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Justdoit

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  1. Still along the lines of asthetics, so I don't think I am off topic here. All this talk about Villella versus Lopez and the board versus Villella and how this will effect the MCB product, I think is overlooking something truly central to this transition. That's the dancers themselves. They are Miami City Ballet. Can't have a dance company without the artistic director or the board or the myriad of others doing the jobs that need to keep a company up and going. But, it's the artists themselves who risk everything if they go out on that stage unprepared. Dancers are not children, but hardw
  2. brokenwing has it right. MCB is a neo-classical company. Dancers often come to dance for MCB because they are a company like NYCB dancing alot of Balanchine, in his lyrical, energetic, fast style. In the past many dancers were recruited directly from SAB as they are most suited for the rep of MCB. Some of these dancers are still with the company today (Kronenberg, Albertson, Manning). In more recent years Villella has insisted those interested in being considered for the company come directly from MCB's school, which is also interested in preserving the Balanchine style. Speculation on
  3. Thanks for the link. It brought me to tears! Can you imagine how each dancer must have felt? A gruelling 3 weeks with everyone giving it their very best for 18 performances! They've truly earned that response. BRAVO from the states.
  4. bart, You missed Jeremy Cox to Daniel Baker's right in that Upper Room Video. Both are with the company in Paris to do Upper Room.
  5. So it did, bart. T.Y. Been waiting for this announcement. Can't wait to see the production after hearing what the dancers had to say about the process. Plus, I love the Tharp and Western!
  6. Estelle, I have watched/read your thoughtful observations over the years and am now looking forward to your response to this wonderful, newer (only 25 years old) American company. Of course I have some favorite dancers in the company, but I am more interested in hearing your impressions of the pieces; how they are danced and the company's energy, as you see it. So happy to hear you will be seeing so much and just can't wait to hear your "reviews!"
  7. Congratulations to Deanna Seay! She deserves this and more as her career continues. Agreed bart, yet another missed opportunity for MCB. Such a passionate performer who is absolutely committed to the art form. Her long career has not only given her an incredible knowledge base to draw from, but she also posseses the appreciation and the ability to interpret all that which has come before. She has proven herself already as a coach and ballet mistress in many different settings, including at MCB. All of Deanna's skills translate just as beautifully into teaching as they did when she was per
  8. Wait until the season starts, bart, and we find out who's back! Then this thread will take on a new meaning . . . . trying to figure out just what the powers that be at MCB are thinking down in South Florida!
  9. However, you overlooked that Yann Trividic will be returning as a principal. He was a very accomplished one when he was here for the Neighborhood Ballroom program this season. Much the same as he was when he was a principal with the company several years ago. Welcome back, Yann! As for the current huge exodus. What's going on with the company that they are losing so many every year?
  10. Well, bart, some of it is very exciting, i.e., Baker's Dozen, Stravinsky VC, and Scotch Symphony and especially Promethean Fire. These I am VERY anxious to see MCB perform. I am not a fan of full-lengths such as R & J, but find them to be a necessary "hook" for some audiences. It will be interesting to see who the stager picks for roles versus those in charge at MCB. That can always be a pleasant surprise as each sees something different that a dancer can bring to a role.
  11. And, I'd like to add frequently gave credit to his ballet training in all his professional work. I always think of him as a dancer first and foremost.
  12. bart, Glad you brought up this interview with Patrick Corbin. I really liked hearing his "open to interpretation" account of how he saw the piece. Very thought provoking and is motivating me to see it once again.
  13. Us, too. Unfortunately she was a beautiful, tall dancer in what is an obvious company of very short dancers. MCB is known in the ballet world for attracting alot of shorter dancers looking for jobs. Look around to see who else is a beautiful and tall dancer at MCB who is also not being seen very often. There are only a few of them, so it is easy to pick them out! If these same "tall MCB dancers" were dancing at say, NYCB or PNB or Boston, they might be considered to be on the shorter side!!
  14. MCB's layoff begins in April. Many of the dancers do gigs elsewhere during that time without needing permission from the company to do so. It is only conjecture on our part to know if Alex asked permission before going for the first audition. However, the company does have a tour to Vail in July and is due back that month to get back in shape and rehearsing. He is most likely needed in Vail, as there are certainly less men to pull from when one is "out" for any reason. There is also an early in the season (October) tour to Chicago, which would also have been considered. All that said,
  15. Went to the first weekend of Program IV last weekend and have just now had time to sit down and write. We saw the program twice, first on Friday and again on Sunday. It was a very different audience from the premier to the Sunday matinee audience. Friday being a very social group in tuxes and gowns to Sunday's less formal, casual manner and attire. I've seen all the ballets on the program before except Sonatine. Though very lovely, it was just too slow moving for me. I caught myself thinking of what we where doing after the show instead of focusing on the piece. Not a good sign. Have
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