Watermill

Hey Amy: Nice Joan Rivers imitation! Yes, sure, bolster away for season number one, but alright already…it’s now season two. I think that's what the Oregonian letter writer is responding to...BH is still flogging this deceased horse a year after he started. My problem is that he's whipping the nag and conveniently forgetting about the thoroughbred. Sorry: terrible analogy. Helene, houses were often full in the old JC days..especially for the Nut but also for his major rock ballets which were big trendy hip happenings. It made for an amusingly mixed, but not stable audience. Last night’s (Fri 10/15) performance was nearly sold out. I think the new regime is on the right track to fill the house and fund the company better. Alexandra, I watched Canfield work his dancers nearly to death on the fine details of several classical ballets. Remember, this guy was trained by Mary Day in Washington. I think perhaps my point is: yes, Canfield was all that (the edgy rock star) but he was also this ( a classicist). Let’s not paint him entirely one color just to cheerlead Stowell, who, by the way, doesn’t need any of this silliness to do the great job he’s doing.. Having said that, I must admit that in this one-paper town, I am glad that Bob Hicks is so enthusiastically embracing the new AD. It puts fannies in the seats. Watermill

An interesting exchange took place in today's Oregonian. Firstly, the offending paragraph from Hick's Review on Monday: ...which brought about this response from a reader: While I find Ms. Herochik's tone somewhat strident, and would not describe the above as "trashing", I too have grown weary of Mr. Hick's inevitable "mischaracterization" of OBT under Canfield. Not only did Canfield produce one of the country's finest classical Nutcrackers every year, programs including Giselle, Romeo & Juliet, La Sylphide and several works by Balanchine demonstrate that OBT was not just some kind of experimental Rock Joint en Pointe. Hicks' readers who attend this weekend's performance of Concerto Barocco will be suprised to open their programs and read that CB was first performed by OBT years ago. In fact, the mix that Christopher Stowell has come up with in his first two seasons is not all that different from Canfield's attempt to balance the new and the old. Their vision of "new" might be different, but both equally respect the classical repertoire. The dancing at the soloist levels is now generally higher, but only due to the addition of a mere 3 dancers: Larsen, Iino and Cotton. The other new company members are easily matched by dancers under Canfield. Ever wonder what happened to OBT-trained and oft-featured Katarina Svetlova? She's now one of Europe's leading ballerinas. How do you explain that? Give Canfield his due: sure he rolled the dice in the back alley of contemporary dance, but he also took us out to an elegant restaurant at least a couple of times a year. The last thing I wish to do is champion James Canfield. I had a lot of criticism for his programming, especially in his last two years. And I am as delighted as Bob Hicks is to see where the company is heading. But let's not retrofit the past to boost our pleasure in the present.

I'm going to try and beat Major Mel to the punch....Here's an interesting article on the truth behind "Cambronne's word." http://www.napoleon-series.org/research/mi..._cambronne.html

