Watermill

This reminds me of Fonteyn displaying her first tiny ballet slippers in the "Magic of Dance" film. From little "aching-corns" a mighty oak tree grows!

Anyone see Tuttle/Corella last night?

Anything that can be sharpened can be whetted..though we tend to mean this in a positive way. For example: hunger can whet your appetite as much as watching the Food Channel. Siegel's Watching the Dance Go By is one of my favorites: it's on the shelf beside Pauline Kael's For Keeps.

Mel: See the Jenufa (The Opera) section of the documentary The House (Royal Opera House) for what happens when you have BOTH horses and a swamp on stage. I believe cast and crew alike were contemplating group seppuku...after murdering the designer & director.

I received some basic instruction in samurai sword from a Noh actor. If memory serves, the turnout helps one attain quick lateral moves without sacrificing the speed of advance or withdrawal. As does the eternal plie. The upper body featured similar wisely constructed compromises for quick action in a variety of directions. All centered from what my teacher called the "one-point": located halfway between navel and groin. Strongly influenced the Noh and Kabuki. It would be interesting to hear from some of our Japanese dancers who perhaps have a more intimate knowledege of these two functionally disparate yet similar arts of the body.

Ben Brantley in the New York Times seemed to share your basic assessment, Alexandra.

Nyala, Last weekend's houses were pretty good, and the previous programs have been quite well attended. Don't quite know how to account for it, except I have noticed that when the nice weather arrives, after 5 months of endless rain, Portlanders fairly burst out of the city to the coast and lakes and mountains. Sorry that none of our visitors were able to see Yuka Iino... healing from an injury. I heard that Mr. Stowell has let go six dancers, has taken a couple of apprentices up into company, and will be hiring. The company should improve with every year. Helene & sandik: thanks for sharing. It deepens my own critical thinking to hear from other ballet goers with such tasteful insights. How wonderful of you all to have made the trip. Hope it was worth it, if only to compare with next year. Now if we could only haul Paul Parish up here...

What's that DTH piece with the repressive and cruel Preacher? Isn't there some physically abusive choreography in that? Seriously, as a teacher (drama) who works a lot with what we now call "youth at risk", violence toward women on stage or screen had better be an intrinsic element of character and story. The price paid by those who suffer it directly or indirectly (children) is enormous. I'm glad these threads are keeping the question in the air.

At Oregon Ballet Theatre, James Canfield bent, folded, spindled and dragged a woman at least once a year in his original works. To be fair, it was usually within the dramatic context and often worked very powerfully. Edie stands out as the best example of a successful exploration of distaff mistreatment: hard to draw the line between masochism on the part of the title character and abuse on the part of the men in her life. Brilliantly danced and acted by Tracy Taylor, it stands out as a highpoint of the Canfield years. I agree with Farrell Fan: Context is everything.

A Streetcar without sexual tension? That's like Giselle without love. This Stanley reminds me of Philip Anglim's "nice" Macbeth at Lincoln Center in the early 80s. Did not see it, but Jessica Lange's Broadway Blanche was said to have been memorable. Sally Field as Amanda? It's going to take a strong director to hold the reigns on that bit of casting. Have the stage carpenters ready to repair some seriously chewed scenery... I had the pleasure of meeting Mr. Williams during a production of a revival of his ill fated Small Craft Warnings He had a resigned world-weary charm about him that was both sad and delightful. Very few, if any, American playwrights have scaled the early heights he attained in the realm of "poetic realism".

Anyone else go? I think I remember some SFB or PNB fans indicate they might make the trip to see the rarely performed Facade. Adam's il nodo will be a marvelous surprise: you'll have lots to talk about on the return trip! For a company that's rising this fast, it's gettin' kinda lonely on this board... De-lurking and disagreeing is cordially welcomed. What did you think of Bob Hicks' Oregonian review? We certainly parted ways on the Wheeldon, but I agree with most of his other comments. Watermill

