Alexandra

Thank you for this, flipsy. I'd been curious about "All Fours" (the first thing that pops into my head is people crawling around!) I like your "urban choreography" referrence too; I think it's right on. It's a beautiful review, thank you! Odd that Morris is doing the same program all week and not a repertory season.

Thank you, chiapuris. I especially enjoyed your comment on the Shades: I'd never heard that before -- thank you! I'd seen this production in DC a few years ago, and had many of the same impressions. The mime was vestigial, but also seemed to have been passed down to the dancers by way of the children's game "telephone": unrelated gestures that produced nonsense sentences. Please write more of what you're seeing!

CASTING ANNOUNCED FOR FINAL TWO WEEKS OF AMERICAN BALLET THEATRE AT METROPOLITAN OPERA HOUSE Special 90th Birthday Celebration for Frederic Franklin on June 21 Casting for the seventh and eighth weeks of American Ballet Theatre’s 2004 Spring season at the Metropolitan Opera House was announced today by Artistic Director Kevin McKenzie. Eight performances of Coppélia, staged by Frederic Franklin, will be highlighted by a special celebration of Franklin’s 90th birthday on Monday evening, June 21. A distinguished ballet master and choreographer, Franklin was one of the original members of the Ballet Russe de Monte Carlo and has appeared with American Ballet Theatre in recent years. Coppélia is set to the music of Léo Delibes and features scenery by Tony Straiges, costumes by Patricia Zipprodt and lighting by Brad Fields. Franklin’s staging of Coppélia received its Company Premiere in February 1997. Ashley Tuttle, in her debut as Swanilda, will lead the opening night cast of Coppélia on Monday, June 21, dancing opposite Angel Corella as Franz. On Tuesday, June 22, Irina Dvorovenko will be making her debut as Swanilda, with Maxim Beloserkovsky as Franz. Xiomara Reyes and Herman Cornejo will debut in the leading roles at the Wednesday, June 23 matinee and Gillian Murphy and Marcelo Gomes will dance the roles for the first time at the Wednesday, June 23 evening performance. The season will conclude with eight performances of Romeo and Juliet, choreographed by Sir Kenneth MacMillan and set to music by Sergei Prokofiev. Romeo and Juliet will have its first performance of the season on Monday, June 28, with Alessandra Ferri as Juliet and Angel Corella as Romeo. At the matinee on Wednesday, June 30, Jesus Pastor will debut as Mercutio, with Irina Dvorovenko and Maxim Beloserkovsky dancing the leading roles. Countrywide Financial is the National Sponsor of American Ballet Theatre and Cole Haan is a Leading Benefactor. Graff Jewelers is ABT’s season sponsor of the 2004 Metropolitan Opera House season. ABT’s 2004 spring season is also made possible with public funds from the New York State Council on the Arts, a state agency, and the National Endowment for the Arts. Tickets for American Ballet Theatre’s 2004 Spring Season, priced from $20 to $90, are on sale at the Metropolitan Opera House box office or by calling 212-362-6000. For more information, visit ABT’s website at www.abt.org <http://www.abt.org/> . Complete casting, subject to change, follows. SEVENTH WEEK Mon. Eve., June 21, 8 P.M. COPPELIA – Tuttle*, Corella, Barbee Tues. Eve., June 22, 8 P.M COPPELIA – Dvorovenko*, Beloserkovsky, Graffin Wed. Mat., June 23, 2 P.M. COPPELIA – Reyes*, H. Cornejo*, K. Peterson* Wed. Eve., June 23, 8 P.M. COPPELIA – Murphy*, Gomes*, Graffin Thurs. Eve., June 24, 8 P.M. COPPELIA – Herrera, Bocca, Barbee Fri. Eve., June 25, 8 P.M. COPPELIA – Reyes, H. Cornejo, K, Peterson Sat. Mat., June 26, 2 P.M. COPPELIA – Tuttle, Corella, Barbee Sat. Eve., June 26, 8 P.M. COPPELIA – Murphy, Gomes, Graffin EIGHTH WEEK Mon. Eve., June 28, 8 P.M. ROMEO AND JULIET – Ferri, Corella, H. Cornejo Tues. Eve., June 29, 8 P.M. ROMEO AND JULIET – Ferri, Carreño, Salstein Wed. Mat., June 30, 2 P.M. ROMEO AND JULIET – Dvorovenko, Beloserkovaky, Pastor* Wed. Eve., June 30, 8 P.M. ROMEO AND JULIET – McKerrow, Stiefel, H, Cornejo Thurs. Eve., July 1, 8 P.M. ROMEO AND JULIET – Herrera, Gomes, Salstein Fri. Eve., July 2, 8 P.M. ROMEO AND JULIET – Tuttle, Corella, H. Cornejo Sat. Mat., July 3, 2 P.M ROMEO AND JULIET – Reyes, Stiefel, H. Cornejo Sat. Eve., July 3, 8 P.M. ROMEO AND JULIET – Dvorovenko, Beloserkovsky, Pastor

