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Since normally intermissions involve a lot of threading through crowds to stand in lines for refreshments or the bathroom, removing intermissions altogether would cut down on all that human interaction. Masked or not. The theater itself presumably would have reduced seating with more space between occupied seats. But who knows? Maybe that will change too.

For some reason A Midsummer Night's Dream is all the rage these days.

Yes, but with reservations - it ends up being so goofy and weird that I kind of have to like it. I'm a supporter of goofy-weird. Is it a gem of Noir filmmaking? No, not really. Basic plot: a gambler (Robert Mitchum) accepts a mysterious job that will take him out of the country (to Mexico) for a year - for a reward of $50,000. Price plays a famous movie actor (a ham) spending time at the same Mexican resort, who seems to be a hunting enthusiast primarily. And Price keeps trying to interest Robert Mitchum's character into going hunting, which of course makes us think that something nefarious is going to happen around that, but there's a twist to all that. Price gets to be a good guy in the end (which in itself is interesting). Mostly it's a lot of talking and scheming, and Mitchum and Russell being...charismatic(?) It is notable that Mitchum and Russell did NOT have an affair during production of this film. 😉

My old eyes need to restructure the information. 😉 I'm not crazy about the Ballet Arizona website's information design. They could definitely present content in a clearer, easier to access manner. Contemporary Moves: An Evening of Three Ballets October 29-31; November 5-7, 2021 In Creases Choreography by Justin Peck Music by Philip Glass Les Patineurs Choreography by Sir Frederick Ashton Music by Giacomo Meyerbeer Mambaz Choreography by Nayon Iovino Music by Josiel Perez and Company The Nutcracker December 9-24, 2021 [Note that one of the pages says December 10-24] Choreography: Ib Andersen Music: Peter Ilyitch Tchaikovsky Romeo & Juliet February 10-13, 2022 Choreography: Ib Andersen Music: Sergei Prokofiev All Balanchine March 24-27, 2022 Slaughter on Tenth Avenue Bourrée Fantasque Serenade Juan Gabriel May 5-8, 2022 Choreography: Ib Andersen Music: Danced to a recorded production of Juan Gabriel’s performance at Palacio de Bellas Artes An Evening at Desert Botanical Garden May 17 – June 4, 2022 Choreography: Ib Andersen

Should have been good, but wasn't. Vincent Price and Laughton make things more interesting but the script isn't all that impressive. So probably could have been anyone in those particular roles. And there's definitely no heat between Gardner and Taylor - I can't really think of when Taylor ever demonstrated much heat. He's on my dud list. It happens that TCM had recently shown His Kind of Woman from 1951, with Vincent Price in a very oddball role that was quite fun. I was hoping for more of the same kind of thing, but The Bribe wasn't even a slow burner to me, just slow and fairly predictable. Oh well.

I just watched Ava Gardner, Robert Taylor and Charles Laughton in The Bribe (1949) on TCM, and I noticed that she seemed to be getting away with very little makeup, which I liked. I'm trying to envision holding Andy Hardy near and dear to my heart, but it's just not working.

