Watermill

Erasmus the Troll!? All right...now I'm mad! Trashing Swan Lake with Daniels and porcupines was bad enough...but now the greatestest Renaissance scholar has been transmogrified into a gnarly troll? Irony of ironies: Erasmus' best known work is "In Praise of Folly", a pamphlet mainly directed against the behavior of ruling classes while exposing the irony of mankind's vanities. D'ya think Mattel had some sort of sick philosopical vengeance on their mind when selecting a suitable moniker for the detestable troll? Yeah, right...and Dance in America is going to replace Monday Night Football. Watermill

Amazing, Victoria...I hereby elevate my "Congratulations" to "Brava!" (and "Bravo!" for the guys) I agree Mel...it's a real world taste of company life...for better or worse...as it should be. Ballet Moms & Dads: Without Instructors like Ms. Leigh & Mr. Edwards & Mr. Goding giving of themselves to further the abilities of our dancers, where would we be? Never take this kind of dedication for granted! Watermill

Victoria, how was this performance possible so early in the season? When did rehearsals begin?

Congratulations to Washington Ballet for launching an essential component for a ballet company: a trainee program that provides soloist level performance opportunities. And for subsidizing it, instead of requiring parents to continue shouldering the financial burden. And what a treat it must have been to behold the company dancers so up close. It's amazingly different than in a large auditorium, isn't it? They're so used to projecting their dance to 3000 people. When it's for only 100 it can be positively dizzying! Which Pas de Quatre was this? From Swan Lake?

Excellent points, Andrei. I think when you wrote you very nicely defined what is wrong when "realistic" acting intrudes upon classical ballet. Watermill

Tell me about it! I find Dramatic Realism quite jarring in Classical Ballet. Aren't we saturated enough with the tics and talks of TV and movie acting? One of the refreshing aspects of the ballet classic is its poetic distance from reality, where a pirouette means "I'm happy" or an upraised arm with the proper mask (notice I did not say "expression") represents "My God, what have I done!?" In the theatre realism often wrecks Shakespeare. But even in the grittiest film realism quickly becomes deadly boring without a crackling script and strong director's vision. Here's something that bothers me in Classical Ballet: "Realistic" treatment of crowd scenes. Example: in ABT Le Corsaire, the supers and corps are left to react realistically at the bazaar. Why does it seem so false? Now watch the Kirov or Bolshoi and observe the formal gestures of the background crowds, how they are placed and paced. One's eye is not drawn from the intended focus of the ballet by sudden random movements or twitterings from the chorus. The background is choreographed as part of the dance.....because it is What a concept, huh? Poetic Realism is another thing altogether and can work beautifully, using modes or even fragments of human expression to weave an impression upon the audience. (In the theatre: Early Tennessee Williams is the prime example) La Sonnambula is a favorite of mine for this reason. As is much of De Mille and the little de valois and Ashton I've seen. Watermill

Gosh, not one report from anyone else? Ok, I'll "fill" while someone else hopefully de-lurks. I attended Thursday...maybe 60% sold...Kathy Martuzza out with an injury...applause for Yuka Iino's entrance in Rubies: one week and she's already a star! She proceeded to dance like she was and then took the Twilight pas and made it her own. This in spite of some very unfortunate partnering. An outstanding dancer showing an impressive range. More on Kester Cotton in Company B: such beautiful phrasing...found the beats within the beat...very playful, but technique as sharp as a...hmm...let's see...Company B...oh yeah: a bayonet! Is it just me? If you have to listen to recorded music, shouldn't it be on hiss free state of the art equipment? Geez, I understand saving money on the orchestra, but let's apply some of those funds to better sound. Maybe it was the recordings, but that sort of thing can now be cleaned up relatively easily. Violin in tune! Watermill

I know that the Willamette Week editors feel they have a mandate to be "youthful and edgy" (whatever that means, now that 90% of our culture is leaning that way) but Kelley Clarke is obviously having a hard time shifting gears from years of covering Canfield. (See full review here) No, Kelly, that's how James Canfied would have set the piece: as an Apache dance. Colleen Neary was true to Balanchine's original spirit for Rubies: lively, playful, affectionate, joyous. It's a new day...time to let go of the raunch and anger. Watermill

