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Through some weird coincidence, Froustey just commented on an interview she did with Cloud & Victory dancewear that I was reading last night (when I was trying to figure out/remember which of her feet had the chronic issue). I suppose it speaks to some of our comments. "Here how I really felt when I arrived in the US few years ago…" Cloud & Victory Dancewear Interview – Mathilde Froustey, San Francisco Ballet http://sessions.cloudandvictory.com/interview-mathilde-froustey-san-francisco-ballet/ '...Now that I am a principal dancer, I know. Once I was rehearsing Don Q. I was Kitri. It was late and everyone was tired. The corps was around me, but not in the right frame of mind. So I stopped the rehearsal told them “Listen guys, I know you are tired but I need you. If you are not with me, I cannot dance. So I would rather stop. But if you could just help me a little, not dancing but just acting and looking at me, that would be amazing.” I was scared they would take it badly, but they were really happy that I stopped the rehearsal and talked to them. It showed them that I thought and cared for them, and so they considered me. Without the corps, the principal can’t dance.' On the flip side of that, being the principal dancer allows you to take up that leadership role and there is that pressure for you to be the face of the company as well. "Yeah, that is true. Because the corps works very hard, they only accept perfection from the principal dancer and nothing else. That is a little bit of pressure some times. But that is still great because you feel like the audience came to the ballet to see you. For example, if I am in a good mood and I’m Kitri in Don Quixote, I set the mood for the whole evening. The corps would react to me, and vice versa. On the contrary, if I’m a little off and tired today, then the whole show is going to be really long. As the principal, it is like hosting a dinner. If you are in a good mood and welcome the people with open arms into the house, the whole dinner will be great."

It's a shame Joe Walsh wasn't able to perform the role. This may be it for SB (given the expense), unless SFB plans on a limited run at, say, The Kennedy Center in the summer. But if there are any tour dates, I would think performing some of the Unbound Festival ballets would be more likely. If anyone is left standing by summer time.

Thanks for the comments Dreamer. I've started wondering how the women's coach, Larissa Lezhnina, danced the Rose Adagio. I liked these "Bluebird" photos of Esteban Hernandez and Natasha Sheehan:

Oh, I understand what you are saying about "milking" the step. And I don't doubt the teens in the audience were thrilled. ;) [If she took a selfie in the middle of the adagio there would no doubt be squeals of delight. Thank goodness that isn't likely.] Given the casting for Sleeping Beauty, I wonder if we'll get to see more of Strongin or Frantziskonis in Program 2? Who besides Sylve (of the women) will dance in Rodeo I wonder?

Wow, that's a long day, PeggyR - I think that would have left me in a lump on the floor. ;) I agree with many of your general observations. I think we'll have to remind ourselves that Scheller isn't practiced in traditional story ballets like SB [though she did apparently dance in NYCB's (Peter Martins) Sleeping Beauty and enjoyed the experience]. But that's about as far as it goes. I'm pretty sure that one of the reasons she came to SFB was to learn how to dance in that manner (and learn some mime acting). But that doesn't mean she's figured it out yet. I'm not surprised that she needs time. The Rose Adagio can be ruinous for a ballerina, so I was worried about Froustey having to train and perform for that in particular. You mentioned that she visibly finds her spot (I'm paraphrasing) but I have to wonder is there any other way for someone with a chronic foot issue? Such a dancer can never really be anything but careful (and that's going to have a visible effect on how they dance particular steps/variations). I think Tomasson gave her the role as a gift to her, but if things go awry this early in the season, I would rather Froustey had skipped SB completely and danced in the mixed rep programs - and had a season. This is why there's a place for Justin Peck sneaker ballets. ;) Thanks for the feedback about Luke Ingham. He's a fairly big man (as danseurs go). And he's got the strength for lifts that we don't always see in the younger men. I would agree that in the traditional danseur roles he can sometimes seem a bit sloppy or not fine-tuned enough. But I still remember his excellent portrayal of Tybalt in R & J. Tomasson used to pair Froustey with Helimets, and Di Lanno but he's been changing things up quite a bit lately regarding partnering. This doesn't strike me a s a perfect fit. Glad to hear that Weeks and Parks looked great - I think Weeks is near the front of the line to be made a soloist. I still remember when I first saw WanTing Zhao in the Corps and thought she had great lines and nice finish. She's being given a lot of opportunities now too. If she has real acting talent then Tomasson will be very, very happy.

