Mary Lynn Slayden

Such good news that Ivy House will be "saved". I visited in 1997 when it was being used as part of a technical college. It was pretty barren but recognizable. After walking around in and on the grounds taking photos of the "lake" we visited where she was buried in Golder's Green. Got more than we bargained for since the funeral director, a young and enthusiastic professional took us on a tour of the crematorium! More than I wanted to know. He told us about some of the other famous people who are buried there. I think I remember something about her ashes being returned to Russia but I think in the end it didn't happen.

It's the Sunday matinee for me!

Cygnettes: FEB 8, 2005 Marian Butler Karin Ellis-Wentz Anne Milewski Maria Riccetto

I for one am completely satisfied with ABT's Kennedy Center season. I enjoyed Ferri's Giselle, the Fokine program on Saturday's matinee. I especially enjoyed Petrouchka and Polovtsian Dances. Gillian Murphy's performances as Odette/Odile in FEB 8th's Swan lake opening was great. I think she gives more of herself than many dancers I see. She is a wonderful dramatic actress (without over-acting) and her technique is formidable. If more dancers could be as sincere in their dancing as Murphy we would be lucky indeed. I agree with the two reviews I read from the two Washington papers...this Swan Lake will translate well to TV which is not usually the case. As I will share this performance (when available on DVD) with friends both near and far I am grateful for McKensie's staging and editing of the ballet.

The performances of La Sylphide and Etude's were wonderful. It was my first time for the ballets and for the RDB.

I'am impressed Jack. It seems you got her remarks exactly as I remember. I was there yesterday at the Sunday Matinee. I attended the Tuesday rehearsal but was reluctant to come off Bull Run Mountain during Thursday's snow and sleet. My loss! I can't really add too much to the remarks made about the rehearsal or the first program. My favorite's in Program I were "Flowers" and "Serenade". Shannon Parsley just sparkled as "Dewdrop". "Serenade" was so moving and Bonnie Pickard was so lovely. Even the rehearsal without costumes moved me to tears a few times. It was very exciting to see Suzanne Farrell coaching the dancers in-between pieces. I think it added so much to the performances of Program II to have Farrell explain and illuminate the pas de deuxs for us. The only remark that I don't think you quoted Jack was about Apollo. I believe she said that to her knowledge that Balanchine never did repeat those moves in any other ballets. What a treat to see the incomparable Peter Boal. I've heard how wonderful he is but I've never seen him. He could just stand there and it would be art. To me Agon was the most profound piece. I can't imagine a better pair than Magnicaballi and Mladenov dancing it. The Pas de Deux Mauresque from Don Quixote is so charming. I must see Balanchine's Don Quixote next time someone does it. Do they? Other than tape Stars and Stripes was another first for me. Wow! What absolute fun and cheek. This brought several of us to our feet and also a rousing cheer for Suzanne Farrell. Long may she wave.

Thanks I have it now!

All my searches and old links just give me their sign off page? Anyone have a current link or isn't it up yet?

Sarah Pease studied with Janet Karin in Canberra and first danced with Queensland Ballet. She joined the Australian Ballet when Ross Stretton became AD. I think she is still dancing but left AB not too long ago.

I believe this link was posted at one time, but it has evolved since then and is quite amazing. http://www.australiadancing.org/

I started a movie the other day in which Goldie Hawn portrays a ballet dancer. It was with Hal Holbrook and Anthony Hopkins. It is set in Russia and though I didn't stick with it Goldie did a rendition of The Dying Swan (part of it). I remember her name has come up before as having studied ballet but I had never seen her doing anything in her movies. I think the name of the movie is "The Girl from Petrovka".

I was able to access the website. The dancers retiring are Lopez and Gamero. Here is the link: http://www.miamicityballet.org/mcbdev/nr_i...anklin_02.shtml

Stanton Welch is the son of two former principals of the Australian Ballet, Marilyn Jones and Garth Welch. Stanton's brother Damien dances for the Australian Ballet. Both Marilyn Jones and Garth Welch also danced in Europe in the 1960's.

