and the more traditional jetes elsewhere (such as when Albrecht follows Giselle around the bench in Act I.) 5. I am often critical of Cory, but his performance in "Sylphides" deserved strong praise. For the first time, I understood why Cory was a principal dancer. His poet was a strong, confident, slightly sinister, puppet-master. This subtle but revealing portrayal offered an interesting contrast to his more overtly emotional, evil, and manipulative puller of strings in "Othello". Cory's strong, well-proportioned physique matched his confident promenades, effortless movement, and elegant dancing, which were well-suited to the role. 6. The corps' waving, curving expression of "Wilis-like" arms, and slow repositioning into groupings, were more effective than during the hand-holding, enchained transitioning in "T&V". "Tempest" 1. I liked this ballet, contrary to many writers. I was not disappointed by its length, especially since the program warned that it was a "fragmented narrative" and "mediation on some of the themes" of the play. Also, I had read the play in preparation, which alleviated some of the confusion that I initially experienced during the flashback scene. 2. Daniil was well-suited to his role as Ariel. The choreography featured a range of athletic tricks which he routinely does very well, including the flashy leaps, spins, and beats, often speedily performed. He also created the character well, with his expression of his dissatisfaction with his enslavement, shown through his child-like rebelliousness and fist-pounding temper tantrum, followed by his submission to and performance of his fairy duties, shown through his impishness, speedy airiness, flight, and stealth. 3. Writers have complained that Hermano was short-changed, but the choreography for the role of Caliban fit his character. It also highlighted Prospero's relationship to the different characters and to different aspects of himself. While Caliban was enslaved like the fairy Ariel, Caliban was the uncivilized occupant of a deserted island, occupied only by his witch mother, who was likely also an outcast. Therefore, his earth-bound movements contrasted with Ariel's airy phrases. Hermano performed difficult, although earth-bound, moves, with great athleticism, agility, and speed. He also portrayed the hairy, barbaric character without being grotesque or too overt. 4. The choreography not only demonstrated the difference between the airy slave and the earthy slave, but also provided insight into Prospero's differing treatment of his two slaves, and his own internal conflicts and feelings about himself. Caliban's kingdom was stolen like Prospero's was. Prospero was both victim and perpetrator of the theft of land and rights. Prospero was also someone connected to magical and spiritual powers of a witch, like Caliban's mother, and a fairy, like Ariel and the water fairies. He treatment of Caliban and his feelings about this side of himself are expressed through the Caliban's earth-bound choreography. Prospero left his book of magic to be destroyed, and like this side of Prospero, Caliban ripped up its pages. 5. Prospero was the character who lacked unique phrasing, not Caliban. His role seemed more like a character role, such as Aurora's father. At times, he appeared to be Moses or Noah. Marcello seemed wasted in this role, although he always demand the center of attention, which is appropriate for Prospero, and he partnered Sara beautifully. 6. Sara danced beautifully, with precision, airiness, and joy. She seemed so much more confident and at ease dancing with Marcello and Joseph Gorak here, than when she is paired with Daniil, in other ballets. Her character, however, seemed too much like Clara in the "Nutcracker", especially as she danced in her white nightgown. Miranda is ordered by her father to preserve her innocence until marriage, but she has been educated by her worldly and other-worldly father, who is king, spiritualist, intellectual, manipulator, and mastermind. She is not a child like Clara. 7. Joe is an elegant, princely dancer, who joyfully expressed his love for Miranda. This portion of the ballet could easily have been better developed. However, maybe Ratmansky wanted to avoid cliches and sentimentality. He also seemed determined to offer limited, nearly equal portions of time to make statements about each character and each segment of the plot. 8. As usual, Roman Zhurbin created a wonderful character in his portrayal of Alonso. The drinking scene with the servant and Caliban was well-crafted to provide comic relief and an expression of this side of these characters, without being excessive, as is often the case in ballets involving jesters. 9. Did Ratmansky imply that Prospero arranged for Ariel to influence the young lovers to fall in love? I did not derive that interpretation from the play. I thought that Prospero used the fairies to influence the other survivors of the shipwreck, but did not know that he masterminded the reconciliation of the deposed and deposing families through the use of fairy dust on his own daughter. 10. I don't recall Ariel becoming or being cross-dresser or hermaphrodite, or the devil, as suggested when Ariel appeared in the nightmare dressed in a red bodysuit with breasts and large wings. This presented an interesting comment on gender roles, particularly after viewing "Clear" earlier in the evening.