The Isadora Duncan Dance Awards 2017 http://www.izzies-sf.org/press-release/ A few category highlights: Outstanding Achievement in Choreography Kim Epifano, Last Blue Couch in the Sky: Street stroll section, Epiphany Dance Theater, SoMa District streets, San Francisco Lizz Roman, Sunset Dances: Architectural Meditations II, Lizz Roman & Dancers, home salon performances, San Francisco Amy Seiwert, Wandering, Amy Seiwert's Imagery, Cowell Theater, San Francisco Rudi Soriano, Birds in Flight, Likha Pilipino Folk Ensemble, War Memorial Opera House, San Francisco Myles Thatcher, Ghost in the Machine, San Francisco Ballet, War Memorial Opera House, San Francisco Outstanding Achievement in Performance – Ensemble Delvis Frinon, Adonis Martin, and Edisnel Rodriguez, Defection-Deflection-Devotion from Love in a Bitter Time, Part II, Dance Brigade, YBCA Theater, San Francisco Christine Funsch and Nol Simonse, Prelude from Le grand spectacle de l'ef ort et de l'artifice, Funsch Dance Experience, ODC Theater, San Francisco Mary Starr Hope and Karla Quintero, The Two Sisters from Grace and Delia Are Gone, Flyaway Productions, Firehouse at Fort Mason, San Francisco Arvejon Jones and Will Woodward, Sweet Time from Boys Bite Back, Sean Dorsey Dance, Z Space, San Francisco Vitor Luiz and Joseph Walsh, Act 3 pas de deux from Frankenstein, War Memorial Opera House, San Francisco Outstanding Achievement in Performance – Company Abhinaya Dance Company of San José, Vaanara Leela: Monkeys in the Ramayana, School of Arts & Culture at Mexican Heritage Plaza, San José Ballet Folklórico México Danza, La Revolución, War Memorial Opera House, San Francisco Flyaway Productions, Grace and Delia Are Gone, Firehouse at Fort Mason, San Francisco Lizz Roman & Dancers, Sunset Dances: Architectural Meditations II, home salon performances, San Francisco ODC/Dance, Giant, YBCA Theater, San Francisco San Francisco Ballet Corps de Ballet, Acts 2 and 4 of Swan Lake, War Memorial Opera House, San Francisco

Haute Living magazine reports on a side of the ballet world that the general audience doesn't see much of - SF Ballet Hosts Intimate Dinner In Honor Of The Sleeping Beauty http://hauteliving.com/2018/01/sf-ballet-sleeping-beauty/650341/ "The Green Room was elegantly set with circular tables covered in sumptuous purple cloths and gorgeous floral arrangements. During dessert, the ballerinas discussed the privilege of dancing the role of Aurora. Froustey said the first thing she thought when she saw her name listed next to Aurora was “oh my god.” The part is transformative to a dancers career because it is a long and difficult ballet." I presume this is all about money-raising, or at least making big donors feel special; although I wonder if the dancers don't feel a bit like trick ponies trotted in for the event. Fortunately, Froustey appears to have survived her Aurora debut in one piece. I wasn't the only one to worry that it might be too much too soon for her after missing most of last season. She's been taking the rehab very seriously though, and worked with a number of different trainers to build her strength back. If anyone can report on last night's performance that would be appreciated - how did Luke Ingham and the other dancers fare?

OK, this is pretty great: I really wonder what the motorcycle cop was thinking about all this.

I wonder if this would be the persecution type of thing: Moscow Raid on Movie Theater Closes ‘The Death of Stalin’ https://www.nytimes.com/2018/01/27/movies/moscow-raid-on-movie-theater-closes-the-death-of-stalin.html Strong = totalitarian regime (presumably)

Millepied looks to be working on a piece title, Quartet for Two with Yuan Yuan Tan, Jennifer Stahl, Ulrik Birkkjaer and Benjamin Freemantle. https://www.instagram.com/p/Beb3zwTBpv8/?taken-by=benjaminmillepied https://www.instagram.com/p/Beb3o2jBSHE/?taken-by=benjaminmillepied What does it all mean? I have no idea.

Natasha Sheehan posted 3 backstage photos from the student matinee performance: https://www.instagram.com/p/BebCeO-FwKr/?taken-by=tippytoegirl

Great report, Terez. I think it was Allan Ulrich who wrote that Carlo was too serious and not showing his dramatic chops. I have to guess that nerves make him more serious and less emotive and he needs to make a conscious effort to "be the character". Scheller has a serious 'game face' too, so it will interesting to hear if she's able to get beyond herself and inhabit the role as intended. Di Lanno needs to be given credit for dancing the lead 3 times this week due to Joe Walsh having to withdraw. I'm glad you mentioned Jahna Frantziskonis because her name was missing from the main roles this week. Perhaps we'll see her in something more high-profile next week? But then there's been no main role for Sylve (not even as Carabosse), or Ishihara, only one appearance for Strongin, nothing for Devivo yet. WanTing Zhao as Carabosse was an unexpected choice. Here's the latest added casting date: Friday, February 2, 2018 - 8 pm Choreography: Helgi Tomasson after Marius Petipa Music: Peter Ilyich Tchaikovsky Conductor: Ming Luke Aurora: Mathilde Froustey Prince Desiré: Luke Ingham Lilac Fairy: WanTing Zhao Carabosse: Ludmila Bizalion Bluebird: Wei Wang Enchanted Princess: Dores André

