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Dégagé E.

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Posts posted by Dégagé E.

  1. Interesting. It sounds like both previous productions were controversial for different reasons. If I understand you correctly, the Bruhn version meant the most to Karen essentially because she danced it but wanted to part with the more controversial aspects.

    I suppose every production will be controversial in some way. Here is to hoping one day Canada will have a Swan Lake all can feel proud of.

    I am curious to ask, of all the productions of Swan Lake today, which one might fit in Canada the best? In other words, what particular production do you think is a strong one?
     

  2. 3.5 million dollars??!!!

    The Act 1 waltz, the entire Act 3, not to mention the entire design of the show… is just not the quality that… one would expect for that amount of money (or the level of quality one would hope from a national company). I am quite shocked by this and genuinely wonder with if the love for and history of Bruhn’s production (and it seems most who have seen these recent performance admit the “Bruhn” parts are the strongest…) why not just remount the Bruhn version? 

    😬😵😬😵

  3. Thank you volcanohunter for such a descriptive review. I agree with much of what you say. I went to a second show and saw much of what you describe above. You make a very good points about the tights/shoes situation. 
     

    Also, Rosie2, to your point about lukewarm audience responses, I couldn’t help but “lol” at my work desk today when an email came from the ballet. It included the following: 

    Audiences are on their feet showering the artists with bravos at every performance of Swan Lake! This stunning new production, staged and directed by Artistic Director Emerita Karen Kain, is onstage until June 26 only.”

    Sometimes it feels like The Nboc is living in an alternate universe that is completely divorced from reality. Has anyone seen Black Mirror? 

  4. We went opening night. In all honesty, there isn’t much to say. The most positive was the orchestra who sounded great. Other then that it was crowded, messy, often confusing mishmash of scenes with the dancers trying their best to make it through. 
     

    volcanubunter, your instincts proved correct. The design was kitsch and nauseating with tutus that seemed enormous and sets that somehow made all the dancers look miniature. Also, I do not understand why they chose not to use tights for the dancers.
     

    There were a few major partnering issues but that could be because it was opening and they needed more time to rehearse.

    It was difficult to follow the story as there were so many characters and many dancers on stage at once. The patterns were often busy but somehow difficult to follow. The patterns of the dancers is my favorite part to watch especially when sitting in the balcony. 
     

    The theatre looked quite full which I imagine is usual for an opening. My companions and I went for a post-show chat and happened to be seated to another group who had also attended (and who it turned out were much more ballet educated than us). We got to talking and they described it as a show that was stitched together by a committee. I nearly spat out my tiramisu. 

     

     

  5. On 6/10/2022 at 5:52 PM, Roberta said:

    TWB must read Ballet Alert. This morning they posted a clue to Brett Ishida's piece with a photo of the women's corps in a pose very reminiscent of Nijinska's Les Noces! No clue as to the music but we got a title:  "home-coming" (no capitals).

     

    So, it's less than two weeks to the premiere and we know:

    Work 1. "home-coming" - Brett Ishida, choreographer. Music???

    Work 2. title unknown - Jessica Lang, choreographer. Music by Beethoven (piece unknown)

    Work 3. "Where Do We Go Now?" - Mthuthuzeli November, choreographer. Music appears to include Gloria Estefan's pop tune "All Night Long" as per a FB clip two months ago but...the rest???

    Thank you Roberta! It’s all slowly becoming clearer..

  6. 22 hours ago, Roberta said:

    For ex, do we know anything at all about the piece by Brett Ishida??? I keep checking not only TWB social media but also those of the three choreographers.

    I second this, Roberta. I keep checking each of those socials feeds and have had no luck. 

  7. I watched this twice and am still left puzzled. Who’s version this is I still don’t know. The set and costume design looks not to my taste. It seems no one I have spoken to is quite sure what to expect though this is likely what happens when a new production is shared between a large group of people (who are each deriving from a wide range of sources). I am feeling a little uneasy about attending the premiere tomorrow.

  8. There are a number of regular contributors to this board who seem to confidently object to Muir’s programming yet have also previously objected to Kain’s programming. In fact, these same contributors also object to the presence of Kudelka (or Coté) in any programming.

    It does cause one to ponder who they believe programmed well, if ever, at the NBOC. 

    As someone admittedly new to the art of ballet going I must admit I find the next season a step forward. There is less of the pandering (Pinocchio) and less of the political obligation (Binet) and I think that is good thing. I do share the curiosity of how they would get Symphony in C onstage. 

  9. I have been missing dance this past year (as we all have) and mustered the courage to make an account here. 
    Looking forward to continue to learn and share with all here at BA. Cheers!

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