  8. Yes, but corruption, in the form of payment or taking of money, as I stated, does not explain "sufficiently" the punitive behavior toward the ballet and school, nor does it preclude the creation of a well-designed, useful building, suited to its purpose. It adds to costs and delays, and may cause moral, economic, and other types of harm, but it does not explain sufficiently the design of a nonfunctional building. If a builder did not use sufficiently safe material to permit the diversion of allocated money to his or someone else's pockets, then corruption would be a sufficient explanation (e.g., designing a smaller space, built with inferior or fewer materials, to permit skimming and diversion of budgeted monies for stronger, costlier materials). But if a building to house a school does not have classrooms, then corruption alone is not a sufficient explanation for the senseless design, although it is likely a factor. Likewise, the above claim that Gergiev favors the opera and treats ballet as a slave, does not sufficiently explain the intentional creation of a space that lacks studios to permit the training of dancers who are the cash cows whose slave labor funds the beloved opera. One must still build a barn to house the horses who draw the carriages, even if one does not adequately or completely feed the horses.
  9. I saw several people in casts and on crutches, which usually only happens during ski season. What is going on in New York City? Chase was so much more handsome last night, even more than when he wears makeup on stage, wasn't he? Janie and Sebastien were there in the afternoon, too. Seeing the eye tattoo up close made me wince with pain. (Especially since my dermatologist won't give me needed injections or laser treatment in the same area because she says it would hurt too much!) xoxo
  10. Saying he places no value on ballet seems too simplistic. He reviews the theatres' revenues. He understands cultural values in his community and in the various international communities with which he is involved. He is a politician and knows the economic and cultural values and desires of the artists, audience and politicians. One may surmise that he desires to use the ballet as a pawn, seeks to impose punishment, or wishes to demonstrate his power as a warning.
  11. Even with the "pocketing" , one could still have hired a decent architect to design functional space. Even with the desire to "rinse, repeat", one could always find (or create) the need for new expenditures for repairs, modifications, expansions, or redesigns. Therefore, corruption does not seem to explain this sufficiently.
  12. I saw the dress rehearsal yesterday of "Bach Partita", "Clear", and "Les Sylphides". The music for all three pieces was beautiful. "Partita": 1. Does the real performance include a set or backdrop? I don't have a ticket to see the full production. 2. The program states that the ballet is for 6 principals and 30 corps dancers. The rehearsal featured only 5 principals. Stella did not have a partner. Was this the case at night? At the end, she performed her arabesques low to the ground, while the 2 couples standing in line to her left (Paulina/James, Marcelo/Gillian) performed assisted high arabesques and leg lifts. 3. If Stella was partnered at the end, did she perform her other sections partnered, e.g., the sections where she looked like the Little Degas Dancer? 4. The program states that the dance is "performed to a pinnacle of solo violin repertoire, Bach's Partita No. 2 in D minor for solo piano," which includes the spiritually powerful Chaconne. Can a musician explain this? Is the music played in concert to piano, or piano and violin? 5. Twyla looked really cute and smooshed Marcelo's face for a long time. Giggles. "Clear" 1. Does the real performance include a set or backdrop? 2. The director stopped the performance to start again because of missed entrances and spacing problems. Then Sascha came back and mostly marked the piece. How one can give notes or corrections or remark on minor spacing corrections (which often seems to happen in rehearsals) if so much of the dancing is just marked? I always find this bizarre. 3. The costumes were dreadful and ill-fitting. Paloma is one of the thinner dancers, and the costume made her look heavy, even with her extremely well-toned midriff showing. 4. Most of the dancing seemed really unmusical, or unrelated to the music, although this seemed more to do with the choreography than the dancers. However, some small parts of the choreography really made certain portions of the music stand out in an interesting way, such as an interchange between instruments. The rest of the choreography seemed derivative or banal. "Les Sylphide" 1. Is the prelude to this music used in any other ballet? 2. The program states "music by Frederic Chopin, orchestrated by Benjamin Britten." What does that mean? 3. The sets were really dreary, in color and artwork. 4. I did not like this ballet when I saw it on DVD, but in person, I was nearly mesmerized. I am so lucky to have a ticket to see Veronika in it today. 5. The dancers require a lot more rehearsal. The corps did not seem like a well-coordinated, classical company. Foster lacked presence or magnetism. Seo and Boylston missed some moves. Lane was very loud, as was Seo, in parts. 6. Notwithstanding the criticism, this was beautiful to behold. These three ballets made sense together and I wonder why the mixed bills don't group them together other than in the rehearsal.