Masters & Moderns, the final program of Christopher Stowell’s inaugural season finished with a flourish. Beginning with Christopher Wheeldon’s ’s There Where She Loved thru Ashton’s Facade, the evening explored the couple or at times just plain coupling. The Wheeldon had a well thought out series of quartets and pas and dissolving trios having in common a close partnering, the female lifted and twisted, hung and slung against and around the man’s torso, such intimate intricacies suddenly broken with huge swirling battements as if the woman’s body were both clinging to and at the same time yearning to break free. As to be expected, Wheeldon provided some stunningly creative moments such as a female suspended by four men, each pressing a single hand to her ribcage. What was missing for me in the dancing was the archetypal stillness, the gaze of wonder or sweet confusion that Wheeldon’s work requires. There’s a thoughtfulness, a conscious working out of some great puzzle. In another choreographer’s hands this might lead to cerebral dullness, but Wheeldon always seems to find a way to struggle through the thought process to a danced resolution- whatever that may be. In his dances we are creatures, but we are magnificent creatures. Well danced by all, but especially Gavin Larsen, who alone seemed to project that stillness within movement that allows a piece like this to softly attain a deeper level. While I appreciated the well played & sung songs of Chopin & Weill, the lyrics laid heavily on the dance. “Ich leibe dich soooo” was already being danced: we didn’t need to be told. Every evening at OBT this year has had a pleasant surprise. This time it was Julia Adam’s dramatic black & white composition il nodo . A short length of chain suddenly drops from hands: a foreshadowing of ropes, strings and other stretchy things which would become bracelets, necklaces, chess boards, harnesses, marionette strings, Kabbalistic stars, maypole ribbons, streamer forests, jump rope and even a noose. Sounds gimmicky doesn’t it? But it wasn’t. One never felt it was “playing with props” because the dance itself was propelled by an urgent need to meet, couple, dominate, gather, hold on and let go. All so refreshingly explored within an aesthetic of baroque hieroglyphs. Entertaining, intelligent and brave. Duo Concertant: Ah, the happy, healthy couple: serene, secure, playful in their love and admiration for each other. In an evening that charted the skirmishes that make up the battle of the sexes this piece gave comfort midst the discomfort, ease midst the dis-ease. Every couple onstage prior to Duo were attempts to attain the mature serenity of the couple standing by the piano. Duo was on TV a mere 4 days ago, not long enough to fade the memory of Boree & Boal’s extraordinary NYCB Gala performance. But Kathi Martuzza provided a fascinating contrast, displaying a coy grace belied by her innate physical power. Her line, extensions and speed are prodigious. Yvonne Boree made you believe the happiness by the piano was forever. One felt Martuzza‘s happiness, though equally authentic, would not last: that she is meant for greater things. Artur Sultanov suffered by contrast not only with Peter Boal (who woudn’t?) but also with Martuzza. He’s a very gifted but wildly coltish dancer. Finally Façade: What a joy! Keep in mind that Alexander Grant and Margaret Barbieri, Ashton’s own, set this playful jewel on the company (See OBT thread: Revering Ashton) and it shows. I love Ashton’s character dances and that’s all this is: a pastiche of polkas. foxtrots, tangos, Ma Fille-like rusticana, Highland flings and just plain flings. Halcyon Salad days chaps in boaters, a giggly gaggle of confectionery schoolgirls. Everyone’s on vacation: so let’s fall in love! As always, beyond clever: Ashton’s caricatures even as you smile (or double over with laughter) vibrate with importance. In this case the title Façade hangs like a sword over the dance. These characters are false fronts; though carefully constructed to withstand the social wind, their identity is a kind of armor (an arm is a sword, crossed arms a castle wall). Sir Freddy has served the audience a big seven layer cake dripping with pink and white frosting, but as we greedily devour the whole lovely gooey thing, there’s a slightly sickening feeling: this is false, this is not real food; there’s nothing under the frosting but a rather cynical lesson in perceived persona. And yet you sit there smiling, frosting on your nose and chin. Loving every moment. Danced exuberantly if not always cleanly. There’s literally a lot of wiggle room in the choreography. Karl Vakili & Kester Cotton stood out in a British Music Hall revue parody. A brilliantly conceived evening of dance-making. so well balanced that Moderns Wheeldon and Adam seemed equals to Masters Balanchine & Ashton.. A bold, bright finish to Christopher Stowell’s first season.. Bravo! Watermill

Having recently seen a video clip of The Enigma Variations, I would love to transverse the shining sea by boat, plane or train to see the Royal Ballet production in 2005. I could also visit my new grandson at that time. Unless, of course, someone opens a window on the train.... In that case...a very watery Watermill

