Jump to content


Senior Member
  • Content count

  • Joined

  • Last visited

About pherank

  • Rank
    Sapphire Circle

Registration Profile Information

  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    fan, balletgoer
  • City**
    San Francisco/San Diego
  • State (US only)**, Country (Outside US only)**

Recent Profile Visitors

3,465 profile views
  1. Costumer Terry Dresbach (Outlander) talks about the issues with costume design for historical dramas: https://www.terrydresbach.com/modern-history/ "There is an ongoing discussion about historically accurate Costume Design onscreen and what audience taste is for history. It is VERY interesting to reflect on having just finished doing the French Court for television after creating 18th century Scotland for Season One. There is a reason that until just very recently there were not a lot of period pieces on television, with the exceptions of very small and contained BBC Dramas. It is an enormous endeavour and something that American studios and networks had no real experience with. Hollywood is a town driven by fear. Fear of risk, ultimately. And doing giant period pieces is most definitely a risk." "...So you end up making history look modern. Everyone is in leather, or the latest runway fashion is tweaked into an interpretation of history. Eventually it becomes the norm, and then becomes a source of creative pride for directors and producers, who put out brave statements to the press about how incredibly creative and innovatively they are choosing to interpret history." I'm often rubbed the wrong way by the amount of license taken by film/TV designers when creating clothes that are supposed to be period accurate. They mostly end up looking like they've been reinterpreted to appeal to modern audiences. Which doesn't have much to do with historical accuracy. And it's amazing how all the characters manage to keep their clothing immaculately clean, day after day. 😉 Dresbach's online archive is full of great photos of her many costumes: https://www.terrydresbach.com/category/outlander/costume-design/
  2. pherank

    Life after Pina?

    Obviously if the company board doesn't trust the A.D.'s vision, there's going to be big trouble. But the weird part here is that Binder seems to have followed the job description and succeeded publicly, but the administrative director, Dirk Hesse, didn't like her decisions. And so they've both been let go. Is that because neither one behaved professionally in their dealings with each other?
  3. pherank

    Next season announced (Atlanta)

    Yeah, they really should update the AB website to make it clear about the performance dates. 😉 I know Nedvigin has performed in Balanchine's Tchaikovsky Pas de Deux at SFB. Perhaps that's one of his favorites of the Mr. B. short works (and it doesn't require lots of dancers to perform).
  4. pherank

    David Hallberg

    Very nice video. Yes, it is a shame that we aren't able to see nearly as much at-the-performance video here in the West.
  5. pherank

    Maria Kochetkova

    Masha dancing the "Lolita" portion of Possokhov's Swimmer with Sebastien Kloborg - music by Tom Waits: https://www.youtube.com/watch?v=kTwPr5FpF8Q
  6. pherank

    Summer 2018 Performances

    SFB has posted a page titled "The Dancers Are Back" to the SFB website (with info about what the dancers did on their time off): https://www.sfballet.org/explore/articles/The-Dancers-Are-Back
  7. pherank

    Peter Martins Retired; Succession Discussion

    Sounds like you are saying, "that's the way it is done at NYCB, but that's not the ideal approach". And if that is the case, I would agree. I would have to guess that the 'dancers coaching other dancers' approach simply came about due to the enormity of the NYCB repertoire and the number of performances per year, and of course the lack of Ballet Masters and répétiteurs to go around. Regarding the "interim" A.D. staff - I wonder how many changes/ fixes they have in the works? Or are they just coasting along?
  8. pherank

    Peter Martins Retired; Succession Discussion

    Regarding SAB staff, I was thinking only in the larger sense of carrying the legacy forward - not that they would be teaching company members the older ballets. "Dancers have always coached other dancers at NYCB, passing down roles and teaching them to last-minute replacements, right up to curtain. It's part of the Company legacy and is nothing new." - that of course makes Peck's statements unremarkable. What is interesting to me, is how this relates to accusations of "lax standards" during a good part of the Martins era. That would mean company principals should shoulder more of the blame.
  9. pherank

    Peter Martins Retired; Succession Discussion

    I read this article last night, but I came away from it thinking she's sounds very young. ;) Which is fine, and since she's had few things standing in her way, her confidence level is high. This statement seems to pretty much sum up her general state of mind: “I feel like this is my time,” she said. “I had to wait for things and people can wait for things, too.” But I don't think it's necessarily accurate to imply that only the principal dancers are teaching the younger dancers and carrying "these ballet forward". This kind of comment just makes it sound like the vast managerial staff is hibernating in some closet on the 3rd floor until the return of the patriarchal leader. I don't think that's right. What happened to all the Ballet Masters/Mistress? The SAB teachers and guest teachers? Peck's focus seems very narrow to me. And as for running a company - to do that successfully is not an easy task. Enthusiasm alone doesn't guarantee much.
  10. pherank

    Maria Kochetkova

    Masha dancing Flames of Paris with her SFB-mate Angelo Greco (Roberto Bolle and Friends show at the Teatro Carlo Felice) https://www.instagram.com/p/BlOlTgkhsNe/?taken-by=balletrusse Angelo was supposed to be back in class at SFB as of last Tuesday...hurry back!
  11. pherank

    Summer 2018 Performances

    Good news: Mathilde Froustey mentioned that she will be dancing with Jospeh Walsh at the Napa Festival, so Joe is apparently cleared to perform. Fingers crossed the dancers can remain injury free for the rest of the year. https://www.instagram.com/p/BlJUuzknu8a/?taken-by=lapetitefrench_ And from Lauren Strongin: https://www.instagram.com/p/BlHQnpWAYyA/?taken-by=lcstrongin
  12. pherank

    Keeping Up With SFB Veterans

    I guess I should record for posterity that Maria Kochetkova has left SFB to freelance, join the Norwegian National Ballet for some of the 2018/2019 season (coincidentally, she'll be dancing Manon, which Robison will be missing out on), and is still likely, imo, to join Daniil Simkin at Staatsballett Berlin after that. Masha just posted to Instagram from the City Dance Studios* in San Francisco: "Californian warm up. So nice to be in SF for a few days after visiting 8 countries and traveling non stop in the last two months. Back on the road tomorrow" https://www.instagram.com/p/BlCBJp3hXnO/?taken-by=balletrusse *City Dance Studios is being pushed out of their home on Otis Street to make way for luxury condos. A now typical story. It's no longer crazy to think that Hunter's Point will become 'gentrified' one day.
  13. And yet, it's possible Robison may still "guest" on an ENB program - just as he did for SFB last year. So you may get lucky.
  14. pherank

    Keeping Up With SFB Veterans

    That's the kind of update we really like to hear. 😉
  15. All I can say is, that's weird. He seemed to be happier with ENB's schedule which allows enough time before each program to rehearse roles. The SFB dancers need to do 80 to 90 percent of their rehearsing in the summer/fall months, because when the season hits, it's just one program after another. Robison also complained about the near impossibility of finding affordable housing in SF, and that's not going to change.