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nanushka

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About nanushka

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    avid balletgoer
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    New York
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    NY

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  1. nanushka

    Macaulay on ABT 2018 Met season

    There's a final post-season article by Macaulay on Boylston and Teuscher, along with some (mostly rehashed) remarks on the company more broadly. I've avoided Boylston for awhile, but based on reports from this spring here on BA I hope to see her at least a few times next year.
  2. nanushka

    NYCB 2018 Summer Season

    The reports above seemed to suggest that Jones was Wednesday night, while Woodward was Tuesday night — as they were originally cast. (FPF was reporting on Tuesday.) Were those incorrect?
  3. nanushka

    Cats in Charge

    My favorite IG dancer cat was always Gillian’s gorgeous fellow redhead Selah. (Forgive the overindulgent posting of pics!)
  4. nanushka

    La Bayadere -- Los Angeles 2018

    Also, it’s substantial dancing in 4 of the 5 major scenes, including 2 major multi-movement PDDs.
  5. nanushka

    La Bayadere -- Los Angeles 2018

    I’m not sure it’s a matter of running out of gas — rather, I don’t think of Hoven as a dancer who’s ever been noteworthy for his stamina in particular, and at 32 Solor is probably not the best test of what he can do with a full-length. I could imagine him succeeding quite well with Siegfried.
  6. nanushka

    La Bayadere -- Los Angeles 2018

    In principle I agree, though I also wonder if Solor is really the right role for either Forster or Hoven to show what he can do in a full-length lead. I wonder if Hoven, in particular, has the stamina at this point. It's a long role, with a lot of dancing. In any case, at least based on the Met reports, it sounds like Ahn managed quite well?
  7. nanushka

    La Bayadere -- Los Angeles 2018

    Isn't that what they were doing by casting Joo Won Ahn? He, like Forster and Hoven, is a company member. In fact, no imports were used at all in L.A. (That said, I completely agree that the latter two should be given more opportunities.)
  8. nanushka

    Chase Johnsey leaves Trocks; Joins ENB

    Thanks, canbelto. I think the title caused some confusion at various points throughout this discussion, for those who maybe hadn't carefully enough read the linked articles. (I hope my pointing that out at times didn't seem like dead-horse beating!)
  9. nanushka

    ABT 2018 Whipped Cream

    If I recall correctly, I think it may be before he gets the crown (and even perhaps before his final big jumping solo). The pasty chef comes on again and gives him the bowl that he'd been whipping back in Act I.
  10. nanushka

    ABT 2018 Whipped Cream

    A real highlight, especially as performed by Simkin, when he ends up sticking his whole face right in the bowl!
  11. nanushka

    Macaulay on ABT 2018 Met season

    I think I'm with @Ashton Fan in suspecting that Macaulay's criticism is less a response to the great diversity and scope of Petipa's oeuvre (though the Balanchine comparison is certainly apt) and more a response to the diversity of provenances of the Petipa and "after Petipa" productions in the ABT repertoire. I just question whether that diversity is itself in fact inherently problematic. (Whether any individual production is or is not good, or is or is not true to Petipa, is yet another question, and one that I know Macaulay has some strong opinions on as well.)
  12. nanushka

    Macaulay on ABT 2018 Met season

    That’s very much how I read it as well. But since Macaulay typically lacks the space, initiative and/or ability to fully support many of his claims (such as the one I highlighted above: “But these different views seem to make Petipa have multiple personality disorder”), I wondered if anyone here might be able to do so! (Though his claims often don’t convince me, I’m willing to consider that they may have validity.)
  13. nanushka

    Macaulay on ABT 2018 Met season

    Thanks for your thoughts, Ashton Fan. I guess I wonder whether and why this is really "a problem which has to be faced," or whether this is just the basic reality of what it means to have, at the center of the classical repertoire, a choreographer who stopped working over a century ago, at a time when modern archival capabilities were not yet in existence, in an art form that is typically dependent upon person-to-person (rather than textual) transmission. And if it is a problem, then what would it really mean to "face" it? Should ABT's first priority necessarily be to maintain the Petipa legacy as a legacy, by, for instance, working immediately to ensure that all of its productions are Ratmansky-style archive-based reconstructions? Is it really a problem for a company to have different productions represent different sorts of relationships to their Petipa originals? Why precisely, does the irreconcilable need to be reconciled by a company such as ABT? (To be clear, I'm not saying that it's not a problem or that it doesn't need to be reconciled — rather, just raising these as questions.)
  14. nanushka

    ABT 2018 Whipped Cream

    As it is a fantasy (even if one the boy never emerges from, within the scope of the narrative — which doesn't necessarily mean we must think that he never emerges from it), the rules of reality needn't apply. In any case, the boy is given a big bowl of (inanimate) whipped cream at the end, so clearly within this particular fantasy there are both personified treats to interact with and non-personified treats to eat.
  15. nanushka

    ABT 2018 Whipped Cream

    I really appreciated reading your insights, @Drew — and I agree with pretty much every one of your assessments.
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