Heaven it was! Though I missed the first half hour (my students kept me late...I was so torn...) the final hour of this rare opportunity was a marvelous, charming, insightful glimpse into the fabled world of British Ballet from the mid 40's. What a fabulous source of wisdom and wit Alexander Grant is. He offered many anecdotes and reminiscences: Of dancing the Jester in Cinderella to Ashton & Helpmann's Stepsisters. He would fill in for Ashton while he choreographed. Of his first big role: partnering Fonteyn in Massine's Madame ____ (help). "The other couple was Michael Somes and Moira Shearer. Can you imagine? I was nothing!" Of Fonteyn's eyes as she pleaded with him in Ondine: "Gave me shivers, every night." Of how Elgar's family & friends came to see the Enigma Variations and said that the portrayals and relationships "were just right." Of an imperious de Valois. How de Valois emphasized the men's roles, Ashton the female's. Of staying up late with Nureyev & Fonteyn...then taking their special 10 am barre ... the rest of the company would take in the afternoon. Of Massine's influence on the final section of Facade Nureyev's impact on Ashton? "Not much: he was setting the dance on Margot." An amusing anecdote centered on Ashton's growing impatience with the composer Henze, who with his baby grand were ensconced in Grant's small apartment. The composer insisted upon devising full orchestrations, which he loudly grunted, instead of delivering a melodic line that Sir Freddy could begin setting steps to. Ashton would call every day, asking: "Have you heard a tune?". To which Grant would sadly answer, "Sorry. No melody whatsoever yet." One day, while Grant was out, the cleaning lady picked up the phone. Ashton, now desperate, asked her if she had heard any music that morning. She replied, "Oh, yes, very pretty music all morning." The beaming Ashton greeted Hanze later that day with: "So Henze has a tune!" But the composer replied, "Oh, no: I was tired of working on it so I played Mozart all morning." Mr. Grant added a poignant postscript: Henze conducted a favorite Mozart at Ashton's memorial service. OBT historian Carol Shults gathered an impressive array of historical photos and video clips which truly brought the evening to life. Especially memorable photos of Markarova, Shearer, Franklin & Danilova, Grant as Bottom with Sibley. And Ashton & Shearer in deepest tango dip from Facade. (Interesting aside: when the photo of Frederick Franklin flashed on the screen, Grant, with reverence in his voice, said: "There he is: the man himself.") An amazing video clip of Dowell performing a wild solo variation from Enigma. A very rare video from The Royal Ballet archives of a witty, jangling pas from Facade danced by Grant & Merle Park. Margaret Barbieri added her own special glimpses earlier...sorry to have missed them. Looking forward more eagerly than ever to her setting of Facade on OBT's constantly improving dancers. Christopher Stowell led the discussion with his engaging, informal charm. Not having seen enough Ashton, I came away with a deeper respect for his work. And a continued strong sense that Mr. Stowell is leading OBT in the right direction. Your Roving Reporter, Watermill

Want some real fun? Read Vanity Fair followerd by Bonfire of the Vanities Wolfe is our Thackeray...proving yet once again: the more things change the more they stay the same. But if one doen't read the classics how is one to know that? BTW: I'd admit Bloom is sometimes flatulent... but never execrable.

I'm bumping this up as a reminder to local balletomanes: this is a not to be missed occasion. Seattle folks: star driving by 2pm. San Franciscans: leave now, drive 90 mph, and you can catch the last half! (Turn left at Mt. Hood) And it's free!

Obt's Dance Talks Series continues with Revering Ashton: A Centenary Salute Monday May 3 at 7:00pm at the Winningstad Theater. Featuring Ashton's long time collaborator and principal dancer Alexander Grant and former Sadler's Well's principal and OBT Facade repetiteur Margaret Barbieri. They request reservations 503-227-0977 (chandra.hall@obt.org) but they won't turn you away if there is space (which there will be). The chance to hear Mr. Grant and Ms. Barbieri speak from first hand knowledge of the great Ashton's work is not to be missed. Christopher Stowell continues to put Portland on the Ballet Map.

