The Traveling Ballerina

In case you haven't heard the news yet...

10 minutes ago, cubanmiamiboy said:

Gelsey Kirkland, of course, comes to mind. She's been talking about this for years. Glad someone else is taking the baton.

Yes, of course. It's definitely not a new topic; just glad to help keep the awareness about it going.

A colleague of mine, Eugene C Barnes III, has decided to share a part of his journey related to substance abuse caused by pressures in the ballet world. This is a very serious topic and I applaud is courage; perhaps someone out there needs to hear his words to know s/he is not alone.  

As any new year approaches, there tends to be much buzz about losing weight. This inspired me to write about the specific emphasis that is placed on dancers to have just the right body. I hope we can keep this important conversation going.

5 hours ago, Juliet said:

This is a magnificent production--- Zack Brown did the designs, Graham has added many interesting nuances, and it is a completely rewarding experience for anyone seeing it.  Highly recommended!

 

If I lived closer, I surely would! 

I had the opportunity to chat with Graham after about 20 years since last seeing him! I had the honor of being cast in several of his pieces while at Hartford Ballet and loved dancing each and every one of them

On 12/15/2018 at 10:21 AM, Amy Reusch said:

But my understanding is that the original ballet followed not the Hoffman story but the Dumas adaption of the story.....

https://en.m.wikipedia.org/wiki/The_Nutcracker_and_the_Mouse_King

 

So I,m not sure I understand the wording of the first two questions...

Hi Amy,

The first question asked what book "The Nutcracker" is based on, and that is "The Nutcracker and the Mouse King". Perhaps I could have phrased the second question more clearly to ask who the original author of the book is. Thanks for the feedback!

On 12/15/2018 at 10:21 AM, Amy Reusch said:

Christensen Nutcracker ran from 1944 to 2004.... Balanchine's premiered in 1954 and is still running, so hasn't it overtaken Christensen's "longest running" crown?

Christensen's Nutcracker is still alive and strong; in fact, I saw Ballet West's performance just a couple of weeks ago

16 minutes ago, FPF said:

💯😁 I did have a lucky guess for the last question.

I am so glad you wrote because I was wondering who the only person so far with a 100% is! Congrats  And now you know a little more about me!

The Nutcracker has been a huge part of half my life, but there are some interesting facts that I only just recently learned. So I decided to put together a quiz that includes questions about the history, music, and plot of the ballet. Hope you find it fun and perhaps educational, too!

5 minutes ago, vendangeuse said:

The Traveling Ballerina review (which I found via your website; the link posted just brings me back to this page) ...

I have fixed the link - thanks for pointing that out!

Looking forward to hearing your thoughts about the performance.

I wasn't sure the best place to post this and my intent was to add this to a conversation going on in the "Press Releases and Season Announcements" section, but for some reason I am unable to post a reply there.

I didn't see the performance, but I have contributors to The Traveling Ballerina who did. This is their review. Personally, don't think it's my cup of tea.

3 hours ago, Ballet Lover said:

Willam Christensen also created the first American versions of "Swan Lake" and "Coppelia".

After seeing his Nutcracker, I would absolutely love to see W. Christensen's Swan Lake and Coppelia! Are they still being performed?

15 hours ago, Jayne said:

... the multi-hued waltz of flowers.

This piece is executed so well! One of the most engaging Flowers both for its costuming and staging.

I realize that this a strong proclamation, but I'm going to go ahead and say it: I have spent over half of my life in some capacity or another (dancer, choreographer, director, audience-member) involved with The Nutcracker and watching this production was like seeing it for the first time; I even surprised myself by how in-awe I was. Here's my review

Has anyone else seen it?

6 minutes ago, Drew said:

It sounds as if it could be fun. If you do it, then it would be nice to hear what you thought.

Absolutely - I will keep you all posted!

The partnership between these two companies has basically created a dream vacation for me!  I'm going to do my best to make it happen!

4 hours ago, bluejean said:

I have more questions than answers...

Yes, this topic seems to provoke a series of questions, doesn't it?! Especially when considering the use of make-up. I, too, have danced Arabian and used the same make-up as I did when I danced Chinese. Or Carmen. Or Swanhilda. It never occurred to me to make my eyes a different shape to make them appear more Spanish or more Eastern European...I don't even know what that would entail! So yes, I do find it offensive that stereotype has dictated that a "Chinese eye" is slanted and that many are encouraged to paint them as such (I actually have quite round eyes!)