Based on her long detailed preview of the season, I'm sure she is going to be covering OBT. But it may be that she's got a contract with Dance Mag or somewhere else that prohibits her from reviewing for the big O (as we refer not-so-affectionately to Stumptown's only daily) Maybe they'll use her for overviews, interviews and such. We'll take anything we can get! By the way, there is a twice weekly paper called the Tribune which published a review and included the most lavish use of photos I've ever seen. Seriously, the column inches of photos must have out numbered the actual review's inches 8 to 1. I will try to scan it and get it into links. Hope some other Portland ballet-goer will share their thoughts! Watermill

Thanks, Paul. Bob Hicks is a good Arts reporter whose writing I really enjoy, but he's not particuliarly knowledgeable about ballet. That he would lump Kester Cotton in with the rest of the (very mixed) guys speaks volumes. Anyone else see the performance?

I just posted Bob Hick's review of New Beginnings in Links Monday 10/13. Hopefully, Martha Ulman West will cover it for Dance Mag or elsewhere...Stowell really deserves (and needs) a professional critic's eye on his work. Majority of it a rather well worn (at this point) analysis of the difference between Canfield & Stowell. Here's an interesting excerpt: My quick and easy answer to this is: No, because even a car crash becomes boring by the fifth time. (Ever been to a Demolition Derby?) Also, it is clear now that the dancing is going to be of a higher quality. I also am pretty sure that Stowell will be continuing to work with new choreographers. Julia Adam is on her way to Portland. There will be much, one hopes, to be fascinated by. Maybe three years from now I'll grow a bit nostalgic for the Canfield era, but that would only be if Stowell steered OBT into nothing but White Ballets and Petipa. Not much chance of that.

You're right Mel...I fear the violinist may have been at fault. The dynamics of her playing were unfortunate as well. It was the only live music of the evening. Paul, it was a nice program with something for and by everyone. The Bolcom was for piano & violin, and it careened all over the place from Stravinsky-like clashing chord work to sudden romantic violin solos. Originally choreographed for television by Kent Stowell, it is set in a 20X20 square whose four walls are raised to reveal the 2 women & man dancing in ever-changing molecular valence. A clever and playful pas de trois in a cube meant for the Tube. Opening night was 95% sold. I have heard the rest of the run is selling well. The evening was bracketed with a soprano's operatic singing of the National Anthem and the dropping of hundreds of rw&b balloons following Company B. Sounds simplistic or manipulative but what can I say: it worked. Stowell has really impressed me with his thinking about the community he is to serve and how to bring it together. The same program with some cast changes is repeated through Oct 18.

Gavin Larsen danced that role and did a beautiful job. The concept almost worked for me at that dramatic point. Just not in the audience for that piece I'm afraid. I certainly appreciate what Taylor is trying to do, however.

As the firstborn of a couple who dated during WWII, my dad-to-be in the Navy, I definitely appreciate that angle on Company B, Paul. Grew up with that music on the "Hi-Fi"! Had Taylor left it as that I think I might have enjoyed it more. But riddling the happy dancers with bullets and strewing the stage with corpses while the Andrews Sisters blissfully harmonize makes for a bold Brechtian dichotomy that either works brilliantly or falls flat. For me it was flat. The energy from the company was explosively joyous...the darkness had no place to go. The only successful attempt of a similar contrast I can think of is Kubrick's nuclear slo-mos to "We'll Meet Again" to end Dr. Strangelove. But that's perhaps comparing apples & oranges, huh? Very much looking forward to more Kester Cotton. Hoping to attend next weekend when Kathy Martuzza is featured.

Apologies...I don't have all the new faces matched with the new names yet...apprentices Ansa Deguchi & Candace Bouchard appeared in Rubies. Both held their own in the corps very nicely.

