perky

Charles Maple. who attended the ABT reunion, wrote a nice web blog on the reunion complete with photos:

http://mapleconservatory.com/aboutus/noteCharles.shtml

Enjoy!

Ok, is it just me or is Ivan Nagy one sexy looking senior!! Would that we all age so gracefully.

The current bid on this is for a whopping $510!!!

4th ring, row C

I'm in the wrong business people!

I not only used to live in NYC, but I used to drive in NYC and to NJ, Long Island, and Yonkers (work commute). My general observation (and projection) was that if someone signaled to move into another lane, drivers would block the space for kicks and giggles. Driving is a lot more cooperative in the Seattle area, although there's still a bit of self-righteous lack of cooperation when a driver needs to do something at the last minute. Plus, there's the standard, neverending complaints from drivers about bicyclists and bicyclists about drivers who don't think the other side should be allowed to exist.

When I visited India -- and, no, they do not let foreigners rent cars and drive, unlike in Ireland or Britain or Australia, for everyone's safety -- I observed traffic. Sharing the road are trucks, minivans, small SUVs, cars, motorcycles -- many with a kid riding in front of the driver and a woman sitting side saddle holding a baby or toddler (on bumpy roads at 30 mph) -- bicycles, taxis that look like golf carts, and carts driven by cyclists and livestock, not to mention the livestock themselves. Most roads are single lane, or two-lane where there is a dotted line to demark lanes that are rarely observed, and appear to be customary, much like traffic lights.

In the few weeks that I was there, my coworkers and I observed one accident. (Accidents are at least a weekly occurence in my commute to work.) When people drive, they obey the hierarchies of size and possible speed, anticipate what other vehicles need -- using horns and "body" language (although, rarely directionals) -- and they let people do what they need to do. If that means being in the far lane in one traffic circle needing to be in the far lane of the next traffic circle and crossing four lanes of traffic in ten seconds, the other drivers will let this happen.

A friend of mine observed that traffic in India is like water: it parts and converges. Ever since I've been home, I've tried to put this principle to work -- not the driving along the center line part, but letting people do what they need to do -- and it makes life a lot calmer than wanting to rip other people's hearts out. I feel the same way about exit habits at theaters.

That kind of emotion I need to save for people who ruin the actual performance.

This attitude in India stems from the fact that they are very fatalistic. What happens is going to happen. Nothing you can do about it. So why worry? My first time in India on the way from the airport to Pune I had my jaw clenched in in terror the whole 4 hour drive. After a few weeks you get used to it and realize driving there is chaos but a controlled organic chaos. With regards to audience members doing something you don't like, you can't control thier behavior only your own. Let it go. Live ballet viewing is not meant to be enjoyed in a vacumn, it's of the moment and sometimes that moment can be annoying but it can also be glorious.

Bouder in Rubies! Carbro, you just got your wish! Interesting casting with Rutherford and DeLuz in Dybbuk.

TP2 is one my favorite Balanchine ballets, the corps choreography is just beautiful, but I really think it's more effective with tall leads, so I'm not sure how Ashley will come across. Also seems like the lead ballerina in TP2 should be a more "mature", romantic type.

The original lead for TP2 (then called Ballet Imperial) was Marie-Jeanne wasn't it? I don't believe she was a tall dancer, from pictures her body looks very much like Bouder's. Not tiny, but not tall either and powerful looking legs. I think the lead ballerina is very much a perfect match for Ashley, it couldn't have been more perfect than if Balanchine himself came down and crowned that tiara on Bouder.

I cry during second movement Barocco. It's almost a healing cry, a sort of washing away of worries, tensions and feelings of inadequacy that plague at my peace of mind. That music and those steps are better than any drug! And I always cry at Davidsbundlertanze. Does anyone else cry at the end of Prodigal Son as the father lovingly cradles his grown and broken son in his arms? God that gets to me everytime!

If you could even get an autographed Farrell, Kent or Kirkland pointe shoe anymore or my reach for the stars dream, an old LeClercq pointe shoe, I imagine that would be considered priceless!

Some very exciting debuts! Bouder as The Ballerina in Concerto #2 and a new Orpheus

I would also love to see Abi Stafford's debut in Dances.

I was given a pair of autographed shoes by my uncle and a family friend (who lives with my uncle) for Christmas this past year.

My grandmother had gone to a ballet in Grand Rapids, MI with my uncle and the family friend and had met Maria Kowroski. Maria is actually the family friend's niece. In complete innocence, I had told my grandmother that she should've gotten an autograph for me. I had danced through much of my childhood, but gave it up, and I was naturally a fan of Maria, especially since I had heard so much about her.

To my surprise, my uncle and his friend took me aside this Christmas and gave me a pair of ballet shoes autographed by Maria. One shoe says "Dear Kelsey, With lots of love, Maria Kowroski" and the other says "With love, Maria Kowroski". What makes them even more special is that they are from her private collection of shoes (she has kept them all since she started dancing). They are truly one of a kind. Although I haven't met Maria officially yet, she seems like a wonderful person. :-)

Anyway, just thought I'd share because it's a pretty unique story and I'm pretty proud of them!