OPENING NIGHT October 9 At last, Oregon Ballet Theatre’s reach for Balanchine has not exceeded its grasp. All it took was limiting the cast to company (apprentices and students in Rubies and Serenade had made for a shaky corps) and an undistracted repetiteur in Francia Russell. (She had to rush to Seattle to handle a PNB PR snafu during last season’s Serenade rehearsals.) The gentle angelic interlacings of this Balanchine classic were felt, precise, alternately crisp and languid. Soloists Alison Roper and Kathi Martuza held forth gracefully, but it was the corps that made this piece shine. The soft unity achieved by the company was possibly the finest I have ever seen in any OBT program. The final lengthy uptempo cascade of brutally fast small steps was accomplished with the same lively freshness found at the start. The conditioning and coaching in evidence was very impressive. For me, this was the brightest highlight of the evening, in an evening of several shining peaks. For their fine corps work I must commend Candace Bouchard, Katie Gibson, Mia Leimkuhler, Valerie Limbrunner, Daniela Martin, Tracy Taylor, Leann Underwood and Holly Zimmerman. And Brava, Francia Russell! Orpheus Portrait by Kent Stowell brought Artur Sultanov and Gavin Larsen together again in a well crafted if standard pas which featured some heart in your throat tosses that looked like triple salchows sideways sans skates. Unfortunately, the inability to land these 12 foot drops without the benefit of gliding lateral ice maneuvers results in what can appear to be a crash landing. I’m glad no one was hurt, but must admit I would have preferred thinking about the dance, not the ER potential. Nonetheless, in this affecting re-imaging of the Opheus legend, Ms. Larsen reminded me of a young Suzanne Farrell: technically perfect but with a wildness on the edge of abandon that is positively riveting to watch. The totality of her dancing is breathtaking. Swan Lake Act III The curtains parted revealing a spectacular setting with costume parade. A weak pavane of supernumeraries, who should be limited to adorning the upholstery and not dancing center stage, was quickly dispelled by a wisely re-inserted lovely, lively pas de trois featuring the ever solid Kester Cotton with Kathi Martuza and new company member Leann Underwood. Enchanting variations for the ladies. Then the gorgeous fiancés, all a-flutter and a-flirting, nicely done by the corps and an apprentice. However, from that point, not a single national dance stood out as remarkable. All were well performed, but the choreography itself was not as creatively thrilling as one would like. The Spanish was very standard, as was the Neapolitan, with some rather odd, random, literally off beat tambourine work. The Russian, danced as well as can be expected by Tracy Taylor, was a very watered down shot of vodka compared to James Canfield’s 110 proof version set to this same music in his Nutcracker. Czardas, again featuring the very tall Sultanov and diminutive Larsen, seemed crowded and strangely dressed. (See my cranky costume comments below) Maybe it was opening night jitters, maybe Stowell bit off a little more than the company can chew right now, but in spite of all the colorful variety that sallies forth, the act sagged between the pas de trois and the pas de deux. I’m still scratching my head trying to figure out why. But, anyway, at long last, She enters: At the risk of offending purists, in my opinion, the first challenge to Odiles is the acting, not the dancing. Most principal dancers can dance this role with varying success, but how many can truly act the wide range of emotions required? Very few. In Yuka Iino, who has already proven to be a very fine dancer, we are blessed to have an equally fine actress. Her haughty demeanor, seductive glances, suddenly broken by Odette-like vulnerability which is then just as suddenly cast aside for more coy come-hithers showed a mastery of this most difficult role. Confidently shining throughout the difficult steps, Ms. Iino’s solo was sharp and lovely, marred only by some off center turns and a slightly shortened attempt at those dreaded fouettes…which is fine with me. I’d rather see them accomplished cleanly and consistently than in a last gasp sloppy attempt to reach some mythical number of revolutions. (Mythical? See below) She was nicely partnered by PNB guest Jonathan Porretta, who exhibited a healthy, almost lusty desire for what he believes is his true love. This characterization helped sharpen Ms. Iino’s cruel coquette. His partnering skills were abundant, showing off Odile with noble speed and strength while remaining engaged as a character in the story. Mr. Porretta’s solo variation included the fastest turns a la second I’ve seen in a long time…without moving more than an inch from his turning point. A brilliant technician with a lot of soul. Ending on a positive note: a lot of positive notes in fact, all emanating from the orchestra. Perfect tempo on Concerto, lush Liszt, lively pulsing Swan Lake. Possibly the most important accomplishment of Christopher Stowell’s young tenure is his attainment of full orchestra for all three pieces of the program (plus a dashing fanfare). It shows musical sophistication, an understanding of the true nature of dance and some prodigious persuasive abilities. No longer taking Artistic Director 101 classes, with the success of this program, I believe Mr. Stowell has skipped his sophomore year! FURTHER RAMBLINGS… This 32 fouettes thing is very misleading and a disservice to the ballerina. Firstly, the number can be changed by any doubles or triples added and the dynamics of those variations, Then there’s the finish: if landed with a double or triple, in tempo or diminishing tempo. So, depending on the finish, the actual fouettes have to stop anywhere from beat 28 to 31. And don’t forget the preparation, which also must use a beat or two. So you have variables in the preparation, added double pirouettes and the finish. All which can change from night to night, as the dancer feels it. What cannot change is the music. My point is that the only person dead or alive who should be counting to 32 is Tchaikovsky, not Odile (or the audience). I bring this up because I feel this emphasis on a number can lead to an unenlightened audience expecting and counting fouettes like the whirling tenths of a fuel pump. An unsettling set: A massive Gothic stonework castle Great Room that wasn’t great enough. Strangely lit by delicate chandeliers. Stranger still were the broad expanses of empty orange wall. (No heraldry? No shields? No tapestries? A royal garage sale this weekend?) But my real problem with the set was how claustrophobic it was. Such massive stone work needs to be set back further, allowing room for the larger dances (especially Czardas) and the long lines of the two pas. I should be enjoying Odile’s extended circular chaine patterns, not worrying about whether she’s going to slap a super. Also unfortunate was the placing of the Queen’s throne downstage right at a right angle to the audience. Those of us on house left could see nothing of her reactions, nor of Rothbart’s cunning manipulations, not to mention that it also ate up valuable downstage real estate which led to…you guessed it…further claustrophobia. While I’m at it: Bizarre Czarda costumes… with odd fur stoles and feathered turbans, the men looked like it was Norma Desmond night at the local drag club. I know I should be grateful for the loan of set and costumes from PNB,(beggars/choosers and all that) but after the alternatively murky and florid Nutcracker settings, I wish OBT would bring in a good stage designer on at least a consultant basis. Enough already….looking forward to my far more insightful colleagues' comments, especially the commuting Helene. Watermill

