atm711

Strange, but I never thought of Alonso as glamorous---in her early career she exuded the dedication of a Nun--she was to be taken seriously. Danilova was wonderfully glamorous--and whenever she was seen offstage was impeccably dressed and coiffed.--as was Felia Doubrovska who I only saw teaching class and she always out-classed the Company Ballerinas who were taking her class To that list I would add Mia Slavenska, Toumanova and a dancer who seems to have been forgotten, Vera Nemtchinova.

Sorry but I can't resist---this is the time to say "we told you so"....

Odette, Odile, Nikia, Aurora,the Sylphide, Mozartiana---what more does a girl have to do to be called Ballerina, Mr. McK???

Makarova was in red. Which ballet was that?

atm711 -- it WAS extraordinary to see the original film of Interplay. Having just seen the full ballet performed by ABTII in sleek contemporary costumes, I am astonished by how different this ballet now "looks" -- on the surface at least.

Bart, by this time you know it was 'other dances'. What amazes me about these brief dances is how Robbins absorbed Makarova's innate movements. I have a clip of Kirkland in the same work and whenever I look at it--all I can see is Makarova's persona. Something is missing and it's Makarova. (I feel the same way when a ballerina other than Fonteyn is dancing Ashton--Margot is missing) Ashton had many years to observe and absorb Fonteyn---but what Robbins did was magic (as they say).

Those sleek new costumes you describe for 'Interplay" would take me a while to get used to---after all these years I still can't get used to the white costumes in 'Concerto Barocco'.

The clips of the original cast of 'Fancy Free' was something to die for I always knew what I was missing in today's interpretations and that brought it all to light for me. The clip of Baryshnikov in the Kriza variation was pretty bad--- The part was alien to him. I loved the clip of 'Interplay' in the original costumes worn by Ballet Theatre. Before it was danced by Ballet Theatre the ballet was first seen in a Broadway revue (Seven Lively Arts??) and the costumes were very eclectic and the new design greatly improved the ballet by making the dancers more cohesive.

Nijinska used some of the music from 'The Seasons' for 'The Snow Maiden' for the Ballet Russe.

The only NYCB discount program I know of is the 'School Theatre Ticket Program'. They offer the Orch. for $55. and the 4th ring for $15. I pick up the vouchers at my local "Y".

The other photos on the page appear to be from Petit's "Ballets Des Champs Elysees". (or maybe it was called 'Ballet de Paris' at the time ??) There is a stunning photo of Colette Marchand (in an elaborate black headdress from a ballet , I guess, called 'L'Oeuf a la Cocque' ??' ) and Jeanmaire is in the background. Further along there is a lovely photo of Moira Shearer.

Yes, "Manon" fits into that catgegory. I recall seeing Vishneva badly bruised during the final PDD and the subject matter is not too palatable. Weatherwax I don't think you are being too squeemish. I have a copy of the film "Syriana" and try as I do, I cannot get through it. I stop cold at the death of the child which is at the beginning of the movie.

Scratch the white paint and underneath...

Tim Scholl and, as I remember, Danilova point out that the original Symphony in C, Palais de Crystal, was in color--each act in red, blue, green, and white. The original scenario featured "a Ruby Priestress, a Sapphire Spirit, an Emerald Spirit and a Crystal Spirit in a Palace of Diamonds" (Richard Buckle). When it was presented in New York the next year, the costumes were black and white, in part perhaps because the troop was small and the dancers had to appear in more than one part.

The first time I saw the ballet it was called 'Palais de Crystal' and was performed by the POB in NYC one year before it was done by NYCB. It had a very elegant look---the different colored tutus were muted and the whole ballet had a soft look. It looked very different the following year as performed by NYCB. The women wore white sleeveless leotards with a soft skirt--the men in black tights and white tops. One part that has stuck in my head from that first performance was when all four movements are on the stage at the same time (NYCity Center); the stage looked terribly crowded, the corps lost their 'lines' and they barely managed to get it together. --but, at the time the corps talent was pretty raw---they went from the classroom to the stage rather quickly.---they were a far cry from POB---and a far cry from what they are today. Both Companys performed it at the same theater.

Well, I have my copy of the book...I am not too far into it --only 1912---and I am already doubting his views. He has little vision in appreciating Fokine. I struggle with his description of 'Chopiniana'

"Chopiniana is a charming miniature.....But I don't see any new directions here.......This is the same classical dancing that has been around for centuries"

I wonder what century he is talking about. So far, I am in Balanchine's camp when he said:

"There was a famous critic in Petersburg, his name was Akim Volynsky, I knew him well. He was drawn to ballerinas and created a whole ballet theory out of it: that in ballet eroticism is the most important thing....he described how big the thighs of his favorites were".

No wonder---in 'Chopiniana' the thighs are covered.

I just caught up with this great photo. Kriza was especially successful as the showoff in "Patineurs'. He had a wonderful droll sense of humor in this particular role---think Tom Hanks at his 'droll-est'. (Giannina--where are you?--I know you saw this).