The Lincoln Center web site has a section on the Ashton Festival; you can book tickets on line here July 6 - Joffrey Ballet - Monotones I - Jennifer Goodman/Calvin Kitten/Stacy Joy Keller Monotones II - Michael Levine/Valerie robin/Samuel Pergande Birmingham Royal Ballet - Enigma Variations Edward Elgar - Joseph Cipolla The Lady - Silvia Jimenez Hew David Steuart-Powell - Alexander Whitley Richard Baxter Townsend - David Morse William Heath Baker - James Grundy Richard P. Arnold - Tiit Helimets Isabel Fitton - Victoria Marr Arthur Troyte Griffith - Robert Parker Winnifred Norbury - Molly Smolen A. J. Jaeger (Nimrod) - Jonathan Payn Dora Penny (Dorabella) - Carol-Anne Millar George Robinson Sinclair - Chi Cao Basil G. Nevinson - Dominic Antonucci Lady Mary Lygon - Asta Bazeviciute K Ballet - Rhapsody - Tetsuya Kumakawa/Viviana Durante July 7 - K Ballet - Rhapsody - Tesuya Kumakawa/Viviana Durante Birmingham Royal Ballet - Dante Sonata Children of Light - Ambra Vallo/Victoria Marr/Robert Parker Children of Darkness - Silvia Jimenez/Dominic Antonucci Birmingham Royal Ballet - Five Brahms Waltzes In The Manner of Isadora Duncan - Molly Smolen Joffrey Ballet - A Wedding Bouquet - Deborah Dawn/Maia Wilkins/Willy Shives Narrator: Christian Holder July 8 - Joffrey Ballet Les Patineurs - Deanne Brown/Julianne Kepley Monotones I - Same as July 6 Monotones II - Same as July 6 A Wedding Bouquet - Same as July 7 July 9 - Birmingham Royal Ballet Enigma Variations - Same as July 6 The Two Pigeons - Nao Sakuma/Robert Parker/Molly Smolen July 10 - Birmingham Royal Ballet Dante Sonata - Same as July 7 The Two Pigeons - Same as July 9 July 13 - Royal Ballet Scenes de Ballet - Miyako Yoshida/Ivan Putrov Awakening Pas de Deux from The Sleeping Beauty - Darcey Bussell/Roberto Bolle Voices of Spring - Alina Cojocaru/Johan Kobborg Thais - Leanne Benjamin/Thiago Soares Ondine Pas de Deux - Tamara Rojo/Inaki Urlezaga Marguerite & Armand - Sylvie Guillem/Massimo Murru July 14 - Royal Ballet Scenes de Ballet - Alina Cojocaru/Johan Kobborg Awakening Pas de Deux from The Sleeping Beauty - Jamie Tapper/Fedorico Bonelli Voices of Spring - Leanne Benjamin/Inaki Urlezaga Thais - Mara Galeazzi/David Makhateli Pas de Deux from A Birthday Offering - Darcey Bussell/Jonathan Cope Marguerite and Armand - Sylvie Guillem/Jonathan Cope July 15 - Royal Ballet Scenes de Ballet - Miyako Yoshida/Ivan Putrov Awakening Pas de Deux from The Sleeping Beauty - Darcy Bussell/Roberto Bolle Voices of Spring - Mara Galeazzi/Viacheslav Samodurov Pas de Deux from A Birthday Offering - Marianela Nunez/Thiago Soares Ondine - Tamara Rojo/Inaki Urlezaga Marguerite & Armand - Sylvie Guillem/Jonathan Cope July 16 - Royal Ballet - Cinderella - Alina Cojocaru/Johan Kobborg July 17 (matinee) - Royal Ballet - Cinderella - Leanne Benjamin/Viacheslav Samodurov July 17 (evening) - Royal Ballet - Cinderella - Tamara Rojo/Jonathan Cope

