Old Fashioned

Any Victor Hugo.

His down to earth style is also evident in the Fred & Rita movie "You'll Never Get Rich," when he's doing those tap numbers in the guardhouse. The first one was to "Since I Kissed My Baby Goodbye" and the second one was called "A-Stairable Rag."

Thanks for the report! I missed the HBA spring show, but I'm looking forward to this summer's American Festival for the Arts performance with choregraphy and dancing from students of the Academy and music compositions from the AFA students. I'm mostly there for the music because a couple of my friends are involved, but I'll be looking forward to see the dancers. Go orch dorks!

It didn't air in Houston. :angry:

Thanks for the report! I'm so upset I missed this when they came to Houston...but there's nothing I could do when they were scheduled to perform on a school night. :rolleyes:

I have a feeling Houston will be seeing a lot of her in the upcoming years...she told me she would be back with the company next year, and supposedly she's been receiving a lot of attention from the AD.

That's good to know.

Attended the Thursday night performance. Some interesting works; others not so interesting. The evening started with Kylian's jolting 27'52 (Netherlands Dance Theater II). My favorites were the filmed Kylian's Birth-Day, Henrique Rodavalho's Choreography for Listening (Quasar de Danca), and Lightfoot/Leon's Shutter Shut (NDT II). David Sonnenbluck's Lied Und Lieb was simple, yet elegant and classical. It was nice to see it among the lot of contempo works. It was performed to a recording of Richard Strauss's Beim Schlafengehen (Four Last Songs) sang by Jessye Norman, which made it all the better. Royal Ballet of Flanders performed Christopher d'Ambroise's Circle of Fifths and Royal Danish Ballet performed the pdd from Martin's Octet. The dullest pieces of the night had to have been Tim Rushton's Nomade (RDB- I really wasn't expecting something like this to come from a company of their calibre), Danny Rossell's Silent Night...Still We Dream (Maximum Dance Co.), and Susanna Leinonen's Trickle Green Oak (Finnish National Ballet), which closed the evening. Is it possible to sleep with your eyes open? I think I was. I saw some familiar faces in the crowd, many people from Houston Ballet, including Caleb Mitchell, Nicholas Leschke, Zdenek Konvalina, Maina Gielgud, and Mireille Hassenboehler. The most interesting encounters were with Li Cunxin, who was signing books in the lobby, and with Bridgette Zehr, who happened to be sitting right next to me.

Did anyone catch the exhibition? I absolutely fell in love with Sasha's performance to Nino Rota's R&J. I finally saw a side to her skating that rarely comes out in competition. It would make the perfect competition program for her with a few more added difficult elements.

The beauty of Shen and Zhao's performance was that it was truly from the heart and showed their passion for skating. It said to me "This is why we do it." Very rarely is there such a performance. Too many times skaters become too focused on the prospect of winning when they get out there on the ice. This seems to be the reason why the most prepared skaters sometimes crash and burn even if they've landed ever jump in practice.

A few quick notes after watching the pairs' and mens' competitions tonight. Shen and Zhao's performance and program were exquisite. I thought a skate to the music of the Nutcracker would be corny if not pulled off by the right couple, but they did an excellent job. WHOA! What a night for the mens'. Johnny Weir was perfection. I didn't find a trace of nerves in him. What beautiful, pure, clean skating. Brian Joubert had one of the best performances I've seen from him yet. I'm glad he's raising the bar in mens' figure skating, for awhile there it seemed no one would be able to reach anywhere close to Plushenko's level. It was touching to see Stefan Lindemann have the crowd going wild for the underdog, the home team. Plushenko did not have a flawless skate, but the wonderful thing about his freeskate was the building tension and excitement he created and those facial expressions! I never know what to expect from him. I wish they would have aired Stephan Lambiel, another skater I truly enjoy to watch.

Hahaha, well, you definitely will not find me in a Stetson and big belt buckle. I believe the Chronicle usually comes out with reviews in the Saturday paper or Sunday Zest. Have fun at the performance!