Any review that publishes that familiar, gorgeous photo of Spessivtseva for the general public has my undying admiration.

The evolution of the Apollo costume seems to follow a slow reaction from the one worn by André Eglevsky, which included a gold lamé chiton thingy, and a gilt laurel wreath on his head. I can't even recall if he wore tights, or just trunks and bare legs.

Ha!--my first Apollo. I seem to recall bare legs with criss-crossed strips on the lower leg. The most memorable part of his peformance was the opening birth scene--where he did multiple slo-o-o-ow pirouettes while he was unwinding his swaddling clothes.

.....Balanchine's "Theme and Variations."

Location: Maryinsky Theatre. Abort mission.

Well, I suspect that it may be a "variation" on what Mr. B envisaged. Nonetheless, Ms. Somova is probably better in the neo-classical works than in the classics, although musicality is important there, too. I wish her the best, really. It hurts me to see problems with this company.

"better in the neo classical works"---ouch! that hurts Natalia. Since the Mariinsky created her let her dance their classics...why should we suffer

It was an interesting film that should be seen---that said--the play was superior. The film leaves no doubt---the play had you wondering for months. Hoffman and Streep were no where as effective as Cherry Jones and especially Brian O'Byrne. The best performance in the film goes to the mother of the boy---Shanley changed this part a bit--on the stage she came across as somewhat detached middle-class. Can't recall the actress in the film--but she is up for an award. I thought Streep's performance was too much of a caricature. The 'doubt' in the play was not centered on only one cause (as it is in the film)--it could have been many.

Hubbe is refreshingly candid---I hope he doesn't have too many enemies. My kudos to the fine interviewer.

I am assuming that what I saw with the Ballet Russe was the 1938 Sergeyev version; it was in their repertoire until their demise in 1960. I find it superior to the NYCB version. The ACT II NYCB is pretty much identical with the BR version. It's Act I and III that cause problems for me (especially Act III). In the BR version there were only two solo variations---Dawn and Prayer---the waltz of the golden hours, all those kiddies, the spinner variations add too much unnecessary filler to the Act--and what's with the Discord & War PDD? ( But, I have these same reservations about B's Midsummer Night's Dream which makes me prefer Ashton's version. I sometimes have the feeling that Balanchine was looking for a full evening's work and just kept on adding and adding. The Coppelia of the BR years was probably the best production they had--and they had Danilova and Franklin.

If it is 'Firebird'---I never knew she danced the role. I have been looking around but haven't found any reference to her performing it.

The ballet Shearer danced was 'Ballet Imperial'. In 1950 Balanchine was invited to stage it for the Royal Ballet. There were 3 casts for the ballet--led by Fonteyn, followed by Shearer and Violetta Elvin (a former Soviet dancer named Prokhorova). Fonteyn wisely dropped out (can't imagine her in this!) and Balanchine requested Shearer. She had only been married 3 weeks at the time but hinted if she wasn't she would have followed Balanchine back across the Atlantic---our loss, she had all the makings of a fine Balanchine dancer. I did see Shearer on the stage in a few productions. In the Sadlers Wells NYC debut she and Alexis Rassine danced the Bluebird PDD and she and Ashton were comic geniuses in 'A Wedding Bouquet'. I also liked her Cinderella very much.

Bart, I saw the film this week, too---but as usual I only watched it up to 'Olympia'. It gets a bit ponderous after that--- I like your perfect description of Shearer---"delicate, precise, quick-silver and witty". I have always had sympathy for her having to work in Fonteyn's shadow. Have you read the book she wrtoe on Balanchine?--"Balletmaster'. It's regrettable that she did not have a career with 'B'.

I would like to return to the Royal Ballet in the 60's to see (again!) Christopher Gable and Lynn Seymour in MacMillan's "Romeo and Juliet"....the most memorable evening of ballet I ever experienced.

I have a copy of a documentary on Lynn Seymour with clips from that magical pairing and it must have been wonderful to see it live.

Thanks, Bart--I am curious too because a friend of mine is getting us tickets for a performance of Swan Lake in Princeton NJ to see the "Russian National Ballet Theatre" in May...at this point I don't know what Company I will be seeing.

Any information on this group?--Amazon has two DVDs out---rehearsals of Swan Lake and Sleeping Beauty...each only 40 minutes and the price for both is $47.00....

I voted for ABT---but I would revisit it as the BT of the 1940's.....oh, to see again:

l. Alonso and Youskevitch in 'Giselle'

2. Kaye, Laing and Tudor in 'Pillar of Fire'

3. Markova or Kaye and Laing in 'Romeo and Juliet'

4. Riabouchinska, Lichine, Hightower, Kriza, Alonso in 'Graduation Ball'

5. Toumanova's 'Black Swan PDD'

6. Robbins, Kriza and Lang in 'Fancy Free'

7. Massine and Toumanova in 'Aleko'

and, I would take you all along with me

All that dancing on hard concrete made me cringe---why would Malakhov agree to that? Overall the program was duller than usual.