The one apprentice scheduled to appear in Rubies was sidelined with an injury. None of the others appeared last night, but perhaps will in other performances. By the way, I was very moved at Stowell's inclusion of Portland's Christensen/ Schumacher/Reed legacy in his program interview. Anytime an artistic director gives half his column inches to a respectful bow to a city's ballet heritage one must applaud both his humility and his perspective. Meant to include a humorous note from last night...a ceo from a major local corporate sponsor opened the evening with a badly mangled welcoming speech, even refering to OBT as "The Portland Ballet" and mispronouncing "Stowell" (Don't ask me to describe it...don't have the phonetics keys) Then at the final bow, same ceo mis-timed his presentation of a large bouquet...ending up having to place it downstage on floor, getting in the way of the advancing line of bowing dancers. It was all kind of silly. Listen, I know how important corporate support is, but can we keep it in its place: in the program or on banners in the lobby? At least send out the corp PR person who knows how to speak to an audience. Or at least have that person write and rehearse a speech for the ceo. Well, it was good for a couple of chuckles...

A marvelous inaugural for Christopher Stowell and his new OBT. To see Colleen Neary, Helgi Tomasson, Kent Stowell, Patricia Barker and Rachel Berman on stage with the company kind of says it all: Stowell is reaching out and things are really going to change. Very much for the better, I think...but he'll need to continue to shape the company to his needs. Some highlights from tonight's performance gave off sparks of what could be...and filled the hall (and my heart) with excitement. Rubies came off pretty well...seemed a little beyond the company in general, but soloists Yuka Iino and Johnathan Poretta (guesting from PNB) kept it a respectable attempt. But I got to see Balanchine! Twilight by Tomasson was just beyond gorgeous, well danced by Paul De Strooper & Gavin Larsen. Ms. Larsen displayed a lyricism I haven't seen at OBT in seven years of almost constant attendance. Her performance reminded me of what had been missing and left me even thirstier for more. Her extension, line and especially elegant port de bras were exquisite. A highlight! Duo Fantasy was fun but after two very strong pieces was noticeably of another level of dance-making. It certainly was not helped by a live violin accompaniment that was flat by 1/4 of a note. (Perhaps it was written by Bolcom that way? Whatever: awfully hard on the earbones) Company B is such an odd piece....not my cup of T, I guess. (Not sure why, but Taylor rarely is for me) The attempts to bring war time imagery into all that smiley jive just doesn't work. The company certainly danced the heck out of it, though. Larke Hasstedt had the 500 watt sparkle the piece needed. Then, in the middle of things, Kester Cotton knocked the ball out of the park (Sorry: was watching Sox/Yankees earlier) with the title segment solo. His performance was the second highlight of the evening for me. What a catch he is for Stowell...and us. So: A joyous beginning attended by the Royalty of West Coast Ballet....Chris Stowell definitely has the right idea. I think what I most appreciate was his in your face attempt at Rubies. He must have known the company wasn't right or ready yet for it...but went for it anyway. As if to say: "I'm going to reach for something...might not make it...but let's try!" I predict that in two years it will be well within his grasp. I look forward to what others think...

