Alexandra

Yes, they all have their own real first names, but fake last names. So the characters are Mette (young ballerina), Kirsten (30-year-old ballerina -- I can't say old; she's in her prime!), and Henning -- and see how subtly they show that the male dancer has more power than the ballerina in that theater.

I'm afraid I don't know -- Kronstam didn't talk much about it, just said "Hollywood and Finland." (It was one of the things we were to talk about later.) I imagine it was a real theater and curtain not a set. I forget why they couldn't shoot in Copenhagen. Honningen grew up to be a ballerina (Simone was already established) and was one of those unusual dancers who was equally good in classical and modern roles -- Alvin Ailey created a big solo for her. The company brought two ballets for her to New York on their 1982 tour, and she was injured and couldn't dance, and so she's practically unknown outside of Denmark, which is a pity. She was also developing into a very interesting mime -- Giselle's mother, Muri in "A Folk Tale" -- but she was one of the 25 or so dancers let go in 1992 when the company got rid of most of their mimes.

Juliet, I don't think it's theoretical. It's a question that's being raised more and more in the dance press, especially the contemporary dance press. No hierarchies is cheaper, too. I don't think that's the primary reason; there are some who believe in it for political, or whatever, reasons -- I can't see the artistic ones, but it's a reason. Ballerinas are so much trouble.

Apparently, Disney fell in love with the company when he was there filming Hans Christian Andersen and wanted to come back and do a ballet about it. And so he did. Disney as it is, it catches the atmosphere of that theater. The choreography is all by an English choreographer -- Norman Thompson? George Thompson? The dancing segments include: Unnamed Spaniish-flavored ballet for Simone and Kronsam (won't win any choreographic medals) Bits of Coppelia (criminally, NOT the Danish version, but some ordinary version. Kronstam does Franz, a role he never did on stage. Mette Honningen is Swanhilda and wins my personal gold medal for the standing broad jump in her hops in the second act. Niels Bjorn Larsen is Coppelius. (Not coincidentally, he was the company's director and I think he wanted his greatest role filmed.) There's a bogus Swan Lake Act II for Kronstam and Simone -- and the corps is all Danish, and don't let anybody tell you it's not. There are bits of rehearsals of Coppelia and Swan Lake. There's a bit of the reel from La Sylphide -- Peter Martins is visible for about 2 seconds. Unfortunately, Kronstam's James was not filmed. I think that's it. Haven't watched it for awhile. It was shot in Hollywood and Finland. Both Kronstam and Simone are 30; I think Honningen is 20. Other actors: The teacher who's supposed to be Volkova isn't Volkova, but I don't know who she is. Jenny Agutter is the little girl. The balletmaster is Erik Mork who was the great stage actor of their generation -- but the acting is all very stiff and stagey, to me. Oh, and Lise LaCour (mother of Nilas Martins) is the girl in blue who calls to Metta and makes her fall, and dances the "bad" variation in the exam. It's funny that several of the critics I talked to who'd seen that film said how Simone and Kronstam "played themselves" and the dancers of that time found that very amusing, as they aren't anything like the characters in the film. The plot is very hokey. Mette H. is a young dancer detemined to be a star. Her mother is determined she be a housewife (or, in 1965 terms, "have a meaningful life") She usually delivers this speech armed with freshly baked goods, or ironing. Mette's mentor is Kirsten, who cares so much for the good of the company that she practically begs the direction to give Mette a chance at her greatest role -- Swanhilda. Kronstam is the company star. I won't ruin it for you by telling you the ending, but it is beyond predictable. Another thing that dates it -- and that I do like -- is that Mette is totally fixated on dancing. She watches Swan Lake and, instead of imagining herself in the man's arms (a la Turning Point) imagines she's pushed that damned ballerina out of the way and is dancing the role. I'd like to say I hope you like it.....but I don't think I could say that with a straight face. I was glad to see the company at that time, though, and it's one of the few pieces of film of Kronstam dancing. (It's just a shame it's not his great roles.) Some dancers whom I knew when they were grown -- Lis Jeppesen, Miichael Bastian (now deceased, and a great comic mime) are childen in class.

Medora, I think it's too early, but I'll see the Kennedy Center press people Wed night and ask them and let you know

I think in the real world -- the nonballet world, That Other World -- Tchaikovsky has been Out in a big way for years. At least since I was in college. Total scorn, total disdain. Not as bad as Rachmaninoff, but close. Glazunov, now he's so Out he's Cool, but Tchaikovsky is just plain OUT. Maybe thinking of him as The Gay Composer is an attempt to rehabilitate him!

Again, though, what is the link between Australian, Japanese and Danish? Doesn't that seem like an odd Axis of Humility? The attitude by the ballerina stated above is vey much in sync with the trend (it's bubbling underneath the surface, but I predict it will be the next Eruption) against hierarchies in ballet. No ballerinas. Just the ensemble. No one must be pushed forward, we are all equals. Can this really work in dance? It's one of the problems I've always had with Kylian's ballets, many of which I think are quite enjoyable. Everyone is the same, no one is distinctive. There are ballets that are collections of stars, where everyone has his moment, but they're still stars. The New No Hierarchy isn't like that. Jantelov Ballet?

