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


Senior Member
  • Posts

  • Joined

  • Last visited

About nanushka

Registration Profile Information

  • 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)**

Recent Profile Visitors

4,729 profile views
  1. Right, but it was over 8 years ago (Feb 2013) that King and Pazcoguin were promoted to soloist.
  2. Interestingly, her Martins voice sounds (to me) not at all convincing or even successfully mocking. She’s a very good reader but doesn’t seem to have a voice for impressions. I also don’t much like the cover, though it fits the persona in its “rogue” way. The book doesn’t seem too gossipy so far. (I’m only a quarter through.) There’s enough substance throughout to keep me, at least, engaged.
  3. I suppose it's possible she just doesn't agree with that assessment of Nutcracker as a masterpiece, or just doesn't experience it in that way. She does make a point early on of praising certain specific works (e.g. a highly appreciative description of Concerto Barocco, in the context of discussing the challenges of corps dancing), so she's apparently not immune to their pleasures. Listening to the book, I've been wondering if the frequent profanity comes across differently in print. On audio, it contributes to conversational voice, though it does at times seem a bit lazy or uninventive. I don't have a particular problem with it, though: language is language. (I don't view profanity as any more "foul" than any other language — except, perhaps, when it involves interpersonal slurs.) Again, I guess it's a matter of what one turns to particular books hoping to find. For me, the primary appeal of a dancer memoir is not in its prose style; if the prose gives pleasure, that's a bonus. I'm reading the book for the candid insights about a dancer's experience.
  4. I agree. And it’s well past time for the unvaccinated to start carrying more of the burden of the consequences of their choices, which have brought us to this point. New variants will continue to emerge as long as there isn’t a larger proportion of the population vaccinated.
  5. Yes, I adored the Disney+ show On Pointe but it’s true that, at least to my sense, the duo who played the child leads were not Broadway quality for their age. Their training had not primarily prepared them for acting/miming roles.
  6. Yeah, I read dancers’ memoirs for candid reflections on a dancer’s life experience. If that includes some complaints about experiences that, from an audience member’s very different perspective, I cherish — well, I’m not going to get annoyed. That’s part of the deal. It’s showbiz. ”It’s their job.” Well, I complain about my job too.
  7. Right, because vaccinated people are less likely to have those spreadable infections in the first place. I’d be all in favor of a mask mandate even if they don’t do much to enforce it. (I wouldn’t want enforcement to disrupt performances, for instance.) In a non-socially distanced theater it doesn’t seem like a bad idea; I personally don’t mind wearing a mask, and have found ones that are comfortable; and a mandate would at least establish a baseline social norm. Again, compared to no intermissions, it would at least make reasonable sense (to me).
  8. In terms of public policy, though, the goal is not typically to wholly eliminate risk (or, conversely, to ensure absolute safety); the goal is to, within reason, minimize risk. A vaccine mandate for those over 12 would be a definite step in that direction — more clearly than, for instance, not having intermissions.
  9. I purchased the audio book and am a few chapters in, enjoying it so far. Pazcoguin narrates it herself and has a nice voice for it. I look forward to getting further in during the coming days.
  10. You should have gotten an email on Monday. (Mine arrived a little after noon and showed up in my Gmail "Promotions" folder.) There's a link there that will take you to the ordering pages; you'll also need to make sure you're signed in on their site. It's possible that just logging in will be enough, without the link. And phone orders can be placed at 212-496-0600.
  11. And Shevchenko was cast as Giselle for the 2020 Met season, wasn’t she? With all the newly promoted principals, I hope they’ll cast broadly for this run.
  12. I was really hoping they'd do Giselle! So happy we don't have to wait until May to see a good old-fashioned ABT full-length, and it will be great to see one in that theater!
  13. How many people "loyal to the entity...for decades" are likely to be sufficiently "put off" by the change that they drop that loyalty? (By no longer donating? Sure, maybe a few, I guess. By no longer attending? Even fewer, I think.)
  14. Not at all, thanks! You mentioned it was a premiere, so I was just curious if you knew which. I completely agree there's nothing implausible about the details in (what we currently have of) Pazcoguin's account.
  15. There are apparently policy tradeoffs, though. I think it's reasonable to say (as I do) that I wish companies such as NYCB would require audience members to be vaccinated (with the exception of children who can't be), and then let us have regular intermissions, etc. so we can enjoy performances more like we used to. One can express an opinion about policy matters without getting stressed out about it. The very sad fact of the matter is we are still quite needlessly not past this pandemic because far too many people have chosen not to “follow the science” and get vaccinated — not just for themselves, but for the benefit of all.
  • Create New...