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About kylara7

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    fan, dancer, balletgoer
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  1. I placed a hyperlink to her bio/webpage when I wrote the original post, and the interview addresses her personal connection.
  2. I was delighted to find that writer/journalist Chloe Angyal has written a book on the current state of ballet (due out in spring 2021) and has started doing interviews. Her first was with ABC radio (Australia's version of NPR or CBC radio). After a short chit-chat with the host about her mandatory 2-week hotel quarantine after returning to Australia from the US, she gave a succinct summary of how the current state of ballet (and the arts in general) is clashing with the COVID-19 pandemic and Black Lives Matter movement, revealing the deep issues in the underlying systems and woven into the lar
  3. I've been watching/listening to many of these podcasts too! I really like the casual "chat between friends" aspect of each episode...it gives a peek at another more personal side of the guests and many humorous moments
  4. I thought this op-ed by Theresa Ruth Howard in Dance Magazine was very good and summarized many of the calls for actions on racism that are going around in the arts: https://www.dancemagazine.com/dance-companies-black-lives-matter-2646141415.html
  5. I watched the initial videos that Nicolas Rose posted and have followed most of the ensuing videos and discussions that are ongoing, mostly thanks to a younger extended family member who is more plugged into the social media scene. Rose was one of many Black voices in the arts calling out for "less talk and more action" when it comes to the pain felt by so many after the tragic killing of George Floyd--and linking it to the overarching problems of a lack of valuation, representation and opportunities for Black people in many aspects of their lives. I felt that Rose was eloquent in honest
  6. I came back here to recommend this production all over again! I revisited it recently and found the Nutcracker portion to be a perfect pandemic watch (I skipped the opera again). I felt that the familiarity of the Nutcracker score and the oddness/darkness of this production mirrored the decontextualized aspect of life during the pandemic/under quarantine...the coexistence of the familiar and mundane in our suddenly more constrained and quotidian "home life and work" routine and the infinite strangeness and vaguely threatening swirl of the pandemic and world events raging just outside and al
  7. On the positive side of this issue, organizations like Final Bow For Yellowface and the companies that work with them are changing their approaches to motifs in ballet that have not aged well, with support and input by art and ballet historians and cultural experts. Linked below is recent example posted on Ballet West's social media. I really like their phrasing of "moving from caricature to character". Seems like a well thought-out and much needed effort.
  8. I've set a calendar reminder for myself so that I can watch the archived versions of the main streams (Australian Ballet, Bolshoi Ballet, and Royal Ballet) within the 30-day period that they are up on YouTube. I wasn't able to watch on the actual day, and I'm increasingly unwilling to search out the mishmash of individual streams and their locations. The YouTube streaming quality is still so much better than the "Facebook live" version, which is not reliable. Watching the company classes and rehearsals is my favourite part. I could do without the cheesy commentary and marketing bits, but I
  9. I've never see The Fog, but now I'm going to seek it out based on this discussion I noticed that TCM Canada (no commercials!) has a bunch of classic "horror" films lined up for the week of Halloween. I really like those black-and-white Boris Karloff/Bela Lugosi/Vincent Price films at any time of the year, but especially in October.
  10. My general reaction is “meh.” I’m pretty checked out with respect to NBoC, and my personal thoughts/reflections on the company and its leadership problems are documented on other past threads. I always perceived “AD Karen Kain” more as a useful figurehead than a dynamic leader, and the company programming during her tenure has been average to dismal. “Dancer Karen Kain” is a beloved figure in Canadian arts history, and the company has certainly leveraged lingering nostalgia for the golden age of ballet and Kain’s dancing career in their marketing and fundraising. It remains to be see
  11. Congratulations! I'm bookmarking for tomorrow's reading
  12. I appreciate your post-performance thoughts and impressions, Dreamer, especially as you saw such a range of Auroras...I'm envious! Your descriptions of them filled in my impressions of Rausch, Biasucci, and Generosa from what I've been able to glean from PNB's video clips and rehearsal streams. What a wonderful ballet buffet
  13. Honestly, I feel that it’s a better season than I expected, given the last couple…I’m very interested in the new Pite, Etudes/Piano Concerto/Petite Mort, and Marguerite and Armand. I could do without yet another round of Chroma and Romeo and Juliet, personally. I’d love to see Balanchine’s Chaconne, but not not in that program. Giselle I could take or leave at this point. I’m glad that Nutcracker is the one and only “kid and family” show. My feelings about the questionable nepotism situation and the Binet work are well documented in other threads, and unfortunately, this announcement fur
  14. I wish I could have seen a performance...thank you to all for your descriptions and impressions! I watched several of the online clips and the rehearsal stream, and it strikes me that PNB seems to have quite a wealth of highly talented and very different dancers and that Peter Boal is encouraging a healthy working atmosphere with room for individual development. Personally, I like the different "looks" and the athleticism of the dancers.
  15. miliosr, Thank you so much for your program notes on this performance. I'm late to the party, but I was down with a winter virus last week and finally watched Iolanta/The Nutcracker whilst recovering. I have to admit that I fast-forwarded through much of Iolanta because I was much more interested in the dancing, but I enjoyed this version of The Nutcracker more than I expected to. Maybe part of it is just a welcome change of pace from yet another traditional Nutcracker--and far enough into the calendar from the Christmas holidays--but I was intrigued by the staging and the choreography, odd as
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