  13. An expression of remorse can be misinterpreted as an admission in court. However, Pavel should be saddened by the injury. This should suffice to show the juror he is not a cold hearted man and has sympathy and empathy. The strategy derives from his lawyer, presumably, to promote substantive and procedural goals. Pavel may wish to express clearly, succinctly, but briefly, compassion for the frail victim, the pain that he suffered, the loss to the theatre, and that that the dancers missed him generally. It would be appropriate to explore Sergei, as the victim, to determine the facts of the specific crime, its gravity. and their effect; Achieving this will likely involve Sergei (in person, by video in Germany, or simply through pictures and medical records), his assistant, his wife, his doctor, and experts in chemistry and medicine. Next, the defendants would set the stage for describing the tension between Sergei and Pavel. This would focus on the conflicting roles Pavel and Sergei held at the school, administration, and unions. Serge headed the school, but had a role with the union. As Union Rep., Pavel conferred with dancers, with Sergei, and with the union directors. At the same time, Pavel must tactfully bring to light the undue influence Sergei enjoyed and the animus of both Sergei and Pavel deriving from Pavel's union efforts to promote dancer's rights and pay.. Sergei and Pavel disagreed on issues that included dancers' training, unfair roll allocation and money allocation, paltry payment generally, and Sergei's express role in choosing inadequate but favored girls to dance inappropriate rolls. Identifying dancers as paramours, sometimes under pressure, fits this category. Pavel can explain how his hands became tied. He could have been put into a bind for himself or on behalf of anyone in need of his help. His impasses with Sergei would have left him with the need to explore options of how to deal with fundamental union questions, such as through hierarchy , or by communicating with more capable union reps. and experienced managers. This interaction likely involve an expression of a degree of desperation, if dancers complain of the need to trade favors for roles, or to be pimped out to patrons, or to face diminished roles for not participating. Bringing this up in this way should not be considered a smear campaign. Instead, it gives an idea of the mental state of the participants -rage over the sale of a young girl; helplessness in wrongful casting or in failing to earn enough, based on favoratism. These factors lead to to create a sense of desperation. This evidence would help chip away at the prosecutor's ability to establish that Pavel had the mental state needed to prove that Pavel acted with requisite intent. Instead, this evidence gives Pavel evidence to support his defense, in part, based on his frayed, confused, desperate, and fraying emotional state. His failure to purchase or modify or use the instruments of harm. which is corroborated by the co-defendants, help Pavel's position totally, The prosecution cannot establish key elements, and proof of intent, malice, or even knowledge become nonexistent. The crux of the case become reckless behavior, at most. . A lawyer may seek a defense of justification or emotional distress, describing an effort to protect dancers preyed upon, failed attempts to achieve any success through legitimate means, or frustration at the abdication of responsibility by those in power. If you knew that an AD brought a vulnerable, innocent to perform on a casting call, your sense of chivalry might lead you to defend the girl, and get a message across. This may be a valid defense under various laws.. Most importantly, It is not an effort solely to sling mud and discredit a respected and injured man, which would otherwise backfire against a sympathetic victim. Rather, it is a defense based on diminished mental capacity, and precludes a finding of malice. I have no idea what Nicholai Tisskaridze could add, except to bolster the defense, by reiterating that that Sergei managed improperly, by giving improper roles, studios, rehearsal times, and pay; by failing to protect the vulnerable from the vultures . As far as we know, Pavel lacked control over the other two co-defendants. He did not participate in creating acid. He did not own or work on the aciid, or throw it, and he was not in the car when it was thrown. Pavel cannot be shown to have asked his co-defendants for any more help than talk to Sergei to pressure Sergei into meeting to resolve problems. Smack talking does not equal evidence that Pavel directed the purchase of a dangerous chemical, ordered it to be modified, and directed it to be used in a dangerous manner, on dangerous part of the body. The facts that about Sergei's behavior were unfortunate, but don't seem mentioned solely for salacious purposes or to discredit the victim. The seem factors in establishing the fight between the parties, the basis for the fight, and where the state can prove various mental capacities, or the defendants can raise affirmative defenses based on his position and mental capacity.
  14. Is the Bolshoi SB film broadcast announced in yesterday's link the same performance previously shown in movie theatres, starring Svet. Z. and David Hallberg or a new one in HD?
  15. I saw it last night and, even though I have always been curious about what Bourne does, I was mostly disappointed. If you never liked Bourne's ballets, I'd say, skip this one. I saw the Bourne SB tonight. I found the production entertaining, but did not find the dancing attractive or interesting. It reminded me of teenage amateur modern dance recitals. I have little experience with contemporary ballet or modern dance. Is the dancing in SB representative of contemporary ballet or modern dance in content, style, or quality? Based on tonight's SB, I wonder whether contemporary dancers ever straighten a knee, finger, or elbow, point a foot, lift a leg to 90 degrees in arabesque, achieve any elevation in a jump, or turn with a leg more than slightly lifted off the floor. I feel like I am missing something.
  16. I could barely see from my angle, even when the portraits digitally changed. Were they blurry from other angles before the changes? What was Cinderella's mother's name on her grave - Amelie __ __?