Picking up on Alexandra's 5th Birthday Wish that more members would post, I must say I am always amazed by the numbers of views opposed to the numbers of posts here on BalletTalk and thought I'd tap out some tips and call it De-Lurking 101. Firstly, let me say that there's nothing wrong with merely viewing. I myself visit a few other forums and have yet to post. But based on the comments many first time BT posters make, such as “I was afraid to post because I don't know as much about ballet.”, I thought I'd encourage Those Who Hold Back with a short course. (By the way, I'm basically a Ballet Dad, so some of these comments are for other Ballet Parents...) 1. If you've read a thread and find yourself having an immediate response, go ahead and say it. It is a little scary at first, but when others respond, it feels great. How do you know you've got something to say? If you find yourself talking to the monitor! Just listen to what you said and type it. 2. It doesn't matter how much you intellectually know about ballet, your feelings are just as important. It's ok to say “Wow, that really big jump the main guy did was awesome!” (The Younger Dancers talk like this all the time.) 3. Afraid to ask a stupid question? Read the following at least three times: ONE WHO ASKS A QUESTION IS A FOOL FOR A MOMENT; ONE WHO DOES NOT IS A FOOL FOREVER. Besides, we could never giggle at you as much as we all chuckle at Major Mel when he gets started on some archaic minutiae. If he can take it so can you. 4. Want to remain totally anonymous? Easy: don't enter a Location, don't talk about specific local companies or schools. And oh yeah: don't use your real name. 5. “It's my dancing daughter/son's world not mine.” Oh really? Who's doing the driving, writing the checks and giving up eating out for a pair of pointe shoes? It is a big part of your world now! 6. My dancing daughter/son will not approve of me yakking about ballet.... (see answer #5) 7. Feeling like you can't keep up with the connasewers? If all else fails, make up stuff. Like this: “I found the purjette of the Ultimo Ballerina to be reminiscent of Ashcanivelli during her seasons with the Imperial Freedonian Ballet Ruse.” I'm sure you can do better than that...and it will drive the historians on the forum crazy trying to unearth more info on the exquisite Ashcanivelli. Don't worry, most of them are pretty close to the edge already. 8. Becoming part of an online community is not only fun, it can make a difference in your day. There are times when my BT friends have picked me up and kept me going through a tough day. It's like getting a letter in the mail from a friend: it perks you up. 9. The last reason I can think of is particular to this forum. The Moderators here, in addition to being extremely warm and welcoming, are careful to maintain a civil tone. They do this with vigilance and humor. It is one of the reasons this forum stands out from so many others. One feels secure here, like eating out in a nice restaurant in a safe neighborhood, as opposed to ducking chairs in a biker bar. I hope other Ballet Talkers will contribute some more delurking advice. Dr. Watermill, Professor of Lurkology

Wow! I always need to be reminded of Folkine's celebrity....here in the US... ...and around the world. PS: Any BalletTalkers attend any of those Lewisohn Stadium performances? Anyone ever been to Lewisohn Stadium? (Torn down in early 70s), I heard it was the closest thing NYC had to The Roman Coliseum. Watermill

And at half time the Seahawks announced that Patricia Barker had just successfully accomplished 32 perfect fouettes in Swan Lake! The crowd went wild! With a wink, Watermill

From today's Links, an interview with Christopher Stowell: That Stowell is actually trying to get the ballet audience to think in terms of OBT's relationship to PNB & SFB can only be for the best. Who gains the most from this? OBT's clasically-starved audience. From his jeweler's bench in the northwest tower, Watermill

Mel, thanks for that intriguing bit re Snow has having been a Pas for Pavlova that was retained. Was it composed as a piece for a snow queen? The way the flutes describe the initial snowflakes fallling, one can't imagine it as anything but. Also, what year is your program? Sounds like it might predate this version we're talking about. I believe it premiered in '94. I think there was another version dating from '90. As far as I know, BW, no other company has ever performed this version. It has only been pitched to the hometown fans in the local ballpark. (As someone who took a Little League batting clinic from Ted Williams, I too am honoring the Yankees & Red Sox. Pedro & Roger on Sat...I'm in heaven!)

Thanks for adding to the synopsis of the Canfield Nutcracker, Jameth. By the way I should add that OBT's historian Carol Shults worked closely with Mr. Canfield in fashioning the story and character changes and deserves much credit for the way it hangs together in the "sensible" way you point out. However, this does not mean it lacks the essential poetry and divertissement of the original version. If anything, I find the poetic meaning deepened by the young Maria's wish to be a ballerina told on stage...by ballerinas!

Thanks Mel: I knew you'd provide something archaic beyond my most medieval expectations. Awaiting Philistines, Watermill

Leigh, I believe the statute of limitations is six years on that sort of thing in most states. But since Los Angeles is it's own seperate State of Mind, wherein the art of The Shaft has has been raised to Olympian heights, I think it's only six months. Back in his ivory tower, Watermill (Major Mel: I'm running out of parts of the castle to sign off from. Please help!)