Film Society of Lincoln Center Friday July 30, 2004 2:00pm at Walter Reade Theater Ashton on Film: Dance Pretty Lady with The Jealous Lover Anthony Asquith, U.K., 1932; 64m and Vincente Minnelli and Gottfried Reinhardt, U.S., 1953; 40m selection Film Society of Lincoln Center Friday July 30, 2004 4:15pm at Walter Reade Theater Peter Rabbit and the Tales of Beatrix Potter Reginald Mills, U.K., 1971; 90m Film Society of Lincoln Center Friday July 30, 2004 6:15pm at Walter Reade Theater Ashton on Film: The Tales of Hoffman Michael Powell and Emeric Pressberger, 1951, U.K.; 127m Film Society of Lincoln Center Friday July 30, 2004 9:00pm at Walter Reade Theater Ashton on Film: Ondine (from the Royal Ballet) Paul Czinner, U.K., 1960; 76m selection Film Society of Lincoln Center Saturday July 31, 2004 2:30pm at Walter Reade Theater Ashton on Film: The Tales of Beatrix Potter Reginald Mills, U.K., 1971; 90m Film Society of Lincoln Center Saturday July 31, 2004 4:30pm at Walter Reade Theater Ashton on Film: Ondine (from the Royal Ballet) Paul Czinner, U.K., 1960; 76m selection Film Society of Lincoln Center Saturday July 31, 2004 6:15pm at Walter Reade Theater Ashton on Film: Dance Pretty Lady with The Jealous Lover Anthony Asquith, U.K., 1932; 64m and Vincente Minnelli and Gottfried Reinhardt, U.S., 1953; 40m selection Film Society of Lincoln Center Saturday July 31, 2004 8:30pm at Walter Reade Theater Ashton on Film: The Tales of Hoffman Michael Powell and Emeric Pressberger, 1951, U.K.; 127m

SYMPOSIA AND SPECIAL EVENTS In conjunction with the music, dance, theater and multi-media performances it will present Lincoln Center Festival 2004 offers symposia and other special events to audience members. Most will take place on the Lincoln Center campus: Stanley H. Kaplan Penthouse at Lincoln Center’s Rose Building (165 West 65th Street, 10th Floor), the Juilliard Theater on West 65th Street, and the Bruno Walter Auditorium of the New York Public Library for the Performing Arts. Other off-campus events are as indicated. All events in the Kaplan Penthouse, Juilliard Theater and Bruno Walter Auditorium are FREE, but require admission Passes. Passes will be distributed in the lobby of the Rose Building, starting one hour prior to the start of the symposium on a first-come, first-served basis and will be limited to two per person. Doors open approximately 30 minutes prior to the event and seating is limited. Each symposium lasts approximately one hour. For further information and updates, visit Lincoln Center Festival 2004 at www.lincolncenter.org. Lincoln Center Festival 2004 is sponsored by Bloomberg and Altria Group, Inc. Ashton Celebration – “Frederick Ashton, a Real Choreographer” Saturday, July 10 at 3 p.m. Bruno Walter Auditorium, New York Public Library for Performing Arts Dorothy and Lewis B. Cullman Center David Vaughn, author of Frederick Ashton and His Ballets, and a leading Ashton authority presents an overview of Ashton’s career Presented in association with New York Public Library for the Performing Arts, as part of its exhibition: “Margot Fonteyn in America: A Celebration” Ashton Celebration – “Ashton and Music” Monday, July 12 at 6 p.m. Stanley H. Kaplan Penthouse, The Rose Building, 165 West 65th Street, 10th Floor Stephanie Jordan, author of Moving Music: Dialogues With Music in Twentieth Century Ballet, discusses Ashton’s musicality, focusing on Scènes de Ballet. One of Ashton’s own favorites among his ballets, Jordan will analyze the neo-classic masterpiece, which is set to music by Igor Stravinsky. Ashton Celebration – “Ashton’s Legacy” Wednesday, July 14 at 6 p.m. Stanley H. Kaplan Penthouse, The Rose Building, 165 West 65th Street, 10th Floor Monica Mason, Director of The Royal Ballet, Anthony Russell-Roberts, Administrative Director of Royal Ballet, and others speak about preserving and performing Ashton’s ballets. Moderated by Clive Barnes. All Ashton Symposia are Free: Admission Pass required

Welcome, MarketingGuy! I've seen the same video, and I was in awe. She's so pure -- and was considered the great Soviet Aurora of her day, some would say THE greatest. (For me, she and Fonteyn were both the greatest.) I envy you, watching her walk the halls on a regular basis!