Welcome thatssomint to BalletTalk! That's a wonderful story!

You New Yorkers get Martine Van Hamel back on stage again as well as Kirkland. I'm so jealous!

Photos for the 1st week of Romeo + Juliet are up.

That costume for Jock Soto is absolutely horrible.

Moderator's note: Direct link.

I was afraid of that when the casting went up and she wasn't listed. Hopefully she'll be ready to dance for the SAB workshop performances in June.

Thank you drb for the post. And am I mistaken in thinking that it has been awhile since Maria danced Terpsichore?

Peter Martins own words on this subject from the April/May 2007 issue of Pointe Magazine:

"You can imagine my whole idea of having a 16 year old student portraying Juliet is nervous-making," he says. "Because although I know that the people I chose are perfectly capable technically as dancers to do it, I also knew that I wanted this pure innocence to emerge. What I didn't know, annd still to a degree do not know, is whether they will be able to carry the whole show. I would say that I still have faith that I will get what I had hoped for."

My only objection to the student casting is that there are many dancers in their late teens and early 20's at NYCB who could dance the role as well and perhaps better than a 16 year old student, which we will never know if only students are to be cast. Also, since when does a young age imply innocence anymore? I've seen some very worldly 16 year olds lately.

The new issue of Pointe Magazine has a cover story on NYCB's Romeo and Juliet. The Juliet's are to be danced by students from SAB. The Juliet on the cover is 16 year old Callie Bachman, who looks wise has a lovely innocent purity about her. The Romeo on the cover is corps member Robert Fairchild. No other mention is made of who else is cast as Romeo, but it will be slighter older dancers than the Juliet's due to the difficult partnering. The article mentions Darci Kistler and Jock Soto!!! as Lady and Lord Capulet. Photos show Danny Ullbricht and Joaquin De Lux sword fighting in rehearsal.

Craig Hall on partnering in the Balanchine tradition:

"I learned that a woman is a piece of jewerly on display for the audience. I must show her facets in the best light to make her sparkle."

I love those "long hair" ballets at NYCB, what I don't like to see is a girl with a long ponytail dancing a pas de duex. Can you imagine being the guy and getting whipped in the face with that during turns?

It was frustrating :blush: Like being denied a delicious cool long drink after a hot tiring day outside in the sun

Glad you're back!

Actually, calling Ringer and Borree "bland" is less offensive than some of the things he's written about them in the past. As for the casting of Lowery in Four Temperments which Gottlieb call a very bad move, perhaps Martins was trying to incourage her dancing in a new direction? Sometimes it works, sometimes it doesn't. What will be interesting is if he continues to miscast her in it.

What a wonderful treat is is to view Balanchine choreography you've never seen before!

And thank you to Kennedy Center for the free webcast!

The Clarinade pas de deux was sexy and very well danced. I would love to see this again in person.

The fleet footwork of the Glinka pas de deux was wonderful. A revival of the whole ballet is much wished for. I've only read about Variations For Orchestra so it was interesting to see it. Actually it didn't leave much of an impression on me. Is this one of those ballets of Balanchine that don't survive very well if no longer danced by the original muse? I would have loved to have seen Farrell dance this. I did enjoy the backbend exit at the end.

Question about the variations from Don Q performed. At what point in the first act did they appear? In what context?

Better late than never!

I really loved this book. It's very interesting to read a memoir of dancing for Balanchine by a dancer who wasn't one of his muses or star dancers. Maybe because of that the book isn't a "I danced this, he did this to me" kind of read, instead it's full of stories about the joy and rigors of touring for long periods and the special longlasting friendships that develope between dancers. I found the section on Tanaquil Le Clercq very moving and sad. She vividly brings to life the horror of that tour to Copenhagen where Tanny contracted polio. I was so affected by this chapter that when I finished it I put the book down and didn't pick it back up until two days later. I also found her observations regarding Orpheus enlightening. I've often wondered why people speak of this ballet as having lost it's power and intensity over the years. Milberg danced one of the furies at the premiere and writes of seeing it performed by NYCB during the company's fiftieth anniversary season. She was stunned by how different it looks. She mentions disturbing lapses and changes and the tameness and lack of intensity of the dancing. Her account helps fill in some of the pieces of the mystery of what happened to Orpheus.

I have only one critisism of the book. I wish it was longer!

Other possible U2 ballets include:

"It's A Beautiful Ballet Day"

"With Or Without Tutu"

"She Bourres In Mysterious Ways"

Well I'm going to answer my own question . Go to the website www.balletgems.com. It features Mary

Ellen Moylan's watercolor artwork. I love the paperdoll tutu's!

I much prefer the second set of photo's rg posted as they show off those gorgeous Moylan legs! Does anyone know what she is doing now?

This week's photo's include Agon, 2 & 3 Part Inventions and a beautiful stunner of a picture with Wendy Whelan and Charles Askegard from In Memory Of.... .