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About Drew

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    Emeralds Circle

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
  • City**
    United States
  • State (US only)**, Country (Outside US only)**
    United States

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  1. This is performance of Les Sylphides I would have loved to see in the theater!
  2. I, too, think it would be better for Atlanta if Nedvigin stayed, but he has been here for a few years and I don’t think he is under an obligation not to put his hat in the ring for an opportunity like this, especially with a company (San Francisco) with which he has a long history. Especially when the CEO he has been working with here in Atlanta is retiring. I hope he doesn’t, and there are plenty of other contenders for the job anyway, but I would understand if he did.
  3. I'm an outsider too, and find myself curious why Gennadi Nedvigin isn't on your list. In addition to his long career at San Francisco Ballet he now has directorial experience at Atlanta Ballet (a company with a school attached) and where he has been involved in mounting major new productions/commissions and involved in major diversity initiatives. He also has a long-standing relationship with Possokhov so a Nedvigin/Possokhov pairing of sorts would be quite workable assuming the San Francisco board didn't find that too much of a Russian take-over. I'll add that there is a changing of the
  4. What a wonderful tribute--thank you....
  5. Thanks for writing. And it's good to be hopeful. (Well, in this case...) I don't know if I will see anything live before 2022 but I'm hoping for mid-to-late Fall 2021...
  6. I remember first hearing about her from my mother who very much admired her accomplishments! What an impressive figure --what great contributions to ballet. May she rest in peace...
  7. I've seen her twice in the theater (two Kennedy Center appearances) and I agree with this assessment. Though I should add that I saw her in roles that at least don't demand much depth of characterization (Corsaire and a few months later Paquita) and I did enjoy the performances, especially the Paquita. In particular, I saw a lot of growth in terms of stage presence between the Corsaire and the Paquita. I also very much appreciated how easy and unforced her dancing looked. Of course the way she has been shot out of a cannon by the Mariinsky can't help but raise eyebrows, but I think I'm
  8. I haven't seen Bourne's Swan Lake except an excerpt done as a "guest" performance on a mixed bill--the lake scene pas de deux. But in principle, it doesn't seem analogous to me. The Petipa/Ivanov libretto has Siegfried's actions and moral choices at its center even when Odette/Odile is the "dance" center of the ballet. (One of several reasons I am not a big fan of adding a prologue to Swan Lake in which we see Odette transformed into a Swan -- it seems to me to miss how much her entrance gains from the audience sharing Siegfried's startled point of view.) I guess I still don't think of
  9. Wow! And not in a good way. Wishing the dancers and the company the best.
  10. In a traditional production, she has to cope with the breaking of her Nutcracker doll (a big deal to a child with all kinds of potential meanings), a dream with nightmarish elements including the battle of mice and soldiers—in which she intervenes—the journey through the snow to land of sweets and, though I don’t recall if this belongs to the original, waking up from out of her dream. It is not a realistic story, and it’s not presented as kitchen-sink tale of angst, but it suggests, in a fantastical way a whole psychic world of learning about oneself and the world and some of the pains a
  11. This made me sigh --not because it isn't traditional but because it takes a story about Clara and her struggles to grow up and 'modernizes' it into a story about a male dancer and his struggles.
  12. Well, given that they are--or ought to be--the Balanchine standard-bearer, NYCB does right to stay true to Balanchine, but I can't help but admit that both of these decisions seem like excellent ones to me.
  13. I've only seen this pas de deux in excerpt and on video but in those out-of-context settings the peekaboo moment never appealed to me. (Even if it fit with Ratmansky's conception it didn't seem to me to fit with the music.) Perhaps in context I would feel differently--and I have a lot of interest in whatever Ratmansky decides to do--but I was quite happy to see the Ivanov choreography (as notated) and, like others who have posted, was struck by how closely it has been preserved in "traditional" productions.
  14. I admit that the note on that information in Wikipedia somewhat confuses me as to what the figures refer to--if you click the link for the note that gives the source and then click on the map for "Gorod Sankt Petersburg" in that source, it appears to include a lot of surrounding areas. But say it's not so...and the percentages are exactly as you suggest: the situation in St. Petersburg is still not good as you also say. I'd be tempted to speculate that someone close to the company will have to die of Covid19 for the company to change course, but in Moscow even that seems not to have made much
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