meunier fan

An apt summing up of the 2015 Tonys. http://www.theaterma...musi_73162.html

Well, one lives in hope. Perhaps they might be enthused .... The cheering audiences after the major ballet portion (in Paris at least) - itself a fine 17 minute (as opposed to the 13 minute on Broadway) abstract work - would hopefully suggest that they might be intrigued by Bayadere - were it to be the Nureyev (Paris) or Makarova (NYC / London, etc.) production. I vividly remember after the last time I saw AiP at the Chatalet (at the last matinee - where the audience seemed not to want to let the Company go) one (obviously Parisian) woman turned to her husband and - in French - said 'This is a reason to love New York'. NYCB here they come .... I can well imagine that she and hers might well be at the three week NYCB season next summer at the same address. (I know I will be .... but that has, true, little to do with AiP. I would have been there anyway. Still, AiP didn't hurt.)

To rock the boat a bit ... Suzanne Farrell??? Doubt she would be interested ... but it would be fascinating sparring with the brilliant organisation across the plaza ... I would throw in Martine van Hamel ... but isn't she Canadian born? ... and I suppose the association with McKenzie would be a tad too close but she was always an oh, so wonderfully gutsy artiste ... and had to always fight her side with Lucia Chase. On the North American side ... maybe someone could approach Tamara Rojo (born in Montreal)... She can give as good as she gets ... Karen Kain is a genuis ... but surely she will stay - as ever - loyal to the Canadian cause that made her ... and quite right too ... Is Lynn Seymour still mentis compos? .... She ran the National Ballet of Greece .... and just look at the state of that nation now ... There are oh, so, SO many talented women ... But no ... best to stick with the ever changing shoals of the BA Collective methinks

I agree that the AiP book is oft irregular and sometimes awkward (at least it was in Paris where the production was half an hour longer and where I don't myself remember any pointed 'gay jokes' at Henri's expense). Moreover I too felt that von Essen and Paice were the stand outs in terms of fully fronted vocal artists within the pieces dramatic throughline. What I do think is the prime positive benefit emanating from this production is that it brings ballet back as a potent form of focus on Broadway; i.e., as a prime motivational alone. The fact that such (in AiP's regard) is now such a noted commercial force is more than encouraging I think for both NYCB and ABT. May AiP bring new audiences into both the Koch and Met portals and - crucially - help to build a slice of interest that will prevail for some time in terms of the art form much as shows such as Chorus Line did in the past. I myself wonder - if the commercial potency should prove similarly ripe from both a US/national and international basis in AiP's regard - if ultimately a film under AiP's banner will be (re-)made in favour of Wheeldon's particular take. That would surely benefit from bringing in screenwriters to embellish and assist Lucas' theatrical hand under Wheeldon's filmic charge. Would such an entity thrive? Would it bring new audiences into the doors of mainstream ballet outlets? It might just be an exception that proves the rule much as the theatrical entity appears to have done. Time will - as always - tell. Surely fingers can be but crossed.

An interview with L. Cope (AiP/RB) and R. Fairchild (AiP/NYCB) about surviving Broadway's awards season and other matters: http://www.theaterma...aris_73128.html "Leanne: I think it's very important for all dancers to take acting lessons, actually. The miming can just look like steps. Unless it comes from a real place of understanding what you're trying to say, and it's not just "put your arm out here," it's saying something. I think it would help all dancers."

She has, ... ...

Sure the monarchs would appreciate that somehow ...

A short but telling video vignette on the AiP artists/design:

Some moving pictures of R. Fairchild and L. Cope receiving their cartoon-like portraits prior to seeing them grace the walls at Sardi's. http://www.broadwayworld.com/article/Photo-Coverage-AN-AMERICAN-IN-PARIS-Tony-Nominated-Leads-Get-Sardis-Caricatures-20150529

I will second MadameP. I saw Novikova dance Giselle with her husband (Sarafanov) with the Mikhailovsky in London a few years ago. She was simply breathtaking ... and beautiful to boot

It appears that AiP is now a bona fide Broadway smash from a fiscal perspective. Apparently it is the only one of the four key musicals nominated for the 2015 Best Musical Tony Award to have proven so at this juncture. "Advance sales for “An American in Paris” have climbed past $10 million, theater sources say. That’s nearly double what the advance was seven weeks ago, when the show began previews at the Palace Theatre." "http://nypost.com/20...-tony-nominees/

.... and Leanne Cope has won the Dorothy Loudon Award for Excellence (under the 71st Annual Theater World Awards banner).

