Old Fashioned

I hope others were there tonight--my view was slightly blocked off on the left and right by the two people sitting directly in front of me, and Leigh is right about the stage being terrible for dance, but it was a very enjoyable performance. I even enjoyed watching the dancers warm up on stage shortly before the performance! It's not difficult to get a seat up close to the stage if you're there a couple hours earlier when they start letting people into the seating area. You might not be able to see the feet, but if you're short like me, it may be the only way to see anything going on. I'm still baffled by Book of Beasts, but the latter two works were worth the wait. Everyone is right about Esplanade; I don't think I've seen another group of dancers perform with such abandon and energy. I wonder how much longer Lisa Viola plans on dancing with this company; she's an absolute treasure and I hope there are many more years to come from her. Annmaria Mazzini is another favorite of mine.

Compare with Viengsay Valdes performing the step on the 'Tube. Type in "Valdes [Joel] Carreno" in the search field, and it's in Part 2 of the Black Swan pdd. You can also watch her hold some very long balances in Part 1!

It's one of those rare instances when a trend actually deserves its widespread popularity. I have no qualms about telling people to jump on this bandwagon! In the latest film release, Imelda Staunton's performance as the deliciously evil Professor Umbridge was worth the price of admission. As I completed Book 7, I felt as though my childhood has also come to an end, even though I haven't technically been a child for a couple of years now. I think anyone who has been following the series with avid fascination would feel the same way, whether that person is 16 or 61. Following the Potter phenomena has brought me closest to the feeling of excitement I used to experience as a child; it's like going trick-or-treating or throwing a slumber party all over again. Yet I never experience the feeling that the writing in the books is below my intelligence, nor do I feel childish reading them.

I've noticed this with Veronika Part, whose beautiful arches seem less pronounced in GMs than in standard pointe shoes. But if GMs help strengthen her pointe work, well, all the more power to her! Dancers go through one pair of shoes or more in a single performance. I'm interested in finding out how long it takes for a professional dancer to go through a pair of GMs. Does anyone know?

I'll take those over 5 Welch works and Petit Mort anyday.

Lost in the latest upgrade. I think the ability to dance in the same company again probably outweighs any and (almost) all other considerations, although MCB is probably a very desirable place from a dancer's point of view. Good for los hermanos Sarabia, and good for Miami! I was actually trying to convey sarcasm in the previous post, and am very happy for his new position at Miami. I'm sure there are a combination of reasons for his decision to move, but the one I was thinking of is that the new HB repertory simply doesn't offer a dancer of his calibre much, especially someone who comes from such a classical tradition. Of course, that is only my opinion and may not be his.

He had joined HB as Principal in 2006. I can't imagine why he would want to leave. Where's a good eye-rolling smiley when you need one?

You have to go to the box office the day of the performance to see if they are available. Try to go early; I think they open at 10am. Student rush tickets are $25 on weekday performances and $35 on weekends. It's been difficult this season to get decent rush tickets since they seem to be selling unusually well. If only they could make it easier by showing rush availability online and allowing online orders like the company across the plaza.

The marley used on stage floors always looks black to me, except for the recent ABT Sleeping Beauty. It looked like they used something to make it white and shimmery.

I'm guessing then that you have never actually watched her dance - she has near perfect technique and a great dramatic presence. In Manon, she displays great exuberance and playfulness at the start of the beginning, and slowly descends with the character into the miserable wretch who gets shipped to New Orleans. It is a stunning performance that shows a great understand of Manon Lescaut, not just the choreography. But Manon is not a 19th century classic.

My morning is officially ruined. I hope a promotion is not sidelined, as well.

I seem to develop a mild case of ADD whenever I attempt to count fouettes, so I don't do it anymore. I either lose count, lose interest, or I'm unsure how to count them (do I count the doubles, triples, or quads as individual fouettes or the number of revolutions?). I'm more focused on the execution technique.

No? Her line always seemed to be the most classical of the NYCB ballerinas I've seen. You have more Nichols viewing experience than I do, but the one picture of her arabesque (Diamonds) featured in the Playbill is close to perfect.