Casting is now up. I found out I'll be back in town next Friday, so hopefully I can catch it that weekend! BIG SKY March 11, 13, 19, 21 1st pas de deux Julie Gumbinner Lucas Priolo 2nd pas de deux Barbara Bears Simon Ball 3rd pas de deux Mireille Hassenboehler Andrew Murphy Carl Coomer, Ilya Kozadayev, Ian Casady, Randy Herrera, Tyann Clement, Kim Wagman, Frances Perez-Ball, Cleopatra Williams, Kristina Harper, Lisa Kaczmarek, Nicholas Leschke, Caleb Mitchell March 14 1st pas de deux Sara Webb Zdenek Konvalina 2nd pas de deux Julie Gumbinner Nicholas Leschke 3rd pas de deux Tyann Clement Ian Casady Carl Coomer, Firat Kazbek Özsoy, Peter Gleeson, Oliver Halkowich, Sharon Teague, Kim Wagman, Frances Perez-Ball, Cleopatra Williams, Kristina Harper, Lisa Kaczmarek, James Gotesky, Caleb Mitchell March 20 1st pas de deux Leticia Oliveira Carl Coomer 2nd pas de deux Mireille Hassenboehler Andrew Murphy 3rd pas de deux Kelly Myernick Caleb Mitchell Chavo Killingsworth, Ilya Kozadayev, Ian Casady, Randy Herrera, Tyann Clement, Kim Wagman, Frances Perez-Ball, Cleopatra Williams, Kristina Harper, Lisa Kaczmarek, James Gotesky, Travis Bradley -------------------------------------------------------------------------------- CLINE TIME March 11, 13, 20, 21 Walkin' After Midnight Lauren Anderson Why Can't He Be You Julie Gumbinner Nicholas Leschke Crazy Barbara Bears Too Many Secrets Andrew Murphy Tyann Clement Kim Wagman Leticia Oliveira Frances Perez-Ball Sweet Dreams (of You) Sara Webb Ian Casady Stop, Look and Listen Ilya Kozadayev Just a Closer Mireille Hassenboehler Walk with Thee Simon Ball Jaquel Charlesworth, Ingrid Zweifel, Kelly Myernick, Cleopatra Williams, Carl Coomer, Peter Gleeson, Lucas Priolo, Randy Herrera, Oliver Halkowich, Caleb Mitchell March 14 Walkin' After Midnight Leticia Oliveira Why Can't He Be You Tyann Clement Phillip Broomhead Crazy Kim Wagman Too Many Secrets Peter Gleeson Sharon Teague Susan Bryant Ingrid Zweifel Frances Perez-Ball Sweet Dreams (of You) Laura Richards Randy Herrera Stop, Look and Listen Oliver Halkowich Just a Closer Lisa Kaczmarek Walk with Thee Lucas Priolo Clare Miklaunus, Kristina Harper, Michelle Carpenter, Anne Harshbarger, Chavo Killingsworth, Barry Kerollis, James Gotesky, Alexander Pandiscio, Firat Kazbek Özsoy, Travis Bradley March 19 Walkin' After Midnight Kelly Myernick Why Can't He Be You Tyann Clement Phillip Broomhead Crazy Frances Perez-Ball Too Many Secrets Peter Gleeson Sharon Teague Susan Bryant Ingrid Zweifel Frances Perez-Ball Sweet Dreams (of You) Laura Richards Carl Coomer Stop, Look and Listen Randy Herrera Just a Closer Lisa Kaczmarek Walk with Thee Lucas Priolo Clare Miklaunus, Kristina Harper, Michelle Carpenter, Anne Harshbarger, Chavo Killingsworth, Barry Kerollis, James Gotesky, Alexander Pandiscio, Firat Kazbek Özsoy, Travis Bradley -------------------------------------------------------------------------------- PECOS March 11, 13, 14, 20 Pecos Bill Ian Casady Slue-foot Sue Mireille Hassenboehler Widow Maker Nicholas Leschke Coyote Mother Lauren Anderson Coyote Pups Ilya Kozadayev Firat Kazbek Özsoy Leticia Oliveira Frances Perez-Ball Mortician Phillip Broomhead Pecos Bill's Mother Kim Wagman Snake Oil Salesman Oliver Halkowich Ranchers, Cowboys, Steer, Horses, and Townspeople Artists of Houston Ballet and Academy Students March 19, 21 Pecos Bill Simon Ball Slue-foot Sue Barbara Bears Widow Maker Andrew Murphy Coyote Mother Julie Gumbinner Coyote Pups Ilya Kozadayev Oliver Halkowich Ingrid Zweifel Frances Perez-Ball Mortician Nicholas Leschke Pecos Bill's Mother Kristina Harper Snake Oil Salesman Zdenek Konvalina Ranchers, Cowboys, Steer, Horses, and Townspeople Artists of Houston Ballet and Academy Students

Heather Hamilton who dances with Complexions. I'm not sure if she would be considered a classical dancer, though...

Whoa. This story actually received the cover page of Houston Chronicle's entertainment section. I don't think I've ever seen a fine art as the main feature. The general director of HGO, David Gockley, made a few comments in the article: and

Houston Ballet: Ingrid Zweifel is veeerrrrry blonde. She's the only blondie I can pick out on stage without second guessing myself. Other blonde ladies with the company: Sara Webb, Barbara Bears, Sharon Teague, Britain Werkheiser, Laura Richards, Jaquel Charlesworth, Anne Harshbarger, and quite a few others.

Saw the movie tonight. I went to see it for the same reason. I'm also a sucker for latin ballroom and couldn't miss it. Eeh, the dancing was so-so coming from the two leads. It seemed hardly to be set during the 50s considering the music used in the movie and the continuous bump-and-grind throughout. Yes, cumbia is very sexual and dancers get up close and personal, but the way it was done in this film was very 21st century. The best dancing came from Patrick Swayze and a leggy dancer in the scene the two make their first appearance. Not as good as the original Dirty Dancing.