Thank you for that, Silvy -- we never get to read about ballet in Latin America, so I'm always very grateful when you tell us about a performance you saw. I have to agree with you -- it's great to give very young dancers a chance, but it's also importance "to give the part its full significance." I think especially for children, so they get to see a ballerina.

Paul Parish reviews Ballett Frankfurt for DanceView Times: Weird and Wonderful Moves

There have been lots of reviews of this production, for those looking for a range of opinions. If you haven't seen them, check the Links forum. There have been review links posted every day. I've just put up the new DanceView Times. There are two reviews, one pro, one con, and several photos. Go to http://www.danceviewtimes.com You'll see the links to the reviews in the top box on the home page, right column.

DTH's Balanchine program, which is on tonight and tomorrow, is worth fighting the traffic to go see. (Tonight's rush hour is predicted to be ABSOLUTELY TERRIBLE and the Kennedy Center, I"m told, has emailed subscribers and suggested they take the subway.) It's worth it, if for no other reason to see Alicia Graf, back after a career-threatening injury, and a ballerina with several capital Bs. She did the Agon pas de deux last night. She's down for Terpsichore tonight, with Duncan Cooper, and Agon on Thursday. Tall, long everywhere -- limbs, torso, fingers, feet -- she moves big, and brought both tension AND pliancy to the Agon pas de deux. Lots of shifting around in casting among the men -- Rasta Thomas (a wild, powerful, yet not really godlike Apollo) in for Abdul Manzano; Duncan Cooper replacing Ikolo Griffin as the Son in Prodigal Son; and Ikolo Griffin replacing Preston Dugger in Agon's Sarabande -- so the rest of the week is unpredictable. But the company as a whole was dancing confidently. "Agon" was the strongest, I thought; they've been doing it a long time, and they do it their own way, but they're very comfortable in it. "Prodigal" was much better than it had been in recent seasons -- tighter, and danced with energy. "Apollo" needs work, but it's the old staging, the one from the 1950s, when "Apollo" was demicaractere and we got to see him be born, and worth seeing for that. Did anyone else go?

I think getting more Robbins' for ABT would be a terrific idea. He's one of their "native" choreographers, after all. My Robbins wish list would include "The Age of Anxiety" and "The Guests".

I've just added photos to two DanceView Times reviews from last week of Veronika Part's and Monique Meunier's performancnes with ABT. There are 2 of Part in Mozartiana and 1 of Meunier in Ballet Imperial. The photos are courtesy of the company. Part in Mozartiana Meunier in Ballet Imperial

Gosh, thanks TF But I'm sure there's plenty of room for more comments. I almost posted, on the NYCB thread, "bring tomatoes and grapefruit..." I'd be up for a good attack on formalism if it were well-reasoned.....

I think, too, that often people who share Roca's view aren't aware...tuned in to...cognizant of......the poetic undertones of "abstract" work. To me, this is really a choice between Hit 'Em Over the Head REALISM as opposed to experience refracted through the prism of art, whatever the art is. (Remember Croce's bumper sticker line for this, re Plisetskaya's Dying Swan: "If it's swans you want, go to the zoo." ) I also think that a few leading formalists -- Balanchine, Ashton -- when they made narrative works made narrative works with sound structures. All that said, are there any major dance centers, let alone minor dance centers, where Balanchine's aesthetic is still alive in the taste and eye of the audience outside New York? I'm not sure it is. Look at the repetories of countries around the world, right this minute. MacMillan's aesthetic is much more dominant, I'd say. I see the world right now, as far as new work is concerned, as the MacMillan wannabes (those trying to make opera ballets, centered on big pas de deux), the Forsythe wannabes (PUSH IT! knock 'em over, write dense program notes) or just plain MTV. A new pseudo-Broadway strain is entering the mix. None of this is good news -- nor would it be if there really were hundreds of Balanchine clones, in the sense of making works that copy the Balanchine from the outside, rather than the inside.