Turgenev's Spring Torrents is one of my favorite non-painful classics. The strange but wondrous Parzival by Wolfram Von Eschenbach is another. BTW: the definitive list of classics was compiled by the erstwhile Harold Bloom in his The Western Canon Check it out: The Western Canon I refer to Moby-Dick as painful because I was once reading it in bed while holding it over my head...fell asleep and dropped the tome on my face. Where's Starbucks when you need him? Damn you, white whale! Watermill

Really dreading? Some vile "REALITY BALLET SHOW" combining "The Apprentice" with "American Idol". Such as... COMING This season...from FOX NETWORK: The new reality show that out-trumps all the rest: "AND YOUR POINTE IS...?" Bourees aren't boring when these apprentices vie to become the top dawg Primo Balletarina Absoluto in the internationally reknowned company LES BALLETS TRUMPADEROES. Will Jessica nuke Natalie's Nikiya? Will Tiffany really "selle" her Giselle? Is Raoul's Rothbart headed for K-Mart? Who put the tiger balm in Jeffrey's dance belt? Simon moans: "That Swan isn't dying...it's already dead!" Clement Crisp groans: "Pour me a sherry...that was more like Swine-hilda!" Jennifer Houmans declares: "Just awful...but it's all Peter Martins' fault." Clive Barnes exclaims: "Wow, Jeffrey can really jump!" TUESDAYS AT 8:00 FOLLOWING "EXTREME CELEBRITY PET LITTERBOX MAKEOVERS" Sad thing is...I'd probably watch it.... Watermill

Mike, don't forget Suzanne Farrell Ballet which will have a larger and I believe longer prescence at KC this year as her funding expands. From what I hear , Mr. Webre is the right person for your company: not only the highest of standards, but also a great communicator, storyteller and terrific sense of humor. I envy you all those classic story ballets. Here at OBT we're being served a lot of chopped salad while you get the main course. Hopefully in a few years, Christopher Stowell will have the company (and the money) for some Three Acts. Watermill

I'm kind of underwhelmed... This season featured two major Balanchines, a rare Ashton and a Firebird. Next year: a chunk of Swan Lake (always weakened out of context), Concerto Barocco (Nice, but OBT school and apprentices perform it this spring), In the Night by Robbins (heard good things but never seen it) Mind you, much of what is unknown and yet to be created could well be thrilling, but I was hoping for more than an act of story ballet and less Kent Stowell. And the quick repeat of Company B (not my favorite) is very disappointing. I am looking forward to new work by Possokhov and Chris Stowell ...and the Robbins. I understand there's a new half dozen dancers being hired so we may see a major shift in the dancer's abilities. It's still a transitional company. I hope to be suprised as much next year as I have been this year. Watermill

Frederick Wiseman's awesome ABT documentary BALLET (1993) ends with the balcony and bedroom pas de deux danced with supremely controlled abandon by Ferri & Bocca. It is not available on vhs, but may turn up on PBS again. Keep those vcr's at the ready. My regret is that the Royal's R&J with Darcey Bussell was not recorded. Watermill

Yes, Mme. Hermine, that's true. But what is quite unusual is for that relationship to continue through a dancer's years as a principal in the school's company. I am probably responding so strongly to this story because we have kept our daughter with the same teacher for 8 years in the face of very difficult conditions. Can anyone think of other dancers who went from first ballet lesson on flat at age 7 to Principal at 21, all under the watchful eye of one teacher? In the same school/company? I think there are some SAB/NYCB possibilities. Patricia Barker at PNB? And of course, this is not unusual in the great Russian Tradition. Perhaps also in the other European Companies, especially POB and the Royal. As Mr. B said: First a school. A question nags at me: did Boston Ballet make a typical bottom-line bean counter's mistake and save a little money but lose something of far greater value when it dismissed Mme Legat?

Not meaning to continue the diversion of this thread to architecture from interiors, but anyone looking for a howlingly good read on what happened to American architecture, get a copy of Tom Wolfe's From Bauhaus To Our House. A fascinating, positively damning report (and retort) of Yale, the International Style and big biz. Let's put it this way: Had Ballet gone down (and I do mean down) the same road as architecture, all that would be left of it is the Nutcracker, peformed poorly; same steps, same set & costumes, with minor variations. As someone who drives back and forth across the country through the major cities, all I can say is that the joke "What do you call 500 lawyers at the bottom of the ocean? -A good start!" could certainly be amended to include architects. Frank Lloyd Watermill

I've been around the block too many times to become overly confident about press interviews revealing the truth, but the following remarks from Christopher Stowell regarding his possible replacement of his parents at PNB are what I needed to hear. Any OBT fan who has been watching his remarkable beginning as an AD here has got to be a little nervous about PNB cherry-picking him from us. Sounds like he's not for the picking. Phew! (For now...)