I'm going away for spring break, so I don't think I'll be able to see this. Please tell us what you think about it.

Friday, 3/5, evening performance: Who is managing ticket sales for HB? I am really fed up with not receiving student discounts. I understand if they can't be given out due to sold out or nearly sold out performances, but the house was half empty today (or, at least that's how my section looked- well under half full)! I sat in balcony (upper most level) center, second row. My seat was better than I thought it would be. I could see the patterns clearly and my new Bushnells helped me get a close up of the dancers. Damien Welch and some dance writer, whose name I didn’t catch, hosted the Dance Talk session. Nothing terribly interesting was said, only an overview of each ballet that had been read before in articles and a little bit about Damien’s experiences as a dancer. I didn’t care for the choreography of Ketubah. Not much of it was actual ballet vocabulary, and it was heavy on motifs. I was expecting to see folk dancing incorporated into ballet, but instead it was more folk dancing and a few ballet steps thrown into it as seasoning. The only part distinctly ballet was a short little solo for the father figure (Simon Ball). It went something like attitude turn, pirouette, double tour, then he falls back into the motifs. Very generic, and it was repeated a few times. Lisa Kaczmarek and Ian Casady were easily believable as the youthful glowing couple. I might prefer to see this on a local modern dance company; didn’t think it world-class ballet company material. The dancers seem to be enjoying themselves in this, and it looks fun to dance, but from my viewpoint as an audience member, I was pretty bored. It was like watching a wedding celebration and not being able to join in on the festivities. The music was fun and lively, although a few pitch problems coming from the solo wind instrument. This was my first time seeing Four Last Songs. It’s overly-sentimental for my taste. There’s nothing wrong with drama, but parts of it seemed almost cheesy. I enjoyed the first movement, Fruhling (Spring), with Sharon Teague and Carl Coomer in the pdd. Coomer has a beautiful line. He really engages his upper body, particularly his back, to stretch it out. Julie Gumbinner and Ball were in the second pdd of the third movement, Beim Schlafengehen (Going to Sleep). They were lusciously musical, as I expect from these two, and danced well together, although I couldn’t stand the aimless running around. Kim Wagman danced the solo in the last movement, Im Abendrot (At Gloaming). With her waif-ish figure and dark hair and complexion, I immediately likened her to Kay Mazzo and Helene Alexopoulos. Her port de bras is exquisite; she might do well in something like Emeralds (was Jewels ever staged on this company?). Divergence was very interesting. The costumes were absolutely crazy. I could hardly tell the women from each other due to those funky head pieces. The casting only listed “artists of Houston Ballet,” so that didn’t help any. I feared for the men’s heads when they held the women from behind while the women's working legs jabbed up into penchée positions. Funny stuff going on, like the spider-like crawls and men slapping their chests and running across stage like they were airplanes. My favorite part was when the dancers form a line and do a continuous ticking of port de bra positions and when the women throw off their tutus. The central pas de deux danced by Nicholas Leschke (?) and someone else I couldn’t figure out brought gasps of shock and astonishment from the audience. The level of difficulty could not be hidden. I applaud the dancers for getting through those absolutely insane lifts. Although this ballet was exciting and an obvious challenge for the dancers, I’m not sure how I would feel about it with subsequent viewings. It doesn’t go much deeper than a bag of tricks.

A video preview of Welch's Tales of Texas. Also, a press release for the ballet has been up on the website for some time. I'm not sure if it came out in the Chronicle yet since I haven't been reading the paper lately.

Thanks for chiming in, Sissonne! I'm going to try to make it Friday night, and if I'm lucky, Saturday night, too.

I'm going to refrain from reading any reviews before seeing it myself. I want to see how my reaction differs from critics'.

There's a good chance I'm not going to get a response but I have to ask...did anyone go last night? I thought about it, but alas, I had homework to attend to. Maybe this Sunday. I'm looking forward to hearing the Best Little Klezmer Band play for Adams' piece.

HOUSTON BALLET WINTER MIXED REPERTORY PROGRAM FEBRUARY 26 - MARCH 7, 2004 *All casting is subject to change* -------------------------------------------------------------------------------- KETUBAH LISA KACZMAREK IAN CASADY MIREILLE HASSENBOEHLER SIMON BALL Sara Webb, Lucas Priolo, Britain Werkheiser, Oliver Halkowich, Ingrid Zweifel, Firat Kazbek Özsoy Leticia Oliveira, Alexander Pandiscio, Clare Miklaunus, Caleb Mitchell, Kelly Myernick, Carl Coomer -------------------------------------------------------------------------------- DIVERGENCE Artists of Houston Ballet The casting for Four Last Songs doesn't transfer well so go here to take a look.

A short bio of the dancer has just been posted on the website.