Watermill

I'm assuming, OF, that you're referring to SF...but who could ever portray that miracle? I would rather savor the dimming memory of seeing her bring nuance and phrasing to the smallest moments and movements imaginable, than watch Follywood stumble at capturing the uncapturable. I would preface the following paragraph by reminding the young balletomanes who love this film that I am just expressing my humble opinion and do not wish to diminish their enjoyment of CS. But a Forum is a place for opinions, isn't it? I share LMCtech's low opinion of CS. While certainly not an awful film, it's soap opera stereotypes were solidly aimed at a target audience and the film sacrificed huge chunks of dance reality to sell tickets. I thought the walk-out/suprise replacement was ridiculous, exceeded only by the motorcycle/mattress de deux. One of the biggest problems was it had the wrong Director: Nicholas Hytner is primarily a West End/Broadway Stage Director; had a quirky (and very "stagey") artistic hit with "Madness of King George", then a sitcom-like "Object of My Desire" (also written by a playwright: Wendy Wasserstein) Then Center Stage. Huh? What in the name of Billy Wilder made them choose this guy to direct? He's a journeyman film director at best and I thought it showed. (Some earnest acting and good dancing were exceptions) BTW: Watch "Mr Holland's Opus" with musicians and you'll get the same cringing reaction. Especially embarrassing is the clarinet practice scene where he ties to get her over "the break", and she's not even near it, nevermind over it. Reed players will know what I mean. What a mess...even worse than CS, I think. Anyway, brace yourselves: a real film director, Robert Altman, starts shooting his film The Company with the Joffrey in October. Don't let me down, Bobby...

I'm assuming, OF, that you're referring to SF...but who could ever portray that miracle? I would rather savor the dimming memory of seeing her bring nuance and phrasing to the smallest moments and movements imaginable, than watch Follywood stumble at capturing the uncapturable. I would preface the following paragraph by reminding the young balletomanes who love this film that I am just expressing my humble opinion and do not wish to diminish their enjoyment of CS. But a Forum is a place for opinions, isn't it? I share LMCtech's low opinion of CS. While certainly not an awful film, it's soap opera stereotypes were solidly aimed at a target audience and the film sacrificed huge chunks of dance reality to sell tickets. I thought the walk-out/suprise replacement was ridiculous, exceeded only by the motorcycle/mattress de deux. One of the biggest problems was it had the wrong Director: Nicholas Hytner is primarily a West End/Broadway Stage Director; had a quirky (and very "stagey") artistic hit with "Madness of King George", then a sitcom-like "Object of My Desire" (also written by a playwright: Wendy Wasserstein) Then Center Stage. Huh? What in the name of Billy Wilder made them choose this guy to direct? He's a journeyman film director at best and I thought it showed. (Some earnest acting and good dancing were exceptions) BTW: Watch "Mr Holland's Opus" with musicians and you'll get the same cringing reaction. Especially embarrassing is the clarinet practice scene where he ties to get her over "the break", and she's not even near it, nevermind over it. Reed players will know what I mean. What a mess...even worse than CS, I think. Anyway, brace yourselves: a real film director, Robert Altman, starts shooting his film The Company with the Joffrey in October. Don't let me down, Bobby...

Ooops!...Someone told me it was a concert date...a family wedding is different...maybe he is the walrus! Still: Look at Calliope's list of foreign recipients. Is he really in that company? Impact-wise: definitely. Quality of work: a distant seventh (in my Humble Opinion, of course) I think Paul Simon outwrote him for 30 years, so I'm having a happy ending. ...which I'm going to enjoy while I can, because in a few years they'll be giving it to Adam Sandler and Madonna ...must keep up those ratings! Yay for Chita!

...talk about taking "let it be" to an extreme.... I thought he was a bit more PR savvy than that.... Oh well, maybe the walrus wasn't Paul after all... Number nine...number nine...number nine... Hey, what's Ringo doing that night?