Some other examples of dance notation - La Cachucha, Friedrich Albert Zorn, dance notation "…in translating Zorn's Cachucha notation, for example, it was found that when the steps were reproduced exactly as stated, they did not physically fit comfortably with the music" —Ann Hutchinson Guest This collection is quite marvelous: Collection of Dances in Choreography Notation (1700) https://publicdomainreview.org/collections/collection-of-dances-in-choreography-notation-1700/ Apparently Edward Tufte took on this subject:

I nice shot of the fish dive pose from opening night (Sasha De Sola and Carlo Di Lanno)

Remy Charlip created dances?! I did not know that. I loved his book Arm in Arm as a kid.

Ballet choreography is normally transmitted from person to person through demonstration and verbal descriptions. Some dancers make notes and diagrams to help remember the steps for a role. Marie-Agnès Gillot recently posted this diagram of the soloist's choreography from Béjart's Boléro (which she will be performing February 24, 27 and March 1/4/18): https://www.instagram.com/p/BeS85BVh_yF/?taken-by=marieagnesgillot I wonder who the original author of this chart is, and if this has been used in the past by POB soloists?

I assume so, but I don't have any experience with student matinees. I found this student matinee description on the SFB website: Each educational 75-minute interactive program includes: An introduction to ballet as an art form Performances by SF Ballet professional dancers and pre-professional Trainees from the SF Ballet School, accompanied by the SF Ballet Orchestra Excerpts of some of the Company’s most extraordinary works Insights into the career of a professional dancer with SF Ballet More great opportunities for the young ones. But I wonder if Tomasson is also trying to figure out how to spare the principals from overwork and injury. Somehow everyone has to make it through the end of the Unbound Festival.

It's hard not to make a joke about the Diet Coke, but I'll refrain. Fentanyl alone is enough to kill someone, but the array of problematic drugs in Petty's system pretty much guaranteed a bad result. I have to wonder if Petty was seeing various doctors and purposefully keeping the prescriptions a secret from each doctor.

Here's an update: Natasha Sheehan says that she will debuting as Aurora for the "student matinee", Thursday January 25th. This is not listed on the casting page though, so not official yet, I suppose, until SFB posts the added performance. https://www.instagram.com/p/BeRFol9liQC/?taken-by=tippytoegirl

Another backstage shot: Greco and De Sola after Le Corsaire PDD A few more photos here. Greco is an exploding star, to be sure. I think it's great how distinct Greco and Di Lanno are as dancers even though they both were trained by Teatro alla Scala. RE: Scheller - I got the impression from the World Ballet Day rehearsal for Sleeping Beauty that Helgi was pushing Scheller to be more emotive and use mime effectively. That will prove to be a good thing.

Currently re-listening to Mr. Jukes' God First album. Google has been using the single from the album, named "Grant Green" (an excellent retro-60s R&B track featuring the vocalist Charles Bradley) on one of their TV commercials, and that inspired me to go back and listen more closely to the album. If you know the work of producer Mark Ronson (for Amy Winehouse and others) then you may appreciate this effort as it uses a similar approach to arrangement and production. "Grant Green" https://www.youtube.com/watch?v=Zc5t89UZboM Full album: https://www.youtube.com/watch?v=oDVrAls0P0E

Is the last line of the first paragraph supposed to read, "an acceptable cont[r]act proposal"? Not that an editor hasn't gone carefully over this article. ;) These labor negotiations are not unusual - general contracts are renegotiated every certain number of years. And it is often rather tense because both sides have to find agreement on the main issues. Money is always an issue. Usually the details of the negotiation are kept from the public - until some angry person leaks details to the media.

It's a new year, and look what's new: https://www.instagram.com/p/BeIrfpdhO72/?taken-by=vzahorian Congratulations to Vanessa and Davit!

A fascinating short video of Sasha performing at the dress rehearsals. Notice all the 'important' folk sitting in chairs at the front of the stage. I can see Helgi's white hair, but it's hard to make out who the other, presumably ballet masters/mistresses, are. [EDIT: Larisa Lezhnina is presumably there as well.] Talk about pressure. You can tell the staff is looking over every detail of the production. https://www.instagram.com/p/BeJSPwrFWfw/?taken-by=sashadesola

This reminds me that Orson Welles played Othello in one of his great, essentially homemade, personal film projects (earning the Palme d’Or at Cannes in 1952). He wore makeup to look more 'swarthy'.