As far as choreography is concerned, many ethnic characters' choreography is based on the folkloric dances of their respective countries - mazurka, czardas, flamenco, jota, Russian folk dances, etc. Many variations of "Chinese" are not. I am definitely no historian or expert and don't claim to know all that is out there, so anything I express is solely from my experiences and (limited!) knowledge. Which is why I think this conversation is so important; I am sure that what I have felt/feel about how my ethnicity is perceived is not unique; I would love to hear other perspectives. Thank you for yours!

Hi bluejean,

I am so glad that you started a thread about this and appreciate the respect with which you present your curiosity. I have just written this story in the hopes to share my perspective as a Chinese American dancer; perhaps it is helpful?

Thanks for starting the conversation

Monday night, I went to see a performance that is part of the DEMO by Damian Woetzel series at The Kennedy Center; it was so unique and unless any other theatre experience I have ever had. The collaborative effort of the artists - dancers, musicians, poet - was quite interesting and the venue (Terrace Theater) was just perfect for this type of intimate event. Here in more detail are specifics of the evening as well as my thoughts. I look forward to seeing what the March show brings!

Has anyone else here been to DEMO in the past?

On 10/28/2018 at 9:55 PM, pherank said:

Wheeldon's ballet got mixed reviews in San Francisco (where his work is well known). Obviously not every ballet is going to work on all levels, even for the most experienced choreographers, and the choreographers were asked to take risks, which could be an invitation to disaster. Or not.  😉

 

I really appreciate how Wheeldon's choreographic range is so broad. Having worked with him and danced two of his earlier pieces, I could see elements in Bound To - like the ebb and flow of dancers on and off the stage and the interesting, fluid partnering - that instantly made it recognizable as his. But I also loved seeing how he has experimented in making more theatrical works with the cool use of lighting and scenery.

On 10/25/2018 at 11:11 PM, YouOverThere said:

My Kennedy Center mid-term grades:

McIntyre Your Flesh Shall Be a Great Poem: C-   This one was set to music that was reminiscent of what you'd here in the coffee shop of a bookstore. Not much for the dancers to work with. (Admission: I only saw the second half of this one due to the frustratingly slow line at the box office - only 2 agents working, and inexperienced ones at that - when they had 4 shows starting at the same time. One agent spent at least 10 minutes with a single customer).

Wheeldon Bound To: A+   Beautiful and totally full of emotion.

Dawson Anima Animus: A-  Good overall, but there were a few rough spots, such as when a second man was required to help with some of the lifts but there wasn't much for that dancer to do in the build-up to the lift

Liang The Infinite Ocean: A  I'll always give Edwaard Liang an 'A'.

Marston Snowblind: B  I might grade this one better after I see it again. There was some good stuff in it, but I couldn't make sense of the story.

Peck Hurry Up, We're Dreaming: C+   Set to apparently his favorite rock songs (none of which did much for me), with no apparent program. Not particularly original.

If you find yourself in DC but with only enough money to attend one performance, I recommend Program A.

Interesting - except for McIntyre's piece, we seem to share similar opinions. Here are my thoughts on Program B. I absolutely agree with you regarding your recommendation of Program A over Program B.

5 minutes ago, pherank said:

Thank you! I read your review of Program A as well. Enjoy.

Thanks for reading

8 minutes ago, pherank said:

Thanks very much, TTB - a well written article.

Is this your first time seeing these ballets, or did you see any of them during the past season at SFB? I'm just wondering how they are holding up with repeated viewing. I'm also wondering: has the substitution of Frances Chung for Maria Kochektova changed the dynamic in Anima Animus?

 

Thank you!

This was my first time seeing any of these pieces. If the opportunity arose, I would view them again this time from an upper tier; I think Anima Animus would be more effective from a distance. I can't speak to Kochetkova, but I loved Frances Chung's performance. I'm gathering that you went to Unbound in SF? What were your thoughts?

I actually went to opening night at The Kennedy Center and will be going to see Program B on Friday  The dancing really was superb.

I had the opportunity to interview Edwaard Liang, a former classmate of mine at SAB, and am so excited to his piece in a few days!

Have you all seen this cool collaboration called Pli.é Project?! I wish I were in Montreal to see the exhibition. If any of you are in that area, I would love to hear your feedback!