And here's the press release, with company descriptions of the ballets. (I've also posted the schedule as a sticky, so we can find it easily throughout the season.) 2004 - 2005 SEASON 35th Anniversary Season All performances listed here are in Wortham Theater Center. I. WOMEN@ART WORLD PREMIERE BY JULIA ADAM WORLD PREMIERE BY NATALIE WEIR CELTS (Houston Ballet Premiere) Music by The Chieftains, Mason Daring, William J. Ruyle, Bill Whelan, Celtic Thunder, and Dan Ar Braz Choreography by Lila York Costume Design by Tunji Dada Lighting Design by James F. Ingalls Houston Ballet opens its 35th anniversary season with a flourish, showcasing three of the world's most gifted female choreographers in a trio of new works that will show off the company to spectacular advantage. Houston Ballet becomes one of the few American ballet companies to dedicate an entire program to the works of three living female choreographers. Australian Natalie Weir and Canadian Julia Adam will create commissions for the company, while American dance maker Lila York stages her rousing signature work, Celts. Set to traditional and contemporary Celtic music, Celts is a celebration of all things Irish, and is guaranteed to have you dancing a jig in your seat. At 7:30 pm on September 9, 11, 17, 18, 2004 At 2:00 pm on September 12, 19, 2004 II. PETER PAN Music by Sir Edward Elgar, in an arrangement by Niel Deponte Choreography by Trey McIntyre Scenery by Thomas Boyd Costumes by Jeanne Button Lighting by Christina Giannelli This season, Houston Ballet Choreographic Associate Trey McIntyre will revisit his first full-length work for the company, which was a smashing success with audiences and critics alike. Based upon the popular story by Sir James M. Barrie, Peter Pan tells the story of the boy from Neverland and his adventures with the Darling children and Captain Hook. With elaborate sets by scenic designer Thomas Boyd and magical flying effects by Foy, the production is a perfect introduction to dance for audiences of all ages. At 7:30 pm on September 23, 25, and October 1, 2, 2004 At 2:00 pm on September 26 and October 2, 3, 2004 THE CULLEN SERIES: HOUSTON BALLET ON THE EDGE WORLD PREMIERE BY ADRIAN BURNETT WORLD PREMIERE BY MATJASH MROZEWSKI WORLD PREMIERE BY STANTON WELCH TOUCHED Music by Dave Brubeck Choreography and Costumes by Trey McIntyre Lighting by Christina Giannelli After a two-year hiatus, the Cullen Contemporary Series returns with a new focus: to showcase emerging international choreographers who are building names for themselves in the world of ballet. Artistic director Stanton Welch is committed to new works, and chose these choreographers for the series because they create pieces that are balanced on the edge of classical and contemporary dance. This program features world premieres by Adrian Burnett, a resident choreographer with The Australian Ballet; the hot new choreographer Matjash Mrozewski, who has created acclaimed works for the National Ballet of Canada; and Mr. Welch. Trey McIntyre’s quirky Touched rounds out a program that celebrates experimentation. At 8:00 pm on October 28, 29, 30, 2004 At 2:30 pm on October 30 and 31, 2004 THE NUTCRACKER Music by Peter I. Tchaikovsky Choreography by Ben Stevenson Designs by Desmond Heeley Lighting by Duane Schuler A wonderful ballet for the entire family, The Nutcracker is the perfect way to introduce young children to the power and beauty of classical dance. Tchaikovsky's magical score, Desmond Heeley's fairy-tale scenery, and Ben Stevenson's vibrantly theatrical staging combine to create one of the most visually stunning productions of The Nutcracker in the world today. Join Clara on her unforgettable journey as she travels to the Land of Snow and the Kingdom of Sweets, and marvel as the Sugar Plum Fairy and the Prince dance a pas de deux of crystalline beauty. It’s a perfect holiday treat! November 26 – December 26, 2004 At 7:30 pm on November 26, 27 and December 4, 9, 10, 11, 12, 15, 16, 17, 18, 19, 20, 21, 22, 23, 26 At 2:00 pm on November 27, 28 and December 4, 5, 11, 12, 18, 19, 20, 21, 22, 23, 24, 26 35TH ANNIVERSARY GALA PERFORMANCE In honor of its 35th anniversary season, Houston Ballet will mark this milestone with a spectacular gala performance showcasing the current and future stars of the company in a program of high-energy excerpts from beloved classics, previews of upcoming new works, and pieces created specially for the occasion. Don't miss this one-night only event, which is sure to become one of the hottest tickets of Houston