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About Bored_on_Wall_Street

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
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  1. Very nice writeup. I don't have much to add to the superlatives you and others have provided in this thread other than to emphasize how alive this production was, particularly last night's performance. Ashton's fluid choreography moves the narrative forward by itself (particularly with the ever-present use of props), but the way that the cast embraced it was a site to behold. I often grumble about how ABT has turned some of their big warhorses into dusty museum pieces, and this was a great antidote to that. And to any ABT marketing people in this thread: i went last night with a friend
  2. Head scratching. I come in with a bias, as (a) I think nutcracker is one of balanchine’s weakest works that gets regurgitated by too many companies each year at Christmas and (b) I loved the character nuance, staging and metatextualness (and plain ol’ weirdness) of the Stowell version. I tried to put that bias aside when we saw the Friday, December 11 performance but…I just don’t understand the purpose of the new production. Artistically: The changes from the NYCB version of George Balanchine’s Nutcracker (TM, all rights reserved), are more of a different shading than a meaningful cha
  3. I see a lot of ballet. So, sometimes (often) performances blur together. But Lane's performance on that Wednesday in July 2013 is still etched into my mind.
  4. Sort of off topic, but I have two physical tickets for Tuesday (Murphy/Hammoudi are the leads) that i cannot use. Cost was $145 each (row F, aisle seats, grand tier) but willing to let them go to a ballet alert-ian for best offer. PM me if interested. Thanks!
  5. I really don't care about the whole Copeland discussions that rumbles through this forum--she brings audiences in, I think she's a perfectly fine dancer, I will never go out of my way to see her (cf. other soloists Abrera or Lane), and ABT has way bigger issues to worry about than a popular dancer who may not be up to technical snuff to critical gaze. But the 32 turns--as goofy as they may be to the narrative--are an intrinsic part of the audience expectations of Swan Lake, like it or not. To say that a 33 year old soloist just needs some more studio time to work out this issue rings a bit h
  6. Pretty much this. Much of the choreography just requires Juiet to be carried and/or dragged around, and Seo, as a great looking and skilled dancer, looked great doing so. But MacMillan's ultimately a dramatist, and Seo simply has no acting ability, and just follows the steps, alternating between HAPPY ( ) and, SAD ( ) face. I think she has improved as a dancer, and am not inclined to join the Seo hate parade, but it speaks volumes as to the state of this company, and the competence of the AD, that she is forced the perform this role 3x in a week.
  7. Maybe those who would prefer something different to the god awful, empty dreck served up by the 2007 production?
  8. If this were an exercise in pure pedantry,I doubt the interpolated fish dives in the wedding PDD would be there. Instead, this seems to be more of a work of repair, to rid the production of empty gymnastics and emptier, de-contextualized panto. Sometimes, to move forward, you need to go back at first.
  9. When I was leaving Weds' show, my date (who really has only seen a few of the modern versions of the big classics) said that she really liked how this seemed more refined and less "jumpy", and asked if any companies do that style still. My answer was immediate: yep, the Danes. While as Helene notes, Bournonville and Petipa were working from a similar french background, I do recall that one of Bournonville's principals/soloists ended up teaching at the Marinsky, and I think this great production suggests there may be a little Danish DNA in it As for the production itself, I have serious p
  10. We all are entitled to our opinions, but I find it a bit hard to reconcile your seemingly snarky statement that the show will "travel well" versus your annoyance at the interpolated "big jumps and bravura" being lost, among other things. Most folks view ballet as being something akin to gymnastics (a problem that even Bournonville railed against in his autobiography,and he died in 1879-ish), so it would seem that features you dislike also would limit the long term commercial viability of the production. This is not the production some expect, as it doesn't reflect what people today think
  11. I can't quote on my phone, but Seattle_Dancer's remarks on Immler...she may not tick every box of what some people might want from a principal, but i'm always perplexed why this company doesn't feature her more. she's a god damned technical marvel!
  12. Mixed views on the performance. "Dirty Goods" gave me flashbacks to the worst student film and theatre pieces I saw my friends do in undergrad--cringeworthy stuff--but Serenade was mesmerizing. The excerpts from Jewels were also top drawer; I expected we would get the polonaise portion of Diamonds--what better way to send off a ballerina than with Balanchine's idolatry of Farrell/exultation of a ballerina--but I was pleasantly surprised by the choice.
  13. Tisserand had a problem one sees often at NYCB. Skilled dancing, but she didn't inhabit her character(s).
  14. I also appreciated Neubert's look of disdainful boredom during the national dances. I suppose if one was an evil wizard with an absurdly complicated scheme driven by peculiar motivations, you would be bored while various nations danced for your amusement, Great write up, btw,
  15. A bit tardy in this report, but...despite having tix for the Saturday night performance on 4/18, went ahead and got tix for the 1pm show, as well. as it was likely the last opportunity to see Korbes at PNB for at least these east coasters. It’s hard to believe that she’s going out at this level. She has such musicality that it seems almost effortless. Overall, I have seen this production a couple of times, and there are many things to commend about it. It’s rare among modern SL’s of having a meaningful fourth act, Stowell adds interesting geometric shapes onto the traditional Petipa/Ivano
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