Dirac, your sarcasm is bracing, like a good after-shave lotion... (Bet no one ever said that to you before!) Here in the Pacific (but not Peaceful) Northwest, our best dance critic, Martha Ullman West, is in a sort of semi-retirement, resulting in some of the most lazy, amatuerish and at best unknowledgable dance criticism I've ever read. In Portland's two papers it's mostly by theatre critics thrown the assignment by idiot editors. In Seattle, Mary Bayley has a good eye but a generous pen, resulting in reviews more than critiques. Tobi T would be a welcome scourge. With PNB, tours of ABT & RB, Kirov, the White Bird Series in Portland, a new AD at OBT, Eugene, Bodyvox, Conduit and lots of modern and ethnic stuff, (plus trips down to SFB and up to Vancouver BC) Tobi could be kept very busy. C'mon Tobes, take a chance! (After years in NYC: Not bloody likely...) *sigh* Watermill

Dirac, your sarcasm is bracing, like a good after-shave lotion... (Bet no one ever said that to you before!) Here in the Pacific (but not Peaceful) Northwest, our best dance critic, Martha Ullman West, is in a sort of semi-retirement, resulting in some of the most lazy, amatuerish and at best unknowledgable dance criticism I've ever read. In Portland's two papers it's mostly by theatre critics thrown the assignment by idiot editors. In Seattle, Mary Bayley has a good eye but a generous pen, resulting in reviews more than critiques. Tobi T would be a welcome scourge. With PNB, tours of ABT & RB, Kirov, the White Bird Series in Portland, a new AD at OBT, Eugene, Bodyvox, Conduit and lots of modern and ethnic stuff, (plus trips down to SFB and up to Vancouver BC) Tobi could be kept very busy. C'mon Tobes, take a chance! (After years in NYC: Not bloody likely...) *sigh* Watermill

What a wise and beautiful posting, Allegro_brill. There's so much to be said for learning endurance, becoming seasoned, getting polished like a stone by the sea... One of the paradoxes re: notices in the press is that whilst the negative critiques hurt, they can force one to grow. But worshipful praises can lead to an inflated sense of self, distance from other company members and sometimes sloppy "resting on my laurels" work. Not to mention the "getting knocked off the pedestal" syndrome certain critics love to apply down the line on an off night. In fact, if you ask me which is more treacherous: lacerating criticism or euphoric overpraise, I'm not sure which is harder to endure. Strange, isn't it? Watermill

...of the tiny wannabe at a local Dolly Dinkle Studio who referred to her sister's "errorbesque"! Delightful!

...I also noticed in her coverage of the upcoming season in the Northwest that the erstwhile Martha Ullman West fails to mention OBT. Are we safe to assume that she is not all that unhappy to see James Canfield go? If not, that's one hell of an omission... If it's intentional it's one hell of a boot out the door...

and out of touch NYMag is to think that broadening (read "dumbing down") their approach to dance is the way to go. Reminds me of Pauline Kael's remarks about modern audiences' penchant for "settling" for what's placed in front of them. With mediocrity becoming the norm (Think of the 3 Tenors receiving standing o's in megastadiums for barely average performances) this is no time to lower the standards of our critics. And if we're talking bottom line: for every dollar tourists spend on the NYC art scene other businesses (Hotels, restaurants, uh...magazines?) take in six more dollars. Why do the hordes come to Lincoln Center? To see the best. How do they know it's the best? Because somebody (critics) told them. Who helps keep it the best? The critics, by demanding quality, pointing out bad choices and sloppy work, by holding AD's accountable. (See NYTimes/He's No Balanchine article) I know this logic is much too convoluted for an editor counting inches and ads, whilst spinning like a top, but it's beyond frustrating to see one of the precious few serious regular dance columns reduced either in quantity or quality. But then again...t'was ever thus... Watermill

and out of touch NYMag is to think that broadening (read "dumbing down") their approach to dance is the way to go. Reminds me of Pauline Kael's remarks about modern audiences' penchant for "settling" for what's placed in front of them. With mediocrity becoming the norm (Think of the 3 Tenors receiving standing o's in megastadiums for barely average performances) this is no time to lower the standards of our critics. And if we're talking bottom line: for every dollar tourists spend on the NYC art scene other businesses (Hotels, restaurants, uh...magazines?) take in six more dollars. Why do the hordes come to Lincoln Center? To see the best. How do they know it's the best? Because somebody (critics) told them. Who helps keep it the best? The critics, by demanding quality, pointing out bad choices and sloppy work, by holding AD's accountable. (See NYTimes/He's No Balanchine article) I know this logic is much too convoluted for an editor counting inches and ads, whilst spinning like a top, but it's beyond frustrating to see one of the precious few serious regular dance columns reduced either in quantity or quality. But then again...t'was ever thus... Watermill

