Watermill

Knowing what I know I know of the situation of the situation, I'd say that I'd say that Mr. Stowell would treat his dancers as fairly as possibly possible, regardless of the above mentioned mentionables.

Thanks, hockeyfan. I heard that Serenade was much improved the second weekend...especially with Carrie Imler in the cast. Yes, the timing of the Russell/Stowell retirement announcement seemed odd. I'm sure they were more annoyed than anybody else. Well, the White House can't control leaks either. Christopher Stowell continues to impress on many fronts. The latest news is that he has notified a half a dozen dancers that they probably will not have their contracts renewed. Good of him to give them time to audition elsewhere. No apprentices will be invited to join the company. So a new group will be joining for next year. Based on his first year's hiring, OBT is poised to take another big step up in quality of company.

Sorry...here's the Boston Herald article from today's Links:Sarah Lamb Leaps to London

Wait a minute, Mary: you heard an entire Rusian folk ensemble playing Starvinsky's Firebird on a very tiny accordian? How tiny?

Anyone attend the second weekend? How was Carrie Imler? Alison Roper as Firebird? Serenade improve? Heard houses were very sold!

From today's sorry story about Sarah Lamb leaving Boston Ballet for the Royal: This article underlines the essential relationship teachers and coaches have with professional dancers and that "blossoming" which can only happen under the watchful eye of the gardener-mentor. In fact, I think that this relationship is the least talked about, but the most important for those aspiring to the soloist and principal levels. Where has Madame Legat alighted?

PNB's stunning Stacy Lowenberg, a corps member who has danced soloist roles, is the Northwest's Victoria Page. Had the edgy hard rockin' AD James Canfield not left OBT, I'm sure I would also have been able to supply you with a list of dancers with orange, blue and purple tresses. Now we're stuck with this fuddy-duddy Stowell and his boring classicism. With a wink, Watermill

Point very well taken, Alexandra...not to mention the expense of performance: costumes, stage rental etc,etc... I don't know of many parents willing to spend the extra it would take...on top of an already pricey endeavor. Thanks, Treefrog: good to know its out there somewhere.

While I agree with Ms. Leigh, especially on the age factor, I must admit that I have struggled with this issue. If ballet is a performing art, where's the performance for younger ballet students? The infinite number of Nutcrackers is one quick and easy answer. End of year school performances is another. But for many students, especially those leaping about as mice or strutting about as soldiers for a few un-balletic seconds in the local Nut, and then performing little more than class-based center work as part of a 30 dancer herd at the school performance, it is not enough. I sympathize with those young dancers who seek out these competions as an outlet for the pent up desire to shine on stage. However, I do share Major Mel's opinion that judging and winning should not be part of this process. A non-competitive "Festival" would be far more to my liking (for the younger dancers).

Mell, Wel, you took care of that in one swell foop! Materwill

The remarkable PNB Principal Carrie Imler will dance the role of the "Russian Girl" in Serenade Thurs & Sat 3/4&6. If you haven't bought your ticket yet you might consider these performances. It's the B cast with Alison Roper as Firebird not Yuka Iino.

Re: Serenade, I learned that Balanchine regisseur Francia Russell had to unexpectedly rush up to Seattle to deal with all the retirement PR interviews, missing a week of rehearsals. Seems that word of her & Kent Stowell's retirement from PNB leaked out prematurely. It was not supposed to be announced until she was finished setting Seranade on the OBT dancers. This may account for some of the shaky corps work. I'll try to see it again. I would also like to take this opportunity to personally and respectfully request that the PNB bigmouth who leaked the news to ever so graciously put a cork in it. Watermill