Sasha Cohen is spectacular to watch not only for her artistry but for the suspense she builds because she doesn't always skate perfectly. She is breathtakingly expressive and her line is in my opinion faultless. All the skaters mentioned are deserving but I for one would love to see her achieve a US and World Title asap!

This is more under: wishes Wouldn't it be wonderful if Robert Altman's film is a commercial and artistic success and it jump starts interest in ballet with more of the public. There is an outcry heard around the country that classical ballet is "in" again. Companies flourish, dancers are paid a living wage for their hard work! I always did love fantasy!

I just volunteered to answer phones and sell tickets for a small regional dance company. My very limited poll based on who I talked to would indicate that the overwhelming audience were first or second time ballet goers. They wanted to take the kids for a Christmas treat, take the wife out for a night out of ballet, or more experienced retired folks who wished for a matinee. More than one person said there weren't as many Nutcrackers to choose from this year. They didn't want to spend the money required of the top companies. Some traveled as much as 50 miles to come!

No this isn't the Brag board but the dance highlight of the year for me was my kid calling that she'd signed her first contract to dance.

Alida Belair, the first Australian dancer to study with the Bolshoi Ballet, wrote "Out of Step, A Dancer Refects". Eventually she became a principal with Ballet Rambert and then on to ABT among other companies. At this point I don't remember many details except that I enjoyed her account of a career with a complicated path to success. Many Australians leave to train and dance abroad and like Belair have varying degrees of success. The most famous of these dancers is with out a doubt the late Robert Helpmann.

When Dance Magazine changed its' format a few years ago and moved it 's headquarters to California I posted a comment on aab. I believe I sent them an email as well. I have been a subscriber since the mid-80's and complained I didn't appreciate the changes. I heard directly from the editor, who's name escapes me. She asked for more feedback. I almost cancelled my subscription but opted to keep it since it still represented familiarity and provided some of what I enjoyed about the publication. I use to be so excited to get my new issue of Dance Magazine but now more than once I have put it aside and read it only fleetingly. What's the old adage...less is more. Listen up Dance Magazine we want news, photos and commentary not sales pitches.

I have thoroughly enjoyed "Portrait of a Danish Dancer". Not only it is a wonderful accounting of Kronstam's development and achievements as a dancer, director and human being. It is a rich and varied insight into what makes this artist who he is. It feels intimate without being invasive into his life and work. It was particulary interesting to me since the company I had followed for many years ,The Australian Ballet's former director Maina Guilgud became the director of The Royal Danish Ballet for a "short" time. It is so much clearer to me why that partnership would and couldn't work. The details that are available to the reader are ones which I would love to see in other biographies. It is a little sad that this fine and gifted artist didn't have world recognition that he might have had. He served the art not the other way around. Of course it is all the more touching the way he chose instead to devote his passion and talents to the preservation of a great tradition. I never fully appreciated the need for keeping purity in each technique. I would guess that this book will serve as a guide for generations to come to study the importance of preserving the Bournonville approch to dance. Thanks to Alexandra I will always look at the Danish tradition and company with a more complete understanding and appreciation. I look forward to seeing the season at the Kennedy Center this March which will be an opportunity to observe firsthand. I recommend this book to anyone including those who wish to understand ballet in general as well as specifically a Danish approach. I think it is a work that can reach a broad audience. I have sent it as a Christmas gift to my nephew, who studies Acting. It is intriguing that Kronstam was so attracted to acting and theater but chose ballet instead. I am glad he did! Oh yes, the photos in the book are wonderful. As I read this book and other ballet books I constantly keep referring to the photos to see if I can visually place the action in context. This book allowed this indulgence frequently. It also doesn't hurt that Kronstam is drop-dead gorgeous.