The Fjord Review has just sent out an e-mail report - that unfortunately does not link to an online version, so I will copy and paste the text into the space below... Digital Transformation of Dance Earlier this year, Fjord Review surveyed dance companies all around the world to get a sense of how the pandemic was affecting their business. We asked companies how they responded to venue closures and pandemic restrictions, what outcomes flowed from various approaches, and what strategies remain in place. What follows is the first of a four-part report on the digital transformation of dance. Part One: Going Digital REPORT BY SOPHIE BRESS When Covid-19 swept the globe in early 2020, businesses and organizations across the board were left scrambling. The performing arts sector—heavily reliant upon live, in-person events for revenue—was left with a void, both artistically and financially. This resulted in a rapid shift to digital content in an effort to remain viable. Now, after over a year of modified and predominantly virtual programming, Fjord Review takes a look back to analyze how dance companies pivoted to adjust to a new reality. We surveyed a dozen organizations worldwide to assemble a comprehensive picture of the strategies that were employed by dance companies over the course of the pandemic. Results based on Fjord Review's Digital Transformation survey, 2021. Graphics by Ilena Peng The most common approach to dance performance during Covid-19 was—of course—to go fully virtual. Of the suddenly bountiful digital dance offerings, the most common were new commissions, dance films, and streams of previously recorded performances. Other available content ranged from podcasts to watch parties to free online dance classes. Developing a New System The majority of surveyed companies chose to stream their content on multiple platforms, with YouTube, Vimeo, and individual company websites becoming the most popular choices. As for structuring digital seasons, most surveyed organizations chose to utilize either a seasonal membership model or pay-per-view performances, some opting for a combination of both. Money Matters Over 80% of dance companies charged for online content, largely basing prices on the cost of traditional season tickets and analyses of the past buying patterns of their patrons. However—even for the companies that did charge—most organizations noted that income from their respective digital offerings amounted to less than 20% of total revenue for the season as a whole. Audience Boost An unexpected silver lining came when organizations across the board noticed that the pandemic allowed them to broaden their reach. Each company reported their digital performances garnered viewership from multiple states, territories, provinces, and countries outside their respective homes. Along with the expanded audiences, companies also reported an uptick in donations, new patrons, and new social media followers during Covid lockdowns. Stay tuned for Part Two: Social Dis-Dancing How staying apart brought us closer together

Are any forum members planning on attending this year? Tickets are on sale... Ballet Sun Valley JULY FESTIVAL TWO COMPLETELY DIFFERENT PERFORMANCES featuring artists from Houston Ballet, Pacific Northwest Ballet, San Francisco Ballet & The Washington Ballet JULY 12 • PROGRAM A A stunning compilation of works by George Balanchine, Danielle Rowe, Edwaard Liang, and more. Plus a world premiere by Price Suddarth. JULY 13 • PROGRAM B An exciting mix of works by Jessica Lang, Justin Peck, Jerome Robbins, Alejandro Cerrudo, and more. Plus a world premiere by Viktor Plotnikov. AUGUST FESTIVAL TWO COMPLETELY DIFFERENT PERFORMANCES by BalletX, a contemporary ballet company known for its cutting edge new works AUGUST 22 A complete story ballet, Sunset o639 Hours AUGUST 23 A gala-style evening of exciting works

I don't disagree with these statements. But I suppose one could argue that any company that's been following the same model exclusively for years is in need of some level of shaking up. No one's artistic vision is that sweeping and original. 😉

All good examples of how a shared Arts platform is actually doable, if enough companies devote some of their staff and funds to the purpose. And get some major player in the broadcast realm to get on board.

Tickets are now available for the Stanford Frost Amphitheater show: https://live.stanford.edu/calendar/august-2021/starry-nights-sf-ballets-return-stage

One of the things I've learned in recent years is just how much of a hold the various unions and rights holders have over the ballet companies. Nothing gets done without long negotiations and legal wrangling. If there is one thing the ballet world is not, it is "flexible". Kind of ironic. One might think that the real possibility of a new revenue stream would be exciting for the dance world, but it seems to be too new and different a notion for many to know how to deal with it. I really hope that's true. SFB hints that they are interested in this new digital subscription / pay-per-view audience, but live performances for a live audience are absolutely the main interest. So the question is: which of these companies is going to devote real resources to developing an online audience? So far, the strategy for many has been to post to YouTube and hope that the audience will find them. That just doesn't seem very sophisticated. The companies that get a real jump on this technology and digital audience relations may be the real survivors down the road. I do like the idea of some kind of arts platform being developed that can be used by any and all dance companies. A one-stop shop.

