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I noticed that Angelo Greco's name was misspelled above ("Graco"). He's the dynamo trained at the Teatro alla Scala. It's interesting that Mathilde Froustey will be dancing in Scotch Symphony - that's got to be a new role for her.

"do we believe women" was one of those points that I stumbled over - I suppose that was Nagashima's attempt to "watch ballet through a #MeToo lens", but it seems too large a question, and just doesn't fit the particular ballet examples well, imo. I like your restatements of the concept. It's entirely possible that the Robbins Foundation didn't have many other choices (when sifting through film archives), and the scene with Martins best illustrated something about how Robbins worked. But it's true that Martins is currently a lightning rod for controversy, so it was a problematic choice. To follow Nagashima's lead, if more context and explanation had been provided then the scene might have been rendered less controversial for at least some.

Sasha De Sola has posted an excerpt from the short film Sirens Tango (which is premiering at the SF Dance Film Festival), and starring, not surprisingly, De Sola, and Luke Ingham as well as some other SFB dancers. https://www.instagram.com/p/BoU7OmJFcBm/?taken-by=sashadesola

I don't actually see Fancy Free as being less overt than RAkU - it just happens to be depicting behavior that is different (though arguably related). For me, Nagashima's key statements were: ▪ "PNB’s programming has felt out of touch with changing cultural mores" ▪ "But the choreography speaks to the time and culture when Robbins was creating." ▪ "Presenting a ballet that depicts sexual assault isn’t progressive. Building the context and the conversation around it to show why it’s problematic might be." ▪ "More context would only enrich viewers’ experiences and make ballet more relevant today." Essentially, she seems to be saying that PNB is out-of-step with changing cultural mores because they are not creating enough context and discussion to go with the works presented. 'Context and conversation would make ballet more relevant'. I don't have an issue with adding some context and discussion to ballet presentations - many people would welcome those educational opportunities. However, I've argued elsewhere that the main role of art is not to be merely 'relevant', and topical - that's an example of the artistic process and artistic works being forced into the service of other causes and other agendas (political, social, etc.) The fact that art CAN make political commentary, for example, should not in any way mean that art MUST make political commentary (or risk being slighted as worthless). Are the stage arts just different, and require a different relationship to the viewing public? I haven't formulated my own opinion on that one. Most of the article is well written, though I stumbled over a few points such as: "We’re supposed to sympathize with this cigar-smoking schmuck of a husband as he sneaks around literally trying to stab his wife." No, sorry. I've never gotten that we are supposed to be 'sympathetic' to the cigar-smoking man, or any of the characters for that matter - they are played as vaudeville caricatures. I'm reminded of stage performances like Punch and Judy (an incredibly violent children's puppet show). [And on RAkU] "Unfortunately, with its overdone spectacle and grotesque depictions, it felt more like glorification than condemnation." >> This is a whole vast subject to itself, but Nagashima seems to imply that a ballet like RAkU should be ABOUT the condemnation of rape (the work should take a side). RAkU references other themes such as the individual vs society and male/female relationships in 'classical' Japan (which could also reflect upon modern society), but presumably for Nagashima, those themes get lost when one is presented with a dramatized rape (or dramatized physical assault of some kind). For me, RAkU at once reminds me (not surprisingly) of the many Japanese films I've watched over the years, and the many Japanese and Chinese works of literature (plays, fiction, poetry) that I've read in translation over the years (and the issues that the various translations raise with each other, and the problematic notion of translation in general). So I end up with a richer experience than 'it depicts a brutal rape and suicide'. Seppuku (ritual suicide) is itself a controversial topic in the West (although in Japan, for many centuries, the restoration of honor (by suicide) was not exactly 'controversial' - it was the time-honored way to deal with a dishonorable situation). That doesn't mean people have to like it.

It looks like its going to be Frances Chung (which didn't occur to me). Fortunately Joe Walsh will get to dance the role that was created on him.

Masha dancing with Danill Simkin (Don Quixote pas) in Moscow today at the Kremlin Theater: https://www.instagram.com/p/BoSUAgchUtC/?taken-by=balletrusse Her dancing seems very confident these days.

The WBD website used to have a live stream going on the day, and so did the SFB website, but it does change each year, so who knows? I'm sure we'll post directions again once the schedule is settled. Facebook streaming remains a pain in the neck - it's always better when someone offers a YouTube live stream.

