klingsor

I always think of Pauline Kael's crack, "No one else can handle the ups and downs of wistful sentiment and corny humor the way Capra can, but if anyone should learn to, kill him." (From memory, could be a word or two off.) I actually think he did okay with it until Mr. Smith Goes to Washington. ("You Can't Take It with You" was a Kaufman and Hart play first, so Capra and Robert Riskin -- his screenwriter, a crucial figure) aren't totally responsible. Some of his very early movies, like The Bitter Tea of General Yen, are really interesting. Thank you so much for the quote. I've heard it before but totally forgot it.

Caught "You Can't Take It with You" (1938) http://www.imdb.com/title/tt0030993/ the other night (actually early AM) and was reminded just how much I dislike Capra. Maybe they're good films but most of 'em make me wanna... nevermind.

Dowell Legris Boal Bruhn

Colleen, if you thought Cynthia was too strong as Giselle, you should have seen Martine Van Hamel danced it for one performance with C Tippet in late 70's(or early 80's).Imust add that her 2nd act was beautiful. Clark was such a strong partner that he helped a lot in giving the illusion of lightness. Cynthia did Myrtha a few times. I saw it. A very healthy and sunny Giselle for sure but she was such a beautiful and big dancer. By big I mean she totally filled the music Saw her do Aurora, too. Musically, it was sublime.

Oh, I love Barbra Streisand films. My favourite is Funny Girl. I like On a Clear Day too. Streisand is such a diva that her personality always takes over even though you get the feeling that she doing her best just to act. Last night, I caught part of a tribute to Warren Beatty and Streisand (along with a whole bunch of people from Bill Clinton to John McCain ) paid tribute. Streisand was fake complaining that Beatty hadn't chosen her for Bonnie & Clyde or Shampoo. The mind boggles... My favorite Streisand movie is Nuts (1987) http://www.imdb.com/title/tt0093660/ Thought everyone was wonderful in that movie including actors I generally don''t like (Karl Maulden and James Whitmore). Leslie Nielson was fantastic as the man who raped her.

Nightmare Alley (1947) http://www.imdb.com/title/tt0039661/ I don't know that it's even available on tape or dvd

Harvey Keitel in "The Duellists". I thought he was brilliant, though. And I'm not sure Edward G. Robinson was doing his natural accent in The Ten Commandments. Sounded more like his "Little Caesar" accent. Loved it, though.

Ain't that the truth.

Thanks for that information. Looking forward to Saturday matinee. Thought Nina was lovely last night. Interesting to see Gomes and Hallberg switch roles from Tuesday night. Gad, I wish they'd do Blair's or Ashton's ACT IV.

It's on 13 High Definition (Time Warner Cable) Saturday April 12th at 3, 8 and 11PM according to the Grid Guide.

Charlott Thyssen http://www.imdb.com/name/nm0862352/ Charlott had a career in film as well.

They may be a little slow in mailing out your subscription tickets, but they make up for it with the speed with which they cash your check or charge your credit card when you renew.

I miss Tharp's "Deuce Coupe II" to The Beach Boys music (with the grafitti artists).

http://www.amazon.com/exec/obidos/external...7C%206302804655

Campanadas a medianoche (1965) http://www.imdb.com/title/tt0059012/

I find most of Balanchine's ballets perfect. Agree with Giannina anout Ashton's "Monotones II". Though I've always felt it was misogynistic, Robbins' "The Cage" is a perfect ballet, in my opinion.

VERRRRRRRRY minor quibble. What happened to the big bear in Petrouchka. Great threatening music for his(or her) entrance and we get "Winnie The Pooh". I remember the bear being 8 feet tall in the 70's.

Quite possibly. I'm embarrassed to admit that the first time I went to NYCB, I thought Farrell and Martins were pretty good in Chaconne, but that it wasn't a very demanding ballet. What a yutz!!!

Agree "sz", but I was disappointed by the tepid response from the audience. Might seem minor, but I think the dancers deserved better.

To satisfy Ms. Khuri's fantasies?

I can't tell you Oscar Ariaz's reason for having three Juliets, but I can tell you how it worked in the dramatic sense. When the child Juliet is introduced to her future husband Paris, a more mature Juliet comes through her bedroom mirror and dances a short pas de duex with him. This more mature Juliet then goes away (through) the mirror and takes over the role for the balcony pas through the death of Tybalt. The third Juliet is the experienced - tragic Juliet, who deals with the emotions of losing her lover when Romeo is banished. She eventually takes her life in dispair. In the crypt scene of the Ariaz verison, Romeo (Kevin MacKenzie) dances with dead Juliet, all three of them. He drags all three of them to her resting place before he too dies, and then all of the other dead bodies in the crypt stand up and strip out of elaborate costumes (keeping their nude unitards on) and dance individual love pas de deux. This R&J was not a hit, though as a performer, I enjoyed it. The Joffrey Ballet eventually aquired Cranko's wonderful version and had great success with it. I remember as the curtain came in on opening night of the Ariaz version, someone in the audience yelled "Bravo Romeo!". Was that you Manhattnik?

Check this thread from 2002: Multiple Personae? - Ballet Talk http://ballettalk.invisionzone.com/index.php?showtopic=5092

Thank you.

Maybe this? Adolphe Adam and the music of Giselle http://www.ballet.co.uk/magazines/yr_05/ma...dam_giselle.htm

Maybe someone knows his name, but I do recall a South American choreographer (Arias?) whose "Romeo and Juliet" was performed by The Joffrey Ballet. There were three Juliets (one for each act). Only one Romeo, but he had to schlep three dead Juliets in the final scene. I tried Googling, but unfortunately "Arias Romeo Juliet" gives me thousands of opera results.