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  1. I did. I appreciated Apollo but the rest of the program left me wanting. I don't know how many times the company can put on a Binet piece (It's a cliché at this point - he puts up a long dramatic title and it's over-dramatic choreography) The dancers do their best with it, but I sometimes wish I could get into their mind and know what they genuinely feel about this work) It was nice to have Adam's piece on the bill because there was a lot of hype around it, but when you put this work up against something like Apollo, it only illustrates the gap between the narratives in terms of quality. What did you think of it?
  2. I'm glad for the change with Swan Lake if it's returning more to what we saw with Bruhn (I saw it as a child but I still remember it) I really hope that the fresh perspective means that the rape scene is changed - I can do without it, and with my kid sister taking ballet now as well, I want to be able to take her to see the show knowing that she can handle mature content but doesn't need to see gratuitous violence. I trust who Ms. Kain will bring on board to help with the process, and there's a lot of great talent to call upon to remake the work. I'm wondering if this also means a further fracturing of the relationship between the company and Kudelka (or at least one or two individuals within the company) With Binet, unfortunately the nepotism and 'friends only' club continues. The new choreographic associate Alysa Pires is also a good friend of Binet, and some of her choreography has been questionable when it comes to violence. I saw her piece Exterminating Angel and more than a few of us wondered how a woman could stage a piece which depicted scenes of blatant violence towards women. Also, she doesn't have a ballet background first and foremost, so I wonder why she's being given so many opportunities to work in ballet when there are far more qualified individuals who could be doing so with our national company.
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