My main problem with criticisms (I'm speaking of professional critics, not anything I've read here) is that they will make blanket statements about how she is unmusical, boring or dull without really qualifying it. I had the same problem with Gottlieb when he wrote about a few NYCB dancers being boring or uningratiating (how in the world does that word even begin to describe someone's dancing?)

I loved Amar's performance in SVC. His smile and attitude are so infectious in this one. Dare I say I preferred him to Albert Evans in this role? Also, this is the first time I've seen a performance of Sterling's that I actually liked. I couldn't agree with you more on Nilas. I wanted to look away but couldn't...

Part's Swan Lake is second closest to being sold out (tied with Kent's SL). Only orchestra prime, balance, and family circle are available. Ananiashvili's performance is already sold out. Either Part has many, many adoring fans, or her audience is equally divided: those who think her O/O is one for the ages and those who want to find more to complain about her.

I don't think anyone, at least not on this forum, wanted to see Kirkland fail. If anything we were excessively optimistic about this production because of her involvement. The standards were set so high that the finishing product didn't come anywhere near meeting expectations, which would explain the negativity. Many of us, including myself, thought the fairy variations were well coached and give Kirkland the credit, but the choreography is questionable. I agree with Cargill about the geometry being very strange.

Doesn't policy say that a ticket cannot be sold for more than 10% of the original price? I know since it's up for auction and people are bidding on it, the rules are a bit different...but still seems odd to me that someone would be willing to pay that much. I wonder if the seller will be donating the money back to NYCB.

Exactly. The show isn't about finding some amateur, undiscovered talent who wants to break into the dance world. Many of the contestants seem highly experienced in their field of dance. From what I've seen it's about gaining national exposure. Afterall, how much exposure is a professional dancer going to get through the dance community alone? Alessandra Ferri and Nina Ananiashvili are not familiar names with the average American public. When I think of modern I think of modern technique or modern style, like Martha Graham and Paul Taylor. I'm guessing contemporary differs in that it can be a combination of jazz, hip hop, tap, etc.

There's no guarantee that he will return. If people want to see Danny Tidwell dance, they're going to get tickets to the "So You Think You Can Dance" tour. It's not going to make an impact on ballet, just like Center Stage didn't increase interest in ballet all that much (there may have been an initial surge, but I still think it was confined to young dancers who already had interest in ballet), at least not in the way Red Shoes did. On the show they don't even label Danny Tidwell a ballet dancer, so how will an uninformed audience know? They present him as a "contemporary" dancer.

He danced the jive to Avril Lavigne's "Girlfriend." If he wins, he'll get a handsome cash prize, yet I'm still scratching my head as to why he is on the show (and I know I'm not the only one who is baffled about his leave from ABT). Surely he has better taste than that? I still don't understand the purpose of the show. It's not like American Idol where the winning talent gets a recording contract; they don't get a dance contract with a reputable dance company. Last seasons winner received the prize of dancing for Celine Dion's show in Vegas. So what's it going to be like this season if Danny wins: he'll go from dancing for ABT to dancing for Barry Manilow? Doesn't make sense to me. And at least AI has all the singers performing a unified style (they don't get any rappers or classical vocalists on the show), as opposed to So You Think You Can Dance, where breakdancers are pitted against ballroom dancers and ballet dancers and modern dancers, etc. Yes, I just raised American Idol on the competition merit meter. Because this Dance show makes it look that good.

Her current status with the company is frequent "guest artist," even if it's not official. I remember reading in a recent Dance Europe article (the issue where she appeared on the cover) that she still lives in France and considers it home. Dance Europe calls her the "nomadic ballerina."

Link

If you're interested in seeing where he is now, tune into So You Think You Can Dance. I kind of feel dirty watching this show. Currently the judges are unsure about keeping Danny and think his ego is too big. This, coming from a tv producer who failed to make it as a professional dancer and former choreographer for The Muppets, a has-been championship ballroom dancer, and a choreographer for such notables as Britney Spears and N'Sync.

I've thought of that, also. By many accounts, Shearer was a wonderful Aurora as well.