White Nights Opening Night 2/28/04 Serenade: As the evening began, Yogi Berra’s phrase “déjà vu all over again” came to mind. Picking up where we left off…a very mixed company again gives a very mixed performance of a Balanchine classic. Last time it was Rubies, this time Serenade. At this point in the transition process, OBT is a small company comprised of a bewildering variety of shapes, sizes and talents. When they overreach and invite apprentices and students into the rarified Balanchinian air, it’s not a mess, but it’s not Balanchine either. The soloists were just fine, Gavin Larsen again leading the way; the quintet quite good, but of the 24 dancers out there maybe eight were sharp, soft, quick and b r e a t h i n g with the music. The rest, though adept at times, were too often behind or ahead of the music, showing lots of effort, and oh those wrists. I cheered Chris Stowell’s inclusion of Rubies in the first program because we all knew it was beyond the company and I liked his chutzpah. After this Serenade, I honestly feel he should not take on another full corps Balanchine until he has the dancers to attempt it. In the meantime, I would be droolingly happy with Agon or Apollo. Wonderful to have the 40 piece orchestra. Would have liked more attack in the opening movement. Adin: A new set of four short dances by Christopher Stowell himself, were the highlight of the evening for me. Set to four Rachmaninoff songs, comprised of three pas de deux followed by the group, they revealed an astonishingly broad command of choreographic textures: yearning, playful, mystical, erotic. They were perfectly suited to the dancers who performed them. Finally, Kathi Martuza was given a chance to display her extraordinary talent. Sidelined with an injury for the first program, we only glimpsed tantalizing bits of her abilities during Nutcracker. She is a broad-shouldered, powerfully built dancer, just this side of being too muscular, but when she cut loose in The Muse tonight, she danced with an explosive abandon that rocked the house. She’s a coiled lioness, electric in stillness, then devouring the entire stage with shocking, wild speed. Great extensions, definitive line. More, please! Matthew Boyes, like a man with the proverbial “tiger by the tail” stepped up to the challenge nicely. The second revelation from Adin was Artur Sultanov’s partnering of Gavin Larsen in Stowell’s beautifully sensuous, inventive setting of Vocalise. I've been harboring some fairly stern criticism of this dancer, but have held off, sensing that Stowell must see something that I didn’t. Well, tonight I saw it. A big, tall man, he brought a lyrical quality to the pas de deux I never dreamed he had. His annoying stoop shouldered posture had all but disappeared as well. A dramatic improvement in a young dancer. And a big lesson in patience for me. Firebird: Yuri Possokhov’s Firebird a charming delight. How perfectly set to Stravinsky’s thrilling folk-enchanted music. (1945 version) Terrific costumes and scenery by Yuri Zhukov. Yuka Iino delivered the Firebird with tremulous fingers and playfully swaying hips. Paul De Strooper enacted a gentle parody of the mimed danseur noble prince, partnering the Firebird and Tracy Taylor’s Princess with some of the best dancing he’s done since arriving at OBT this fall. Kester Cotton a stunning Kaschei with crazy finger-in-the-electric-socket white hair. Looked like six turns in place…so fast it could have been twelve. Aside from a final folk dance not up to the stately music of the moment, Possokhov’s work was endlessy creative, flowing, always suitable, in service to the story, not showy. The live orchestra a big part of the total experince. Especially those tympani! Music buffs: is Stravinsky “quoting” Mussogorsky’s Great Gate finale? Always wondered if the similarity was intentional. For me, two important things happened tonight: the emergence of Kathi Martuza, Artur Sultanov and Paul De Strooper as dancers up to the Stowell challenge. Add them to Gavin Larsen, Yuka Iino and Kester Cotton and the top level of the company just doubled. (Well, at least in my mind) And the totally unexpected excellence of Christopher Stowell’s choreography. Another mixed experience at the Keller, to be sure, but all signs are pointing nowhere but up. BTW: Almost sold out! Watermill

I was suprised to see from another thread that Agnes DeMille's Centennial (born 9-8-05) is fast approaching. Does she deserve a Centennial Celebration? A Broadway Show? A loving Retrospective? At least some lively revivals? Anyone aware of any such plans? As a theatre person, her story ballets always had a special place in my heart. Could be just the chaser for the Balanchine Bacchanalia! Watermill

As we who toil on the boards are fond of saying: "Theatre is an art. It takes place in a theater." When you buy tickets for ABT, it isn't to go look at the building! Watermill

Thanks for the clarity. Knowing this was Miss DeMille's last work certainly adds to the poignancy of this section of the film. Her instructions to McKerrow strike that profound balance bewtwen the technical and the poetic. When is her Centennial ? What companies should/will honor it? Is there footage of any other major choreographer making their last dance?

This softness, when executed properly just takes my breath away. I'm a big port de bras fan. In fact, If I have not even noticed the quality of foot arch and turn out until well into the performance, I know I like the dancer. Think I'll have that framed and hung on the doors of several schools and companies I know. (And perhaps nail it on a few private residences) Mr Rogers and Ginger Rogers: Only thing they had in common was their ability to fill a sweater. In completely different ways, of course. Watermill

Anyone else see the Art Beat segment on OBT last night? Thought the attempt to transition from Canfield to Stowell was uninformed and clumsy. Christopher Stowell seemed visibly uncomfortable having to answer fairly dumb questions about Canfield. I don't blame him. Love his confidence in OBT's future as an important company. Enjoyed watching Stowell explore choreographic possibilities with Karl & Anne. And visiting him in his loft was a treat. Nice collection of art, huh? I knew he was a cat person. By the way, OBT lost a week of Francia Russell (setting Serenade) when news of her retirement from PNB leaked out prematurely and she had to rush back to Seattle to attend to the PR madness. I am very excitied to see a reworking of Firebird. The Folkine setting, with a few exceptional moments (Mostly the Firebird's), is IMHO ghastly. I love the music and have been waiting a long time to see an improved attempt at it. Anyone attend the Stowell/Possokhov talk on Monday? I'll be there opening night. Everyone bring a feather! Watermill

Beloved, The Other, The Informer... Wow, this piece has more names than a phone book! I'm guessing rg has the correct info on this. RG: was it her last work?