Tahoe Dance Camp Last summer, during quarantine, Principal Dancer @sarah.vanpatten formed a pod with a group of dancers at her home in Lake Tahoe, with a goal of staying creative—and Tahoe Dance Camp was born. This summer, on July 24, Van Patten's @tahoedancecamp will have a star-studded inaugural performance at the @classicaltahoe Pavilion, with world premieres by @_danirowe_ and @andi_schermoly and works by Alonzo King, @benjaminmillepied, @justin_peck, @dwightrhodenchoreo, Helgi Tomasson, and @wheeldony. For more information and ticket, please visit the link in our bio. Featuring dancers @ulrikbirkkjaer, @franadian, @chuvasthamires, @adji_cissoko, @shuaibdeeelhassan, @jahnafrantziskonis, @anataliaonpointe, @luke_ingham, @natrmz, @jpsimoens, @jenstahl.weitz, @sarah.vanpatten, @josephwalshsf, @way8way, and @wanting__zhao 🎥: @reneffolsonproductions https://www.instagram.com/p/CRFkUx7sbM6/

Does settling for a city name feel more "homey"? Maybe that's the idea. I can't resist... They could go even more local: North Broad at Wood Street Ballet. Or Vine Street Expressway at North Broad Street Ballet. This is good: Across from the Ben-Gad Baking Co. Ballet

Jen Stahl attempting to use the barre while keeping baby daughter occupied: https://www.instagram.com/p/CRAm1njFB8k/

Misa and Angelo working on a new Viktor Plotnikov piece (for?): https://www.instagram.com/p/CQ682H1nDbh/ https://www.instagram.com/p/CQ9uFUfHepr/

Folk dances from around the world have used gender "roles", if you like, in that the particular steps, arm movements, etc. are specifically assigned to a gender. And various cultures also have male dances, female dances, and the choreography isn't necessarily the same for both. Ballet developed specific interests in lifts, and dancing on pointe, which obviously have their particular physical demands. It will all be modified over time though as people's interests change...

Now a mother of a different kind - Sarah Van Patten standing on the stage at North Lake Tahoe: https://www.instagram.com/p/CQ7lgILAhMm/ "One year ago I had a dream to start a summer company during a pandemic … call me crazy for sure… today I couldn’t be more proud to stand on the stage that will host the opening performance of my company. Please check it out."

Here are some images of Frost Amphitheater with social distancing-seating in place: https://live.stanford.edu/venues/frost-amphitheater I haven't attended a performance there myself. Should be quite nice if it isn't really hot. I imagine Serenade is going to be like a religious experience after the long quarantine.

From Instagram: "After 17 months, we’re headed back onstage! On August 13 & 14, SF Ballet will dance at @FrostAmphitheater, in partnership with @StanfordLive. Starry Nights: SF Ballet's Return to the Stage will feature George Balanchine’s Serenade, Helgi Tomasson’s The Fifth Season, Danielle Rowe’s For Pixie, Balanchine’s Tarantella, and a to-be-determined pas de deux. Join us for two brilliant summer evenings of ballet’s stars under the stars, including music played by @SFBalletOrch. 💫 Tickets go on sale to the general public starting July 10." STARRY NIGHTS: SF BALLET'S RETURN TO THE STAGE Join us for San Francisco Ballet’s long-awaited return to live performances, featuring a thrilling blend of poetry and athleticism. In partnership with Stanford Live at the Frost Amphitheater, the two-performance program on August 13–14 will feature George Balanchine’s transcendent, luminous Serenade, set to a soaring Tchaikovsky score, and Helgi Tomasson’s elegant and sleek The Fifth Season, set to music by Karl Jenkins. Danielle Rowe’s powerful For Pixie, set to the music of Nina Simone; Balanchine’s spirited Tarantella, set to Gottschalk; and to-be-determined pas de deux round out these brilliant summer evenings of ballet’s stars under the stars. SERENADE Choreographer: George Balanchine Composer: Pyotr Ilyich Tchaikovsky THE FIFTH SEASON Choreographer: Helgi Tomasson Composer: Karl Jenkins FOR PIXIE Choreographer: Danielle Rowe Composer: Nina Simone Tarantella Choreographer: George Balanchine Composer: Louis Moreau Gottschalk Dates: August 13 & 14, 2021 Time: 7:30 PM Location: Frost Amphitheater Stanford University 351 Lasuen St. Stanford, CA 94305 https://www.sfballet.org/calendar/starry-nights-sf-ballets-return-to-the-stage/