Ballet's season! At 7:30 pm on Friday, Dec. 3, 2004 III. ROCK, ROLL AND TUTUS WORLD PREMIERE BY STANTON WELCH Music by Rachmaninoff Choreography by Stanton Welch SUITE EN BLANC (Houston Ballet Premiere) Music by Edouard Lalo (excerpts from Namouna) Choreography by Serge Lifar Design by André Dignimont Lighting by William Akers ROOSTER Music by the Rolling Stones Choreography by Christopher Bruce Costumes by Marian Bruce Lighting by Tina MacHugh Houston Ballet’s exhilarating winter repertory program will open with a new work by Stanton Welch, a large-scale, classical pure dance piece created to highlight the company set to Rachmaninoff's Rhapsody on a Theme of Paganini. Set to the music of the Rolling Stones, Christopher Bruce's hard-driving, sexy Rooster is a wild evocation of London in the swinging 1960’s. The company premiere of Suite en Blanc, an elegant full-company classical work, rounds out the program. At 7:30 pm on February 24, 26, and March 4, 5, 2005 At 2:00 pm on February 27 and March 6, 2005 IV. ROMEO AND JULIET Music by Sergei Prokofiev Choreography by Ben Stevenson Designs by David Walker Lighting by Tony Tucci A Houston Ballet classic which inaugurated Wortham Theater Center and opened the company's historic tour to China in 1995, Ben Stevenson’s Romeo and Juliet brings Shakespeare’s classic love story vividly to life. Two teenagers from warring families meet, fall in love, and rush headlong towards their romantic destiny. With its magnificent evocation of Renaissance Italy by David Walker and Prokofiev’s gorgeous score, the ballet offers Houston Ballet dancers a feast of juicy theatrical roles as well as impassioned classical dance. At 7:30 pm on March 10, 12, 18, 19, 2005 At 2:00 pm on March 13, 19, 20, 2005 HOUSTON BALLET'S BEN STEVENSON ACADEMY SPRING PERFORMANCE The gifted young artists of Houston Ballet’s Ben Stevenson Academy, the company's professional training wing, cap their studies with a special one-night only concert featuring works tailor-made to show them at their best. At 7:00 pm on April 22, 2005 V. SPRING REPERTORY PROGRAM SANDPAPER BALLET (Houston Ballet Premiere) Music by Leroy Anderson Choreography by Mark Morris Costume design by Isaac Mizrahi Lighting design by James F. Ingalls THE FIREBIRD Music by Igor Stravinsky Choreography by James Kudelka Designs by Santo Loquasto Lighting by David A. Finn Houston Ballet’s spring repertory program will open with the company premiere of the funny and incredibly musical Sandpaper Ballet, the first work by legendary modern dance choreographer Mark Morris to enter Houston Ballet's repertoire. Noted fashion designer Isaac Mizrahi’s witty costumes add an inspired note of whimsy to the ballet. James Kudelka's dazzling staging of the ballet classic, The Firebird, featuring magnificent Aztec-inspired costumes by Tony Award-winner Santo Loquasto, rounds out the program. Based on a beloved Russian folk tale, the ballet tells the story of Prince Ivan and the firebird, the magical creature who comes to his rescue in times of danger. At 7:30 pm on May 26, 28, and June 3, 4, 2005 At 2:00 pm on May 29 and June 4, 5, 2005 VI. MANINYAS (Houston Ballet Premiere) Music by Ross Edwards Choreography by Stanton Welch Scenic & Costume Design by Stanton Welch Lighting Design by Lisa J. Pinkham GISELLE (Houston Ballet Premiere) Music by Adolphe Adam Choreography by Marius Petipa, after Jean Coralli and Jules Perrot Staged by Maina Gielgud Designs by Peter Farmer Lighting by Tony Tucci Lighting recreated by Christina Giannelli Houston Ballet caps its 35th anniversary season with two company premieres: Stanton Welch’s sensual Maninyas, an intimate abstract work about relationships featuring five couples, and a vibrant, acclaimed new staging of Giselle by artistic associate Maina Gielgud. Set in a medieval Rhineland village, Giselle tells the story of a beautiful peasant girl who falls in love with Albrecht, a young aristocrat disguised as a commoner. Love, betrayal, and redemption are played out with stunning simplicity in this classic work. At 7:30 pm on June 9, 11, 17, 18, 2005 At 2:00 pm on June 12, 19, 2005 SUBSCRIPTIONS $45 -- $660, depending on seat location and date of performances. Students and seniors receive 15% off the regular price of selected seats when they purchase a full season subscription. To subscribe, call (713) 5-BALLET (713-522-5538) SINGLE TICKETS Single tickets will go on sale Monday, August 9, 2004 and may be purchased by calling 713-227-ARTS (713-227-2787) or purchased online at www.houstonballet.org