It has been several years since I have seen a Nutcracker. I am referring to the Nutcrackers that are typically put on by regional professional companies and their compliment of student pre-professionals and assorted young dance students during the year to promote the season I attended Manassas Dance Company’s Nutcracker season for each of its three performances this weekend starting on December 14th. On Friday evening my party and I were in festive spirits looking forward to a Christmas treat of ballet and music by the Prince William Symphony Orchestra. The logic being that whatever took place on stage, the beautiful crescendos of Tchaikovsky’s Nutcracker would provide us with much pleasure. I have never counted up all the Nutcrackers Ballets I have seen but suffice it to say that I have seen many. This one appeared to me to be a fairly traditional production, be it embellished with wit and surprise. I think Nutcracker productions here in the United States may represent some of our best “American” qualities. It also gives us a chance to enjoy live theater magic that is accessible. A large-scale production can bring the community together in a cooperative way to include school, civic and community leaders. best of all, it provides a chance for our kids to tell a story to other children. Of course they have help from the grown-ups. I couldn't resist the tiny little playing cards doing ring- a -ring a rosy with a flamboyantly caped and eye-patched Drosselmeyer. I have seen productions where Drosselmeyer was the acne-faced teen that achieved the role because the dancer was tall enough to fit the cape. I appreciate most performances but it’s an absolute joy to see this caped master of movement and characterization. My goodness is this Manassas, Virginia? On Sunday I had some conflicting duties so I did not arrive to turn in my ticket until way into the first act. The box office manger smiled when I flipped out my ticket and I felt a sense confidence because I was not going to be turned away! I was later told that this performance was sold out. As quietly as I could I followed the usher’s direction to an available seat. I needn’t have worried about being too quiet as the house was buzzing with soft little voices, some were more enthusiastic and all about the action taking place on stage. The Snow King and Queen were well into their pas de deux. I was captivated by the awe in the little faces and voices around me. Some were sitting on their Mom and Dad’s lap and in some cases there was little narrations occurring and were met with gasps of delight. When the snowflakes came out I heard more murmurs of pleasure. One Mom said “Oh look, there’s a snowflake” as lead Snow made her entrance. The little ones quieted as they became enchanted with the snow scene. Act II evoked more reactions children saw a friend, a sibling, or perhaps a teacher makes an entrance on the stage. One child was so pleased to see someone she squirmed excitedly and pointed to court dancers wearing a tiara and announced, “She must be the Queen, just look at her crown”. It didn’t seem to matter to her that all of the court dancers were similarly bejeweled. The Nutcracker Prince’s Mime told the tale with crisp and succinct gestures, which conveyed both the meaning and excitement to the viewer. He appeared to be weightless as he demonstrated the conflict between mice and soldiers. Arabian was sensuous and provocative, while still maintaining the appropriate movement for a mixed-age audience. The couple hit just the right tone with a sense of playfulness. Their execution and accomplishment of some unpredictable choreography with dramatic lifts was done without resorting to just a series of tricks. In my view, the principal guest artist was the quintessential Cavalier and the audience knew they were seeing good stuff. It seems often that Ballet is misunderstood. People feel that they can’t attend a ballet because they don’t “know” enough. However, when ballet is good everyone recognizes it. The Cavalier’s partnership with his Sugar Plum was romantic and gallant. Sugar Plum was light, aristocratic but benign and crystalline sweet. The thrill of the Cavalier’s variation convinced me this first rate theater experience. My sister-in-law was brought to tears. My holiday spirit has been captured and life is good.

I saw a listing for Channel 32 (Washington Metro area)for Egg the Art Show for this Sunday, 10-27-2002 @ 10:30. I think 32 is the Howard University station. The program is regarding professional dancers from ballet to modern. I tried to find out more information on the Egg website but wasn't successful. I seem to remember seeing something about "Egg" on Ballet Alert some time ago but my search didn't reveal anything. Since "Egg" appears to be out of NY then I am sure many of you are familiar with it. This is the first time I have seen it advertised locally. http://www.pbs.org/wnet/egg/index_flash.html

mzdancer, Have you thought of enlisting his wife as support by obtaining referrals to people you may contact directly. Also you might ask for input from his former Artistic Directors or fellow dancers. I think it is wonderful idea to honor a former teacher in this way! mls

From the Houston Chronicle: BROADWAY ON THE SMALL SCREEN Producers take a creative approach in presenting 'Contact' on television http://www.chron.com/cs/CDA/story.hts/features/1555634

I saw "Contact" last year in NY and enjoyed it completely! The bleeping was irritating. I am always frustrated with the US approach to what is not accpetable on television. Never do we edit out the worst violence or gore and yet our we can't cope with profane language. Fortunately they didn't edit the dancing. mls