I enjoyed reading Macaulay's latest" "We, the Dancers". Now that he's announced his upcoming career change, he seems particularly engaged with events at NYCB: https://www.nytimes.com/2018/09/28/arts/review-new-york-city-ballet-fashion-gala.html 'On Thursday night at the David H. Koch Theater, the curtain rose to show the dancers of New York City Ballet, assembled to face the audience. Then Teresa Reichlen, standing center front, delivered a speech — written by her and Adrian Danchig-Waring, another principal — that began with the words, “We the dancers of New York City Ballet.” The unlikely occasion was the company’s fall fashion gala.' '...Ms. Reichlen’s speech made the connections between morals, beauty, technique, schooling, company, and the work of George Balanchine, City Ballet’s founding choreographer, explicit and moving. Here was the most important moral statement about this company (and perhaps any ballet troupe) since Lincoln Kirstein’s 1983 superb essay about Balanchine, “Beliefs of a Ballet Master.” It should at once take an honored place in company history and policy.'

There's a bigger problem - few people show up for these theater events. Some statistics: Approximately 665 postsecondary institutions offer dance minor and major programs in the United States. 3.5 million children receive dance instruction from dance specialists (of 50m total in US K-12 education). There are approximately 32,000 studios in the United States. And yet, a handful of theaters can't even fill the seats for these major company presentations.

In his latest Conversations on Dance interview, Macaulay mentioned that he didn't "like the idea of a critic being a teacher" [00:45:21]. But for me, the most memorable reviews, and writings on dance, have been the ones that did teach me about choreography or dance techniques. Obviously, the author had better have the necessary experiences and skills to be be believable, but it makes for a much more interesting article. Ferraro and Breeden know to keep their "lightning round" of fluff questions short (and they place them at the end of the conversation).

I know that a certain percentage of dancers and staff don't enjoy having their 'private' classes and rehearsals interrupted by a film crew. And SFB is preparing for their upcoming tour dates in New York and Washington DC in late October, so perhaps the decision was made not to spend the money and sacrifice even a day of their time (granted, the video crew requires a number of days to prepare the building for live streaming). Tours, even really short tours, are expensive, I get that, but performances in NYC don't do anything for the Asian, European and Latin American markets. And performances in Washington DC don't do anything for any market. It's just 'an honor'. If the companies involved are not raising separate monies for WBD, they should be - there can be specific donors for WBD just like anything else.

It would be disappointing if SFB has decided to withdraw from this year's presentation - it's really good P.R. for the companies, and good fun to watch the classes and rehearsals. If that is the case, I hope PNB or Miami City Ballet are "bumped up" this year.

I'm not surprised that his job as dance critic has interfered with his other writing ambitions, such as a book about the development of Balanchine's Serenade. Macaulay is interviewed again at Conversations on Dance regarding his retirement: https://conversationsondancepod.com/2018/09/21/alastair-macaulay-departure-new-york-times/ I'm sure we'll continue to hear from Macaulay in various places and forms...

Pretty funny. That's quite a beard that Thatcher is sporting, but I imagine it's not long for this world.

Partnering by Myles Thatcher: https://www.instagram.com/p/Bn6qUeMlSoc/?taken-by=sfballet

I was very sorry to hear about his passing - a great human being, and a great dancer/director.

Ana Sophia Scheller performed her first Odette/Odile role - with the National Ballet of Kiev: Tiit Helimets coached Scheller for this performance.

Benji Pearson has joined the Boston Ballet (in the Corps): https://www.bostonballet.org/Home/Global/Profiles/Artists/Artists-of-the-Company/Benji-Pearson.aspx And Maria Kochetkova now has her official "Principal Guest Artist" page on the Norwegian National Ballet website: https://operaen.no/en/about-dnob/norwegian-national-ballet/maria-kochetkova/

I see there's a new podcast interview on the SFB website - The Meet the Artist Interviews now includes "Celebrating Jerome Robbins: Helgi Tomasson, Patricia McBride, Jean-Pierre Frohlich, Ellen Sorrin (host)" [1:04:52 in length] https://www.sfballet.org/explore/podcasts

The SFB website has a new page introducing 4 of the new company dancers: Welcoming New Dancers https://www.sfballet.org/explore/articles/Welcoming-New-Dancers

The Norwegian National Ballet has posted Maria Kochetkova's "Principal Guest Artist" page to their website (listing her many accomplishments): https://operaen.no/en/about-dnob/norwegian-national-ballet/maria-kochetkova/

The Leeds International Piano Competition is going on right now on Medici.TV (open access) https://leedspiano2018.medici.tv/ Earlier performances can be replayed here: https://leedspiano2018.medici.tv/replay/

Happy birthday? I wonder how many "house arrests" are currently being maintained in Russia? I presume it is considered to be a less expensive form of incarceration.

Thanks, Terez - Yes, a job well done. He's been operating at a high level, very much in parallel with Tomasson, for the last 30 years. I think McCoy has earned his retirement. And Sonoma is a good place to be. ;)

Thanks - the three drawings accompanying the article are new to me. At least I can't remember having seen them before - there may be some 'hidden gems' in the exhibit.