  17. I did not mean to suggest this, but I was surprised by how many people must have left, given that the Lincoln Center packed parking lot was unusually full when I arrived, and half empty immediately after the third act when I rushed out. However, the parking lot serves other Lincoln Center performances, not just the Koch Theatre. I probably should not have said anything about it :<
  18. Are you saying that if one does not have a positive review of a choreographer or his work, it means that the audience lacks commitment? The audience does not control the choreographer's creativity, ideas, viewpoint, choice of subject matter, taste, choice of words or vocabulary, or manner of expression. Nor can the audience generally take credit for a choreographer's success, either. The newspaper and blog reviews seem more positive than negative. The reviews on this board seem positive, too. Are you referring to any specific reviews beyond this board when you say that a "certain (large?) proportion of the audience doesn't think much of the choreography?" I did not see Liang's work, so I cannot comment.
  19. Ironically, while all the reviews I have read disliked or dismissed this part of the evening, I loved it--perhaps because I went to this program after all primarily as a ballet fan and to see Sara Mearns. Fairy's Kiss was more of a real ballet than the puppet/video event that accompanied Petrushka, though a ballet miniature. It was also an amazing tour de force for Mearns. She is on stage almost the entire ballet, dancing for most of it--occasionally with support from male or female partners, notably Amar Ramasar, but basically carrying the entire work. The choreography by Karole Armitage was deft, though I agree with criticism that the different stages of the story were not always clearly articulated. And, though with Mearns as my guide, I was somewhat entertained by the toy-like props, I was mostly indifferent to a lot of the stage and video business, making me I guess NOT the target audience for this work. I was amused by the video image of a stage prop cheese wheel (which I took to be an allegory of midwestern wholesomeness) transforming into a full moon (an allegory, let's say, of artistic madness). .. If I were to see the whole performance again, then perhaps I would be able to tease out more from the event as a totality and find things in both sections that I missed this go round. But I certainly don't regret having had the chance to see Mearns showcased by Armitage in such splendid fashion. Armitage's choreography seemed repetitive, insufficiently expressive, and confused. That she put Sara at the center of the production, I cannot disagree. I did not think that sufficed, however.
  20. I've only read positive reviews of the Petrushka (three of them now))--I'm afraid I did not really share the overall positive reaction and it's possible i just didn't "get it." Diaghilev smiling? Maybe, but I found myself thinking that Stravinsky, Fokine, Benois and Diaghilev, too, might be pretty pissed off. ..)The main story action was carried by tiny, barely visible puppets (mostly paper cut outs) and children's toys doubled by their huge video image above the orchestra and human performers in the role of the puppets. (I gather there were inside jokes I missed entirely such as having well-known singers play "mime" roles on video...) The story, by the by, was -- as best I could tell -- exactly the same as for the ballet libretto, but rendered as a sort of child's fantasy (toys, miniatures, cut outs) come to life. I assume that should have been "come to unexpectedly dark life" -- but the darkness was lost in all the goofing around. And with bits of audience participation it was a "fun" audience experience to get people more involved in the music. A painless Petrushka. I walked out very saddened and disturbed. I did not think the puppet did not suffer. I thought the seduced dancer suffered, too. Although, I agree, the audience seemed to be laughing and joyful. I interpreted the "goofiness" or lightness onstage as a foil or distraction. I did not think the experience was "fun". A
  21. On Saturday night, the theatre was packed, but a lot of people left early. I rushed out right after the at the end of the third act, because I feared problems getting out of the congested parking lot, but it was half empty when I got there, and the attendant confirmed that many people left early. Oddly, there were no curtain calls. I thought YYT deserved one. Her dancing is unique. She generally does not take steps, but rather, flows. Her lifts demonstrate true flight, without hesitation or weight. In total, I saw four ballets from this company. None left me with any hint of emotion. Much of the choreography lacked impact or emotional significance. Even Cinderella did not truly express suffering or evoke pathos. She had a smile on her face most of the time. The dancers were talented and interesting, but I was not moved. The production values of Cinderella, though, excelled. The audience was awed by the puppetry and the development of the coach that took Cinderella to the ball. Wendy Whelan was in the audience, on crutches. I guess that is why she did not dance this Fall.
  22. The only version of "Cinderella" that I have seen is the Nureyev version, and I was hesitating to go see SFB's version, because I found Nureyev's version so difficult to sit through. I also did not see any $25 seats available in the 4th ring yet for Sat. night. Is Wheeldon's version much different? I would want to see Yuan Yuan Tan if I went. I was also thinking of seeing "Sleeping Beauty" at City Center, although I have not enjoyed Matthew Bourne's choreography in the past. Does anyone recommend it? [Admin note: to discuss the Boure "Sleeping Beauty," please go to this thread: http://balletalert.invisionzone.com/index.php?/topic/36918-matthew-bournes-sleeping-beauty-fall-engagement-at-city-center/?p=328704
  23. Another topic on this board talks about the universality of body movements. I am interested in other people's interpretation of McGregor's choreographed movements, and similar movements of modern ballet choreography, particularly of the arms. I withhold my interpretation at this point to avoid influencing any response.
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