I'm spinning this thread off the Center Stage/Billy Elliot conversation/debate because dufray, Cabriole and Little Swan mentioned the documentary film BALLET by the great Frederick Wiseman. Let's put the Hollywood fluff aside and talk about a real film. (I know I'm comparing apples & oranges: but isn't summer the time for fruit salad!?) I taped it off PBS years ago and it is without a doubt the most fascinating, satisfying documentary ever made about a professional company. The work ethic, joy, creativity, struggles, and tons of rehearsals that make up a ballet dancers life are brought to the screen without a word of narration. You are a fly on the wall of the ABT studios. Amazing stuff... I will view it once more this weekend and try to give more details. Wiseman's Company, Zipporah Films http://www.zipporah.com/28.html rents out the 16mm film for $200. or sells a video for $400. I know that sounds like a lot, but if you put together a group of balletomanes (one of whom has access to a projector) you are in for a treat. As Cabriole suggests, first check with your libray or local college dance dept. And no, I do not know who that young dancer is; hoping someone does. Cheers, Watermill

I love it when a ballerina finishes a solo or pas and is holding the finish up on pointe, then comes off pointe a little sooner than she wanted, but flourishes on flat with a dramatic position of some sort. It's an "I meant to do that" sort of moment. Not a mistake, really, but a human kind of triumph in the face of impossible perfection. This kind of "human" moment endears me to the dancer. I can then relax and love them as people, letting go of the Gods & Goddesses. (Although every once in a while I need an Olympian performance...)

Every ten years I read Barbara Tuchman's masterpiece of history: The March of Folly". Those who do not remember history are doomed to repeat it ...Mr. Bush!

...for the advice on content. Most helpful! Still hoping a cinematographer with experience doing this comes forward with some technical advice. Looks like I'll be using a Sony PD150. Any tips re: that camera (or transfer to VHS)? Cheers, Watermill

...I always do that! It was her husband Tony Mordente that made the cut. Wishful thinking. Of course it was Rita Moreno. BTW: a quick check of cast lists for the opening Broadway cast and the movie shows that out of a cast of 40 only 6 made it into the movie. There could have been other B'way dancers not listed in the orig cast who turn up in the film. The main thing: what I would not give to have seen Chita heat it up in the gym! And oh how I wish it were on film. At least there's a young Elliot Feld to admire. con mucho carino, Watermill

Dirac: you've brought up another reason to exclude McCartney: the quality of his composing over the years (I include the very derivative Vanilla Sky stuff) has declined dreadfully. Take away his work with Lennon and (IMHO) you don't have a Kennedy Center Award Winner (Apologies to die hard Paul fans) Heck I'd give it to Springsteen, Randy Newman or even Neil Young before I'd give it to the "Cute One" (Oops, Neil Young is Canadian?) But Ms Rivera certainly deserves this honor. For West Side Story: both stage & screen! (BTW: Few made the cut. I knew Grover Dale: I think not getting into the film was one of his greatest disappointments. He was a far better dancer than most of the movie gang members) For the terrific dead-in-the-eyes dance hall girl Nickie in Sweet Charity. But mostly for her incredible stage work. Few remember that she was the original Rose in Bye Bye Birdie, or in the quirky Bajour (only die hard B'way oldies will remember that one). I took my wife to see Kiss of the Spider Woman for her birthday and we popped round to the stage door. When I informed Ms Rivera that it was my wife's bithday present to witness her amazing performance, she was incredibly gracious and spent almost ten minutes chatting. This after an exhausting late performance. I've been a big fan ever since. I'm very excited for her: she is the soul of broadway dancing! Watermill

Any tips for a parent attempting to provide a decent video tape for auditions or competion nominations? Specifically: Are there content standards (particular steps, positions, variations, etc) to be met? Are there well-rounded variatons you might recommend? Are there variations to avoid? (Are the juries sick of Don Q?) Black leotard/light tights? Any costuming permitted? Leave camera relatively still, panning only to keep dancer within frame? Titles? Is post-production stuff (Fancy titles, s/fx, fades) considered bad taste? Assume VHS is the standard, but is digital (DVD) becoming acceptable? On shoot: any lighting advice, backdrop recommendations, number of rehearsals, takes, audience? Any tips would be appreciated. Would really like to hear from folks who learned from mistakes. Cheers! Watermill