Speaking of old tapes and DeMille... Anyone conversant enough with Frederick Wiseman's documentary film Ballet to know what ballet Ms DeMille is working on? Who's the ballerina? Was it Ms. DeMille's last piece of work? Always wondered... Oh...and someone last year asked who the newly hired dancer was. Did we ever find out? Thanks in advance. Watermill

Thank you for your reply, Hal. While we "agree to disagree" on this well worn and polarizing topic, I'd like to respond to a couple of your well made points: I know a high, hanging fast ball when I see it, and here's the swing: Ballet dancers are superb artists and should be recognized as such. I think where you & I (both looking to support ballet in our own way) part company is over this crucial point. Finding a non-threatening way to interpret male ballet dancers abilities (They're "athletic") is taking the gourmet cuisine that ballet can be and transforming it into a fast food Happy Meal. Instead, why not educate them at an early age (which we agree on) to appreciate the artistry in the art form? You want to call them atheletes? It's a free country. But even soccer dads with Phd's are going to be fairly hard pressed to find the sport in most ballet. I don't know...maybe if we threw a ball up on stage? (I can see it now: Wilis 1, Albrecht 0) Well, I think you're possibly underestimating the number of ballet goers in a world wide decade, but I dropped the ball on this one. I had meant to say that more people attended "professional dance" than "professional" football. This is an oft-quoted statistic that I threw out without researching, but I randomly selected 1966 attendance figures for the NFL: about 4.3 million. Haven't been able to find figures for dance for that year, but based on the NEA figures for other years, dance attendance exceeded 5 million. It is widely thought that the Nureyev phenomenon contributed strongly to the "dance boom" of the 60's-70's. But, of course, the TV audience for football would completely dwarf these figures. I was merely trying to assert that, ballet can stand on its own without needing to be sport-like. My further point is that ballet has been suffering in quality as of late in part because of this dumbing down from artistry to altheticsm. By the way, there have always been and will be counters of fouettes and stopwatched jette hang-times My concern is that we're seeing more of that among choreographers pandering to the lower as opposed to the higher instincts of the audience. I think many men who would not be comfortable with ballet would totally enjoy much contemporary dance such as Momix, & Pilobolus etc. How about this as a gradual course in dance appreciation: Cirque du Soleil, Momix, Nederlands Dans Theatre, La Fille Mal Garde. Now, since "turn-about is fair play", let's talk about getting more style and grace into sports, shall we? Those NFL linemen are such clumsy brutes. All that pushing and shoving! No manners whatsoever.... With a wink, Watermill

Hal, I certainly appreciate the attempt to "help" ballet become more mainstream. But as a founding member of the Bristle Club (we who bristle at the neverending constant attempts to align, infuse, match, compare and meld ballet with sport), I must respectfully disagree with your basic concept. While on the face of it, your idea seems like a good PR opportunity, two unassailable facts must not be overlooked: 1. Those who are so weak-minded as to think male ballet dancers are wimps will never be able to appreciate it anyway. They'll enjoy your Real Man Reality Bachelor Survivor IV from the plush beer-soaked confines of their couch, but these potatoes will never purchase a ticket. Especially with the Monster Macho Truck Pull coming up next week. 2. Ballet has survived for 350 years. Football for 125. Call me in 225 years and then we'll talk... Seriously, these sorts of things don't readily seem to translate into increased audiences for ballet. Though I would agree with you that athleticsm is a part of ballet, it is in servivice to beauty, characterization and storytelling. In sport athleticsm is in service to making points and winning the game (as well as lucrative endorsements). One of the reasons we at the Bristle Club are so bristly of late is because we have been watching ballet increasingly slide towards the "athletic": more turns (badly done), higher leaps (off the music), weird contortions (is that supposed to be an arabesque?). And we remember the Golden Age of Nureyev (the '60's), when more people attended ballet than football. Because it was beautiful. Yes, his dancing had a virile masculinity to it, but it was never seen as athletic. It was dance and it was amazing. And, to your point: it was sold out. My personal opinion on box office is that if the major companies would do more to educate and bring in young people to their performances there would be an increased audience. Long term thinking like this is not the strong suit of most companies, however. I applaud your concern for ballet, and hope you forgive the bristling. Watermill

Other well worn stage door pan raves I have had to use after being dragged to some horrific amatuer theatricals: "Well, _____, you've done it again!" (Now don't do it again.) "Gee, ______, "great" just wasn't the word for it!" (But here are a few choice words that are...) "I just can't tell you what it was like to be in the audience. I'm speechless!" (...with remorse for the art form you just butchered.) Etcetera...

A quick check of the BO: as of Feb 1, The Company has grossed only 1.1 million. Very suprised the distributor would strangle themselves like that. Perhaps a misguided effort all around? Have yet to see it, but a) Neve Campbell is not a producer B) there was no script (being followed) c) Altman doesn't know ballet d) the distibutor bought it as a spec buy based on the names involved, not because they believed in the film. The worst part of all this is that it did receive high visibility as a ballet film. These miserable BO figures will make it even harder to get backing for the next ballet film.

This is really great news from OBT. I was positively cringeing at the thought of Firebird to canned music. Christopher Stowell continues to have an impressive first year as AD. The OBT board is to be congratulated for showing such major support for his aesthetic priorities.