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Stage Right

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Everything posted by Stage Right

  1. Thanks, kbarber, for clarifying that. I didn't realize it was a new production live, and it makes good sense to cancel that.
  2. I am not quite sure what the rationale behind this cancellation is? Does it somehow protest the acid attack? Honor Sergei Filin? And if so, how? I think that it would be better to show the film, show the immense talent and artistry of the Bolshoi ballet, accentuate the positive. But I am sure others have other opinions.
  3. Really enjoyed the segment on Margot Fonteyn--thank you.
  4. I just found this thread! I just finished reading her autobiography, and was absolutely fascinated and moved by it (and she's a good writer too). I wanted even more when I turned the last page, so came online to look, and found this thread, among other things. I don't think I was yet reading Ballet Alert when these were posted. I want to thank you all for these observations, and especially leonid for the lovely recounting of her memorial service. She certainly deserved all of the applause. I, too, found her to be one of the most fascinating people in the Ballet Russes documentary. R.I.P., Irina
  5. Wow! After reading all these comments, I no longer feel disappointed that I missed this film when it came to my area!
  6. Many years ago when I was studying at the Royal Winnipeg Ballet School, I occasionally saw Evelyn Hart, then a very young company member (or she may even have been still an apprentice or student), in the changing rooms. I envied her her long legs and beautiful physique for a dancer! I lost track of her when I returned to the States, except of course that I knew she'd become a star of the company. It was lovely to watch this and to see how thoroughly she fulfilled her artistic promise!
  7. I'm so very happy that this was at the Detroit Opera House!! I grew up in Detroit in the 50s/60s, when major US and International ballet companies regularly came to Detroit, and as a child I was incredibly fortunate that my mother took me to see the Kirov, the Bolshoi, the Royal Ballet and Royal Danish Ballet, ABT, and national Ballet of Canada (oddly, I'm not sure NYCB ever came). But it has been very rough times for Detroit lately, and I'm so glad that NYCB Moves performed there. The Detroit Opera House is beautiful, too.
  8. And also, I loved watching Shaun O'Brien of NYCB. here's a link to his Obit in the NY Times from last February: http://www.nytimes.com/2012/02/28/arts/dance/shaun-obrien-86-new-york-city-ballet-dancer.html I saw him as Dr. Coppelius in Coppelia, and as Drosselmeyer in Nutcracker: great in both.
  9. I want to put in a word for my character dance teacher when I was a ballet student at Indiana University: Jurgen Pagels. He was an excellent character dance teacher (as well as ballet); wonderful to watch. He is the author of "Character Dance", and more recently, "Class Variations in Classical Ballet: 100 different classes for the advanced student, professional dancer and teacher". He performed at several Opera Houses in Germany, Ballet Legat in England, Ballet Etoile in Paris, and the Yugoslav National Ballet. He was also an expert on many of the different methods and syllabi of classical ballet, and worked closely with Margot Fonteyn. I felt privileged to have been taught by him! He passed away about two years ago, I believe. I'm editing this a couple of hours later. As I reread the first posts, I realized that they are talking about great character dancers as in those dancers who excel at parts that require excellent acting skills as well as movement/dance, whereas in this post I'm thinking of a dancer/teacher who excelled at the dances in classical ballets that come out of the traditions of national dances of various--usually European--countries, commonly called "character dances". I apologize if this post is off-topic!
  10. It is indeed "cheerful information"! It would be such a loss if the Tudor legacy disappeared. He is more subtle than most choreographers, and that is a challenge for the dancers and the viewers alike (and for the companies that present his work), but so worth it when they meet that challenge.
  11. I love that ballet!! And also haven't seen it in a while. It seems to me that it would always be appropriate in the repertoire.....it's rather timeless, as a piece of Americana.
  12. Good heavens....I clicked on this link and the photo there looks like she's dead! Definitely a coffin theme there.....
  13. I don't know if it's OK to post this, seeing as he wasn't a ballet person, but I thought he was well-known enough in the dance world that some might be interested here: http://www.publishersweekly.com/pw/by-topic/authors/obituaries/article/53602-obituary-remy-charlip-.html
  14. I was fortunate enough to see one of her early performances with Baryshnikov in Canada, as well as a few later performances--there was no one quite like her. I agree with the comments above about her two books. I wish she would write another book! She must have many more interesting things to say about the art and her experiences since she was a performer.
  15. I didn't get anything at all when i clicked 'Surprise Me'. But I'm glad that your brother wrote this book, Gina. A hopeful tale for these recessionary times!
  16. Oh, please no Olympic status for ballet!!!!!
  17. Oops! thinking of Megan Fairchild! In my mind, she morphed into Morgan Fairchild.
  18. Do you mean Morgan Fairchild? What happened to her?
  19. I was fortunate enough to see Svetlana Beriosova perform in my youth. I was very impressed, and thought she was one of the most beautiful ballerinas I had seen (and I'd seen a few by then, as my mother was a real balletomane. Thanks for this photo.
  20. Thanks, bart, that was a really nice video clip! It gave me a thought: maybe sometimes when ballet performances have those "pre-show" lecture-demos, they should include a segment that explains and decodes some of the mime that may be coming up in the following performance. Help educate the audience to appreciate and understand that aspect.
  21. My opinion of mime has undergone a gradual revolution during my life. When I was performing as a ballet dancer, I wasn't all that enthusiastic about mime when I was in the audience--I was much more interested in what the dancers could DO, how good I thought their technique was, and whether their expression and artistry carried me away. Paradoxically, I enjoyed actually performing mime! Now, as a former dancer, I have a much greater appreciation of watching mime performed. It is an art of its own, and to see someone who really understands what they are "saying" and doing with the mime is a real pleasure. Having said that, some years ago I saw the Royal Danish Ballet perform the complete Napoli. There was so much mime, especially, as I recall, in the first act, that I did begin to become a bit bored and long to see some dancing....which did come along later, thank goodness.
  22. Well here's something so small that I don't even think you can call it a 'step': The first ballet I ever saw was The Sleeping Beauty when I was four years old. I'm not even sure who the company was that I saw (this is more than 50 years ago!). My mother says that I sat still, entranced throughout the production (and I later became a ballet dancer and teacher). But what I remember being impressed by in the production was how the lead dancer could stay so still during the scene where she goes to sleep--I, as an active four-year-old, couldn't imagine that! I'm sure that dancer could not have imagined any audience member being impressed with her immobility after all the hard work she'd put into her dancing.
  23. I agree, Bart--I hardly recognize her, although she looks beautiful.
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