Well, I've been holding off on this, hoping that someone else would reply, but what's a forum for if you don't throw in your 2 cents once in a while... After attending perhaps 90% of OBT's performances these past six years (and attending Boston & New York companies for the previous 25 years) I have certainly formed an opinion of Mr. Canfield's work. Suprisingly, in light of his reputation for "edgy" and "controversial" ballets, it is his settings of classical pieces such as Romeo & Juliet, Giselle, and a particuliarly sharp Nutcracker that I have come to admire most. He has a remarkable eye for line, a strong understanding of Story Ballets, and as a former Joffrey principal knows how to get the most out of a small dedicated company of good to excellent dancers. His rock ballets and sex-obsessed modern works, for me, are less problematical for their controversy than for their sloppy mix of powerful pas de deux, mush-headed themes, brilliant solos, mediocre corps groupings. A good example is the rock ballet "Go Ask Alice" which featured an extraordinary solo by Stephanie Crank, and ended with some of the silliest dance imagery I've ever witnessed. Much of his recent work has stunning moments, but rarely all hangs together. To be fair, some of his earlier, revived pieces have a Joffrey Billboards-Era feel to them and are quite strong. He also has the good taste to know a superb choreographer when he sees one and invitations to Trey MacIntyre, Ashley Roland and Bebe Miller have brought OBT's seasons up a big notch. Don't know what's left in the well at this point in terms of new work. Perhaps his leaving OBT is partly an attempt to find a new creative vein for himself. I would think a small Joffrey-esque company that wished occasionally to trot out a White Ballet or make some money with a decent Nutcracker would profit from his broad abilities. I hesitate before writing this next paragraph, but it's got to be said: Wherever he lands, dear god in heaven don't let him run the school. After suddenly (and brutally) dismissing the Head of School, Haydee Gutierrez (an extremely fine professional for whom the Tampa Bay Performing Arts Center is building a new Ballet School), he has trashed the place, naming a modern dancer with no ballet background to run the school and hired mediocre or inexperienced teachers who have baffled students and parents with contradictory corrections (and bringing a host of physical ailments: wonder why?). Though there are still a few good instructors left from Haydee's tenure, enrollment has dropped to a low of 140, down from 300. Other ballet studios are renting extra space to handle the fleeing hordes of students. Chris Tabor, late of Cleveland/San Jose has been hired for this upcoming year, but the damage has been done. It will take years to turn the school around. It is difficult for me to write this in a public forum, but I hold Mr. Canfield directly responsible for this very sorry state of affairs. And quite honestly, now that he is leaving, I feel he is "getting away" with it. Desperate personal entreaties to address the school situation have received no response from him as he sits imperiously in his bank vault office. (No kidding: that alone speaks volumes) Hopefully, the board is addressing this situation as they look for a new Artistic Director. I suppose the irony in all this is that James himself is an extraordinary teacher. As the parent of a top level student I've observed his classes several times and always come away with admiration for his eye and fine corrections and ability to inspire young people. But his classes have dwindled to a precious few. I suppose saying "go figure" would be trite and cliched at this point, but that's where I'm left after six years observing this mass of contradictions known as James Canfield. Watermill (BTW: I am not a vengeful parent "getting even" because my daughter or son did not get a featured solo in the Spring Recital or Nutcracker. My child has been one of the chosen few to receive special attention. That's what made this so hard to write. But I don't think anyone should ruin what was a fine ballet school and walk away without somebody [me] calling them on it, regardless of my personal good fortune.)

Wow, I can't believe that NYCB Midsummer with Farrell is video and not film. The quality (as seen in the DVD Elusive Muse) is extraordinary. Just goes to show how may lines of resolution there are on the old broadcast standard 3/4" video tape. I own an old Sony U-Matic 3/4" player and am always shocked at the quality compared to our present day 1/2 standard. The Balanchine Trust (?) should release it on DVD. What color! And then there's the dancing... BTW: saw PNB's Midsummer in person: a wonderful production with standout performances by Patricia Barker and Christopher Stowell (Puck). Sorry to see it pounded by those who viewed the DVD.

I love Angel Corellla as my favorite male dancer. I just love how when he jumps he looks like he is flying!! He stays up there for so long, it is amazing. As my favorite girl I love Julie Kent. Yeah her technique is great, but she uses such musicality and emotion in her dancing. I take my eyes off her!!

I have been looking for NYCB's Midsummer Night's Dream video tape from 1966. Anyone know where I might find it? Thanks!