Interesteing distinction -- I wasn't wild about "Elite Syncopations," but I'd agree it was intended to amuse. I'd also make a distinction between "comic ballet" and "comedy" Midsummer, Fille, Coppelia and others are "comedies" in that classical sense of the term -- and not intended as laugh machines. Whereas "The Concert" -- or "Yes, Virginia, Another Piano Ballet" which is out and out slapstick (Peter Anastos's jibe at Dances at a Gathering and its many sons and daughters) -- are made for laughs. The Joffrey did "A Wedding Bouquet" a lot in the 1980, and it definitely was funny.

Some writers still land quietly in fifth, eyes and arms lowered But it's a very good analogy, Michael -- and editors push for it, too. But that just deals with tone, not content. I also think that Dale's point, seconded by several others, that there aren't many people writing about dance and we need people writing about dance, is a good one. And we need new writers and new voices.

Circularly, Farrell Fan. Circularly

Yes, gingerly. There's some interesting dancing on them, but some of the information about the ballets is not accurate. There are interviews with dancers telling what they've been told about ballets -- some of it is perhaps half-heard, half-remembered -- and it's presented as if it were history, and it isn't. It's the kind of video that, if I were a parent or teacher, I'd only let a child see it who already had some context in which to place it.

Good point, Victoria. I'd forgotten that. I would put out one caveat, that there are some oddities on that tape, if I'm remembering correctly, one of them being the lack of Balanchine footage -- a copyright problem, I think. But it's still worth watching. Robert Greskovic's "Ballet 101" is a guide about ballet in general, with historical information AND a videography -- information about all the different ballet videos available, so that might be something of interest. We recommend it for anyone new to ballet, or wanting to learn more.

rg may well know some, but I can't think of very many videos that cover dance history. There's one with background info on ballet called "Footnotes" but I wouldn't recommend it. You might dig around in the Books, Magazines and Critics thread -- there are several old threads about favorite books, basic books, etc., and I think you'll find some ideas there. (If everything doesn't show, and posts seem to stop a month back, you can pull up older threads by goiing to the little slidey window to the top right of the board and moving it to Show All Posts) You can buy books (DVDs, CDs and sandblasters) from Amazon through the link on the top of the board; we get a small commission if you do.

I really meant it when I said striking -- I agree, Juliet. This is one example, for me, of thinking that a design is good -- or at least interesting, and certainly professional -- without liking it. But it made me interested to see how they'd look MOVING -- and they might move very well. I think they reflect the designer's idea (which, of course, I think is wrongheaded, but reflects a certain European take on things) that Nutcracker is without redeeming value, a stupid children's show with stupid stupid dancing in it, so we have to make it Dark, make it Meaningful, make it Now. (I read the program notes.) And, of course, still lure in the kiddies and make lots and lots of money. So the frigid atmosphere of that scene would suit the production, and is quite Nordic.

He's an opera singer turned Designer/Dramaturg -- he did the costumes for Tomasson's Swan Lake. Michael Milbyoe, and I've probably mangled the spelling. (It's in the review) I would expect he'll be doing some designs for Bournonville ballets for the festival.

Katharine, we've discussed this -- the problems for issuing them lie with the unions at the Royal Theatre, both the dancers' union and the musician's union. It's unlikely they will be resolved.

Gentle Reminder Most of us are staying on topic, but occasionally we're straying off into Really Funny Bad Ideas for Ballets. This thread is supposed to be positive -- what would you like to see, what is your idea of a good ballet. Thank you

Amazon has it Today, at least, it's "bundled" as a special deal with the recent Royal Ballet productions of "Firebird and "Les Noces" http://www.amazon.com/exec/obidos/tg/detai...?v=glance&s=dvd

Thank you, Manhattnik My thoughts exactly (although I wasn't clever enough to think of Cleese). I think the difference is that the comment was made in connection with teaching more than dancing. Either that or Balanchine is being quoted way out of context. In the 16th century, they used the right and left sides of the body in counterpoint. This is not a new idea!

Even for those who don't read Danish, this link is worth the click for the photo. It's of the snow scene in the RDB's "Nutcracker" (one in which the designs are king, and the choreographer a hired hand, according to reports of the premiere last year). It's striking. http://www.berlingske.dk/kultur/artikel:aid=235838/

It is interesting, the ways different societies invent to torture themselves What, I wonder, binds Australia, Denmark (and the rest of Scandinavia, actually, or at least Norway and Sweden), and Japan? In the arts, it's especially awful, because individuality is so much a part of creativity. One story about a young ballerina that I included in the book is that after her promotion, she felt uncomfortable, embarrassed -- "Why was I chosen and not one of my colleagues?" Realizing the danger, nay, the suicidal idiocy, of generalizing about particular countries I pose this question: Could such a statement be made by a Russian ballerina? Or an American one?

Here's the passage from my book: It is like "tall poppy" - and, as I posted on another thread a few weeks ago, like the Japanese proverb, "The nail that sticks up gets hammered down." (BTW, Grace, the link you posted was to the story about the Paris Opera Ballet School. They may have their problems, but I don't think Jantelov is one of them

PNB's "Nutcracker" reviewed by Patty Tackaberry in The Herald: http://www.heraldnet.com/ae/story.cfm?sect...20616185627.cfm

Christine Temin on "The Nutcracker" http://www.boston.com/dailyglobe2/341/livi...ss_grace+.shtml

This review of the BB's Nutcracker by Theodore Bales was posted the other day on Links. http://www2.bostonherald.com/entertainment...ut112062002.htm Did anyone go? How is Nutcracker this year?