At 0844 am in NYC (1344 GMT) Leanne Cope, currently on leave from the Royal Ballet, received her inaugural Antoinette Perry (Tony) Award Nomination in the category of Best Actress in a Broadway Musical for her performance in Christopher Wheeldon's production of AN AMERICAN IN PARIS. Robert Fairchild, NYCB principal, got his nomination but seconds before in the category for Best Actor for a Musical for his performance in An American in Paris. Christopher Wheeldon received a nomination for Best Choreographer for An American in Paris at 0847 and for Best Director of a Musical at 0849. Bob Crowley has received two Tony Award AiP nominations for both costumes and scenic design. He also received a nomination for both The Audience and Skylight. Most crucially An American in Paris is nominated in the category of Best Musical. There are other AiP nominees. With a total of 12 An American in Paris is tied with the Musical 'Fun Home' for the most 2015 Tony Award nominations over ALL categories. Here is the list in full of ALL 2015 Tony Award nominees from the Daily Telegraph: http://www.telegraph...-full-live.html

I love the fact that you can buy a number/selection of screenings at a reduced price or you can buy all sixteen for 220 Euros (or 13.17 Euros a shot). That would be £9.96 or $15 USA. I wish they would do this in the UK where they do not even have a fixed price for the noted arts screenings between different cinema chains ... and prices can even alter between the same chain's cinemas in different parts of the country. QUESTION: Are the relays from France screened in the USA and Canada? Some years ago there were at my local in the UK but sadly these were discontinued as I don't think they got very large audiences. Occasionally you can see them at the French Institute in London - but that is only ever a very select few - and inevitably all operatic items.

Bob Crowley most certainly I should think ... in the Tony count. Would be grand if Fairchild got a nod as well too. Heaven knows he works for it.

I'm sorry you didn't like it, Canbelto (especially when this was a special treat after having got a job). I know how frustrating such things can be. I can only say that there were no - well, certainly no direct 'gay' jokes - thrown in Henri's direction when I saw the production in Paris. These must have been added for Broadway. I understand there have been some key changes (well, at least according to the WQXR segment). I hope the balance hasn't been unduly altered. It was such a triumph in Paris ... and the music - while not at the hands of a symphony orchestra certainly - was I felt respected. I know the Musical Director and musicians in Paris were local so they would be different to those in the Broadway pit. I wondered, Canbelto: How did the audience respond around you?

What about Thomas Forster? .... Surely he could make a fine fist of an Albrecht; one which would honour Osipova's efforts. Oh, and isn't Osipova enough of a name/draw herself for the performance????? ... especially in that role????? If they needed to - if they REALLY MUST - bring someone from outside then perhaps McKenzie could give a break to the young Italian dancer who has twice stepped in to partner Osipova at La Scala, Claudio Coviello. Why not turn some tables. I saw him dance with Rojo in DQ too and felt he had potential. What about pairing Osipova with someone from NYCB ... ???? .... (Well, they brought Veyette in for T&V didn't they? I realise that IS Balanchine and all ... but still ....) In the day, I would have given anything to see Boal dance Albrecht .... and I personally think Tyler Angle might well be very special in that assignment ... plus I have a feeling he would respond well to Osipova. Just a hunch ... Or what about De Luz???? There's a bevy experience in those feet

Great that she can still attend the first night of her husband's previews in AN AMERICAN IN PARIS ...

Indeed - plus she probably wanted to understandably spend time with her family and VERY NEW husband (also with the RB) since she will be away for quite a time thereafter. I didn't mean any slight against the lovely Ms. Cope - not at all. I just wanted to pay my respectful admiration to the glorious Mr. Fairchild.

From Paris to Broadway .... a touching promo ... https://www.youtube.com/watch?v=K7ivYBbq58I#t=53

One should be so lucky .... You get to see a lot of him in the show ... and I think he has been most generous with his NYCB castings in the Winter season thus far (Leanne Cope did not return to the RB fold AT ALL) - at least while obviously being - or at least starting to be back in AiP rehearsals. One thing I can promise you - having seen the show a few times in Paris - you won't be disappointed.

One has far fewer (if any) tattoos however

I believe that is Matthew Ball. He recently has been a stunning Lensky in Oneign with the RB. I can see why you might be confused. Here is a link to him talking about Lensky. http://www.roh.org.uk/news/watch-matthew-ball-and-vadim-muntagirov-on-dancing-the-role-of-lensky

Is it just me or is anyone else having difficulty in actually hearing (and therefore deciphering) what Aschengreen is actually saying on the video clip embedded in item no. 25? I hear the noise but not specifically enough to render much of the sense. The audience seems mightily amused which is grand. That only made my frustration more acute. Perhaps I am alone in this. The video clips within the segment are lovely and much appreciated.

Word has it that she is back for Oneign. Fingers crossed. Wonder though if she'll dance the Acosta DQ again?.... She might well feel it and her are jinxed. Quite frankly I wouldn't blame her. It's far from my favourite version of this particular war-horse and I have come to .... how do you politely say ... 'dislike intensely .... the oh, so watered down orchestration. It's a great shame they are not doing Month in the Country in Chicago and Washington. She was - in the end - truly superb in the Ashton. It was a performance filled with extraordinary detail.