I don't think they'd release this unless it was 99.999%. They have probably already "polled" the board and it's a slamdunk all aound. Mr Boal must also be showing great eagerness. It bodes well. Congratulations to PNB. Condolences to NYCB and SAB. We left-coasters will keep you posted. Yippee! Watermill

You've hit the clou sur la tete, Alexandra... It's often no better here. From huge government agencies to local non-profit boards, bureaucratic minds fail to understand the differences between types of music, drama and dance. It's a sure fire way to end up with homogenized copy-cat art forms. Democratized and watered down. I find it hard to believe the French regions can't support a true ballet company.

Apologies, Alexandra: I didn't get that. My hyper-sensitivities are showing! Not to go astray with this thread... you are right, canbelto: whether in the gym, stadium or studio, the pursuit of perfection is bound to lead occasionally down some dark tunnels. However: the abuse, when it happens, must be addressed.

Thanks, Estelle, for that survey of the ballet scene du Paris. I think you and Alexandra are probably right: it's a mixture of cultural, political and economic reasons. The result can not have French ballet fans cheering. Alexandra: I don't think there's a need to defend ballet style. I certainly agree that all the physical endeavors you mentioned each have their own set of requirements. And I become quickly annoyed at those students (and especially parents) who use the "unfair" complaint for endeavors that are based on meritocracy not democracy. But I think this POB School situation was pretty serious and don't think it was a matter of parents mistaking the difference between disciplined conformity and abuse. I suppose I could try to find more info...but would just as soon let it go. I trust that POB is now much more sensitive to these things.

I think, if fading memory serves, Alexandra, this went beyond a difference of opinion over what is "too strict". I think there were some pretty serious charges as parents accused the faculty of physical & mental abuse of students, leading to the resignation (or firing) of some long time top faculty. I believe lawyers were called in and the whole thing faded into behind the scenes settlements. It was huge in the French press but got little coverage here. Scandal or just another day in the studio? Depends on your definitions. I personally regard the abuse of children as scandalous, whether in ballet, gymnastics or little league basketball...but I'm kind of hypersensitive as I often work with the child victims of domestic abuse. Don't really wish to "go there"... Was just wondering if there's a defensive culture of conformity as POB becomes the centralized last bastion of French classical ballet. Probably an overheated generalization from too far a distance. Watermill

It seems ironic that France, the birthplace of ballet, should have so few ballet companies of top quality. Just wondering: With the transformation of Lyon into a modern/contemporary company, is POB now the only ballet company of note in the entire country? Further wondering: Without competition, do they have an iron grip on the country's top dancers and can shape the company at will, to their will? The recent scandal at the POB school, aligned with your observations, canbelto, gives one another sort of "eerie" feeling. What about Maillot's Monte Carlo company? Has it drifted, like Lyon, to the contemporary hybrid? Does France enjoy another major company? A side note: one of the students from OBT has been accepted to POB school. We are watching with great interest. Watermill

It's just under a year til Agnes de Mille's birthday centennial on Sept. 18 2005. Are there any plans to remember or revive her works? Though she was attached to Ballet Theatre under Chase, I doubt ABT will mark the event. (Unless the character dances of Ashton's recent centennial have softened up the hardened ballet purists.) I suppose it also depends on the copyright status of her choreography. -Wonder if there's a savvy Broadway producer who could put together an evening of her best work. With the recent dance oriented Broadway hits, it might be a smart move. (And more work for dancers!) Any suggestions for an Evening of de Mille? Those interested in a good biography, I suggest No Intermissions by Carol Easton. A fascinating, funny, infuriating lady of the dance.