2004 - 2005 SEASON 35th Anniversary Season All performances listed here are in Wortham Theater Center. I. WOMEN@ART WORLD PREMIERE BY JULIA ADAM WORLD PREMIERE BY NATALIE WEIR CELTS (Houston Ballet Premiere) Music by The Chieftains, Mason Daring, William J. Ruyle, Bill Whelan, Celtic Thunder, and Dan Ar Braz Choreography by Lila York Costume Design by Tunji Dada Lighting Design by James F. Ingalls At 7:30 pm on September 9, 11, 17, 18, 2004 At 2:00 pm on September 12, 19, 2004 II. PETER PAN Music by Sir Edward Elgar, in an arrangement by Niel Deponte Choreography by Trey McIntyre Scenery by Thomas Boyd Costumes by Jeanne Button Lighting by Christina Giannelli At 7:30 pm on September 23, 25, and October 1, 2, 2004 At 2:00 pm on September 26 and October 2, 3, 2004 THE CULLEN SERIES: HOUSTON BALLET ON THE EDGE WORLD PREMIERE BY ADRIAN BURNETT WORLD PREMIERE BY MATJASH MROZEWSKI WORLD PREMIERE BY STANTON WELCH TOUCHED Music by Dave Brubeck Choreography and Costumes by Trey McIntyre Lighting by Christina Giannelli At 8:00 pm on October 28, 29, 30, 2004 At 2:30 pm on October 30 and 31, 2004 THE NUTCRACKER Music by Peter I. Tchaikovsky Choreography by Ben Stevenson Designs by Desmond Heeley Lighting by Duane Schuler November 26 – December 26, 2004 At 7:30 pm on November 26, 27 and December 4, 9, 10, 11, 12, 15, 16, 17, 18, 19, 20, 21, 22, 23, 26 At 2:00 pm on November 27, 28 and December 4, 5, 11, 12, 18, 19, 20, 21, 22, 23, 24, 26 35TH ANNIVERSARY GALA PERFORMANCE At 7:30 pm on Friday, Dec. 3, 2004 III. ROCK, ROLL AND TUTUS WORLD PREMIERE BY STANTON WELCH Music by Rachmaninoff Choreography by Stanton Welch SUITE EN BLANC (Houston Ballet Premiere) Music by Edouard Lalo (excerpts from Namouna) Choreography by Serge Lifar Design by André Dignimont Lighting by William Akers ROOSTER Music by the Rolling Stones Choreography by Christopher Bruce Costumes by Marian Bruce Lighting by Tina MacHugh At 7:30 pm on February 24, 26, and March 4, 5, 2005 At 2:00 pm on February 27 and March 6, 2005 IV. ROMEO AND JULIET Music by Sergei Prokofiev Choreography by Ben Stevenson Designs by David Walker Lighting by Tony Tucci At 7:30 pm on March 10, 12, 18, 19, 2005 At 2:00 pm on March 13, 19, 20, 2005 HOUSTON BALLET'S BEN STEVENSON ACADEMY SPRING PERFORMANCE At 7:00 pm on April 22, 2005 V. SPRING REPERTORY PROGRAM SANDPAPER BALLET (Houston Ballet Premiere) Music by Leroy Anderson Choreography by Mark Morris Costume design by Isaac Mizrahi Lighting design by James F. Ingalls THE FIREBIRD Music by Igor Stravinsky Choreography by James Kudelka Designs by Santo Loquasto Lighting by David A. Finn At 7:30 pm on May 26, 28, and June 3, 4, 2005 At 2:00 pm on May 29 and June 4, 5, 2005 VI. MANINYAS (Houston Ballet Premiere) Music by Ross Edwards Choreography by Stanton Welch Scenic & Costume Design by Stanton Welch Lighting Design by Lisa J. Pinkham GISELLE (Houston Ballet Premiere) Music by Adolphe Adam Choreography by Marius Petipa, after Jean Coralli and Jules Perrot Staged by Maina Gielgud Designs by Peter Farmer Lighting by Tony Tucci Lighting recreated by Christina Giannell At 7:30 pm on June 9, 11, 17, 18, 2005 At 2:00 pm on June 12, 19, 2005