Thanks, that was something of a misstatement on my part regarding PNB - the West Coast companies are all very conscious of Asia/Pacific. Yes, it's more of an issue with Black dancers at PNB. Both ABT and NYCB have had all the same diversification issues, but they've managed to make inroads regarding the hiring of Black dancers, at least.

2021 SF Ballet Audience Engagement Post Season Survey "Thank you for joining San Francisco Ballet this season for one or many Audience Engagement events! We hope you had fun, learned something new, and deepened your enjoyment of ballet. After a most unusual year, we want your feedback so we can learn how to serve you best and make decisions for the 2022 Season. Please let us know your thoughts. Your answers can be anonymous." https://docs.google.com/forms/d/1p0OJvnbTSPUk-mUWHp1XjtvQ8jrhfdZ7po8ZOXvinWk/viewform?edit_requested=true

The problem for me is that, with an anonymous group making an attempt to direct how a company gets run - who they hire (including executive staff and the board) and how and when they do it - there are no rules governing accountability and transparency for this outside group. Who are they and why should we trust them to make decisions regarding SF Ballet? Now it could be that "SFBallet_2021" is solely made up of existing staff members who have worked within the SFB environment for years and actually know something about the organization's issues. Or it could simply be a few socio-political activists who have no vested interest in ballet, let alone SFB, that are pushing their favored agenda. Is that ultimately the best way to get diversity changes to happen at SFB? If I don't know who is doing the talking/writing (and how much buy-in they are getting from the staff and audience), then I don't feel very trusting. My part in this is of course small, as an audience member who gives small donations. "It's not clear to me what happened in the past with Kelly and leadership, but the company does not seem to embrace or amplify black and indigenous voices. This isn't solely an SFB issue, though. It's reflective of ballet as a whole. Would be meaningful if SFB took the lead here and made some serious changes: focused on internal practices, hiring, retainment, and choreographers. Should things like this wait on the backburner for a new AD? Seems tone deaf to me." Agreed, though some of these things (changes to internal practices, hiring, retainment, and choreographers) have supposedly all been under scrutiny, but SFB isn't getting very far yet. The reasons for dancers leaving the company are not always nefarious. But if there's only 2 or 3 Black dancers say, and one or more leaves, it just looks bad. There simply needs to be a higher percentage of dancers of color at SFB. I believe NYCB, PNB and MCB all need more representation from the Asian cultures and the Asian-American community. Both PNB and MCB lack Black dancers, but perhaps the new hires will help address this situation - anyone know? There's always something to work on.

On a more positive note: Pivoting with purpose: SF Ballet's Education Programs https://www.youtube.com/watch?v=_82plD8WKkI

There was an "anonymous" group of people calling for her resignation. They just refer to themselves as SFBallet_2021 now. They had/have connections to SFB staff, but wanted to remain anonymous, which is certainly problematic. SFBallet_2021 were of the opinion that Tweeddale must go, but it does feel like she is being scapegoated (given that her time with the company has been short - 1 full season, a partial season, and then pandemic closure and the need to keep the company afloat without funds from performances). I don't have the details though, aside from this IG posting regarding Tweeddale's alleged behavior: https://www.instagram.com/p/CLDPZlUABQN/ There's a San Francisco Chronicle Datebook article referring to this situation here: https://datebook.sfchronicle.com/dance/s-f-ballet-seeks-to-diversify-make-amends-for-racial-inequities