Well, you know you're in trouble when the press writer refers to the "apprentice core". Just how painful will the "achingly" romantic Lizst be? Shall I bring aspirin? And I can't wait to count those famous 32 fouettes out loud with the rest of the audience! If she only does 31 can I get my money back? While I'm at it: five "new" dancers? Only 2 are new: Ms. Zimmerman & Mr. Drake. Does Christopher Stowell read this stuff before it goes out? As to company size, I was trying to figure out how they increased from 20 to 21 when I had counted 21 for both years. Now I get it: Valerie Limbrunner was not considered a company member last year. Not sure what "guest dancer" means: usually it refers to a principal dancer joining the company in a particular role. Miss Limbrunner danced most corps roles and some soloist roles along with company members throughout most of the year. Anyway, my point still stands: no expansion of company, just an increase in apprentices. I would not brag too loudly about the larger number of apprentices: What's so impressive about a more than 50% increase in dancers whom you do not pay? It basically means the company has chosen to fill the stage with non-professionals, but your ticket price is still the same. Listen, I know what OBT is up against and that they could have a 30 member company if they paid lower quality dancers a lot less. I am a stong supporter of Christopher Stowell: I can't imagine anyone proving themselves so capable an Artistic Director in their rookie year. I think his vision for OBT is exciting and of the highest artistic standards that he can afford. Let's focus on that and leave off with fudging the meager numbers of a small company. And please have some ballet-savvy staff member review these press releases. Core-dially, Watermill

The underacheiving Warren Beatty? This "honor" continues its slow slide into mediocrity. Oh well, the general public will tune in for Sir Elton if not Dame Joan. Are Ruby Dee & Ossie Davis the first husband wife team? Were Jessica Tandy & Hume Cronin honored seperately?

I was able to drop by the Park Blocks yesterday. Looks like 3 of last year's apprentices have moved up to company: Candace Bouchard, Ansa Deguchi & Leann Underwood (who actually moved up last spring). Additionally, two new company members have been hired: Holly Zimmerman & Damian Drake. Gone are Chris Brough, Erica Cole, Louis Phillipe Dionne, McKenzie Fyfe & Larke Hasstedt. And this year: 13 apprentices! The class was taught by a Ms. Kemp, from PNB, who is contracted as Ballet Mistress through Nutcracker . Afternoon rehearsal had Mr. Stowell setting a Swan Lake Act III pas on Allison Roper & Artur Sultanov. The other Odile was absent: Yuka Iino is stuck in Japan waiting for visa approval. She should have been here for rehearsal on Monday. Seems that the anti-terrorist measures have slowed these things down. A board member is urging Senator Gordon Smith to intervene on behalf of the ballet. The only terror associated with this situation is the thought of Ms. Iino not appearing as Odile! I was disappointed to see that the company was unable to expand by even one dancer. (Apprentices are not paid) Still only 20 company members. Obviously money continues to be very tight. It's going to be a long way to a major story ballet.... At least we'll get a taste of one this fall. Maybe OBT can shake the money tree if they bring down the house with Act III. It was not lost on me that a stone's throw from the stage, the Portland Museum is spending tens of millions to upgrade and renovate. The money is here. OBT needs to become very smart to get its fair share. As always: a gorgeous day watching beautiful young dancers in a park. Life doesn't get much better. Watermill

August 30...new apprentices have arrived and are taking classes...no official word yet on new company members...should be quite interesting...keep in mind that the dancers are not paid for this: it's voluntary (except for those rehearsing in the afternoons) so one usually doesn't see entire company.