No, not that one. The book. Always behind, I finally got through Yona McDonaugh's novel this weekend -- good train/plane reading, if not a masterpiece, is my take on it. I'm glad that this book exists, though -- it takes ballet and art seriously, one major character is a young dancer, another is a member of the NYCB orchestra. I thought the author handled the problem of writing about a real company -- NYCB -- believably, although she's changed major characters (the artistic director, the balletmistress). Did anyone else read this?

I posted the 2004-2005 season's schedule as a sticky. Any comments?

Thanks for the early heads up, Ballet Nut -- Any other comments on the season? (I've just posted the schedule as a sticky above, so we can easily refer to it all year.)

Here's the link to the info on the company's web site: 2005 Repertory Season And here's the schedule: Program 1 Mixed Repertory "...smile with my heart" 7 FOR EIGHT THEME AND VARIATIONS Opens February 1 Program 2 Mixed Repertory MAELSTROM WELCH WORLD PREMIERE COMPANY B Opens February 3 Program 3 Full Length GISELLE Opens February 19 Program 4 Mixed Repertory SQUARE DANCE GROSSE FUGE POSSOKHOV WORLD PREMIERE Opens March 9 Program 5 Mixed Repertory MEISTENS MOZART CONCERTO GROSSO STUDY IN MOTION THE FOUR TEMPERAMENTS Opens March 11 Program 6 Mixed Repertory SYMPHONIC VARIATIONS DYBBUK LAMBARENA Opens April 5 Program 7 Mixed Repertory RUSH IN THE NIGHT PRISM Opens April 7 Program 8 Full Length ROMEO & JULIET Opens April 30 Casting is usually available a few days before the scheduled performance. Please post about actual performances in the forum below. (edited to fix hyperlink and update program info, and other small, nitpicky things.)

I just put a sticky up (so we can easily find it all season) for PNB's 2004-2005 season. Any discussion? http://balletalert.com/forum/index.php?showtopic=17064

A related article, rather inflammatory (deliberately so, I'd suspect) can be found here for discussion: http://balletalert.com/forum/index.php?sho...=0entry137925

Food for food throwing, too Read this -- so you have to register. Registration is free. There's a lot to talk about here. Some examples: A couple of reactions: first, I don't know what Mr. Roca has been reading, but I can't think of anyone who writes that "Nothing, not even human emotion, is supposed to sully the purity of dance." There are a lot of Straw Dogs in this piece. Secondly, I think it's true that there were dueling aesthetics in the 1950s -- it's not farfetched to say that Balanchine's aesthetic pushed Tudor's aside. But Tudor didn't make a major ballet in New York for 25 years (he did create works, but off the beaten track), although he was still working at ABT and one can find many articles in the late '50s, '60s and early '70s asking when he would do a new work. Not "Good! That silly old-fashioned Tudor isn't working any more" Not at all. Third (adding this): What "young Balanchine clones?" The Sons of Balanchine are now in their 50s and 60s, a very few in their 40s. The 20- and 30 somethings are more into pop ballet. And fourth: ABT's emphasis on full-length story ballets is far from Tudor. Most of the productions are abstract ballets with references to Plots We Have Loved, and are more opportunities for technical display than storytelling -- much less the sophistication and subtlety that Tudor tried to bring to ballet.

Review from the Arizona Republic: Ballet Arizona reaches new heights in Balanchine bash