Oh, no you don't, mussel: once we've got him...we're going to keep him! From the Left Coast , Watermill

Gorgeous, marvelous, splendid....Thanks again, rg! Could almost see Mordkin dancing.... Oh, for a time machine! Watermill

For those of us who never had the pleasure of seeing her, the big budget film of Giselle (with the extraordinary Erik Bruhn and Bruce Marks as Hilarion) is a real treat. Though it's often far too manic with cinemagraphic tricks, many of these shots work, lending the film a true sense of "living dead" horror not usually felt on stage. Video-wise I would rank her Giselle third behind Makarova and Ferri. Oberon: though I'm 3/4 Irish, your post has made me 100% "green"! Alexandra: Didn't Nora Kaye's ethnicity supposedly gave her Lizzie Borden the same passion? I think Alonso danced this role , too. Just thinking: when the lid blows off the New England Yankee repression, it's good to have some fiery blood boiling over. Watermill

Don't suppose any Diana film footage was taken or survives?

I know that the internet has spawned many websites for non-writers to review at tremendous length anything their heart desires: even if they know nothing about film (and in this case ballet). But when the writer assumed Ethan Steifel was gay I stopped reading. Stereotyping is shallow, narrow-minded and indicative of low IQ. And by the way: it's not funny, either.

Thanks, rg: especially enjoyed the Fairy Dolls and Ulanova as Diana.

I reported this on BT July 3, but was edited by moderators because no official company or press notice had emerged. (A policy I agree with, by the way)Suprised it took 20 days to become post-worthy. Especially considering the standing ovation given to Ms. Tuttle that eve as knowing fans converged. Not to mention the big backstage party following the performance complete with with toasts and good wishes. Sorry to hear lawyers are involved. That's never a good sign. Whatever one might think of her performances (and she certainly has strong supporters), to dismiss her after all those years is unclassy of Kevin. But I would like to hear the other side. Could he be sending a signal to Broadway bound dancers? Hope not.

"First, a school." Not trying to be smart, here: I think your question is fun, Maxi3d, and I look forward to what those who regularly see the best have to say. But if I had the money I would seek out the truly best teachers who are scattered all over the place and make a school: give it seven years and stand back. Just a dream...

In theory, your point is excellent, Leigh. But this past season's Rubies and Serenade showed how far from having a corps ready to handle even Concerto Barrocco OBT is. Maybe if they are able to hire well and get especially good coaching from an undistracted Balanchine repetituer they might pull it off. I'd like nothing better than to eat my words. On the other hand, some of the leading dancers are showing some real sparks of brilliance. I would love to see them take on the Four Temperments. Gavin, Yuka, Kathi & Allison with Kester, Paul, Artur and Matthew...could be very exciting. I have an idea: drop Company B and do both! Sanguinically, Watermill

Geesh: Sorry, Alexandra, I totally missed this thread. I threw in my inevitable 2 cents a while ago, but to summarize: I'm most excited to see the Robbins and whatever Chris Stowell and Yuri Possokhov cook up. Not familiar with the Czarny: looking forward to it. Re: Swan Lake Act III (The Ballroom) While I understand the "approaching a major story ballet by performing one act" theory, unless Stowell has raided SFB or PNB and hired a lot of dancers (and where exactly would the money come for that?) I don't find this sort of thing tantalizing. I'll enjoy it, but a fragment is never satisfying. A swan-less lake? Nutcracker a la Mr. B...not my favorite, but without it, there's no OBT. Hope it sells well. Already have received a nice Nutcracker brochure: happy to see the recorded performances have dwindled to only two. That's a big step in the right direction. OBT must have received some money in its live music fund. Disappointments: I'm not a big fan of Stowell Senior, though I'll admit to having seen only a half dozen of his pieces. Of all the Balanchine available, Concerto Barroco would have been half way down my personal list for this company. Keep in mind: OBT is still very thin at the top. Apollo or Agon a much better choice. Then there's the repeat of Company B. Isn't the second season a little soon to be nostalgic for the first season? As I said before, I appreciate all the thought and budgetary woe that goes into shaping a season. If I knew the hard facts that OBT has to deal with, I might not have come up with a better season myself. (Though Company B's dead bodies would have been over my dead body.) To end on a positive note: last season OBT was filled with wonderful suprises all year long: in performance, choreography and programming; I am hoping for more of the same this season. See you at the Park Blocks, Watermill