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Big Lee

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  1. Janie's looks awesome in the Afternoon of the Faun picture in the new NYCB brochure. Julie Kent also has awesome hair; check out the pictures of her in the pas de deux section of Nancy Ellison's Ballet book.
  2. As dirac mentioned, it is definitely Stars and Stripes used in the movie. I actually thought she was extremely critical of the way homosexuality was treated in a hypocritical manner by the movie. I obviously can't read her mind, but I think her feeling was that the movie did everything possible to background anything homoerotic about ballet by using a "token" gay character in Erik and making Cooper an almost ridiculously "manly man," to be more appealing to a general audience. All the characters were incredibly stereotypical, and I don't think that deflating Cooper's manly man character - w
  3. I know that some people on this forum have fond feelings for this incredibly goofy movie, and I thought that I'd share this very funny review/recap of the movie. television without pity WARNING: The article contains strong language and negative comments regarding Balanchine's "Stars and Stripes." I also think the review is interesting as how someone who is not "into" ballet received the movie, particularly the big Stroman finale.
  4. I was also there last night, and also was amazed by the reaction. It sounded as if somewhere in the house there was a group that would just go wild after every work, and particularly went nuts for Bussell. It sounded like the audience had been waiting years to clap and yell themselves silly. Personally, I was in the balcony, and I didn't notice it coming from the upper rings, though there was a large contingent of SAB students, yet I doubt they would have become that excited. For me, Cojocaru was the revelation. The degree of quickness and articulation in her feet and legs were extraord
  5. Well I saw it Wed. night and enjoyed it a great deal. I really enjoyed the Kylian; I saw them at city center and greatly enjoyed them then and I enjoyed them quite a bit. McKerrow's Hagar I found fantastic. She embodied a kind of desperation in the role that made me see the ballet differently - she's not depressed or sad as much as she is consumed or overwhelmed by erotic longing. Thus, the giving her self to the man from the house opposite (I think that's Tudor's appellation) seemed more understandable as a kind of last hope. This contrasted wonderfully with Reyes's Younger Sister, who
  6. Didn't love it or hate it, but was intrigued by it and felt that #2 summed up my feelings about right.
  7. I saw it today at the sunday matinee and I would gauge the audience reaction as positive - there seemed to me a fair amount of ooohing and aahing. As far as the amount of dragging, I would say that there is maybe 10 seconds worth at the very end. However, the final movement does seem to fall into the category of a "dance of death," similar to Nijinsky's Rite of Spring or perhaps more closely to Balanchine's La Valse. However, it didn't creep me out or anything, and I found the second movement terrifically Romantic. I guess my feeling is that I found it to be a more abstract work than other
  8. I pretty much agree with the sentiments above; it was a little strange. I definitely found it odd that, as mentioned above, Peter Martins seemed to think Sarah Jessica Parker was some reverential figure in the history of the NYCB. Juxtaposing Balanchine and Kirstein toasting to Stravinsky and SJP, Martins and Kevin Kline, two of whom are at best only marginally involved in NYCB seemed misjudged. Martins and Fiorato I think would have been the best choice possible, given the circumstances. I thought Concerto Barocco came off well, and Duo Concertante was, for me, the highlight of the nigh
  9. I saw The Dream live last year with Gomes and Kent, but with nearly the same supporting cast. It was interesting to compare. Ferri for me was a revelation. I thought her acting and dancing was just fabulous, and unlike Kent was not wearing a strange looking wig. Does anyone know if she had previously danced this role with the Royal Ballet? Cornejo was great, as he was live when I saw him. I thought Gomes added a greater sense of "kinglyness" to the role and also seemed more exotic - he seemed less like a normal human than Stiefel did. Frankly, I'm not sure if this was actually present
  10. I could have sworn someone mentioned this in this thread but now I can't find it, but I think an interesting question to ask is if you were running ABT, and this were possible, would you trade (like a baseball trade) one of the "Big 4" male dancers (who I'm going to define as Carreno, Stiefel, Corella and Malakhov) for a top female ballerina like Cojacaru or Vishneva, to mention two who have recently danced w/ ABT. It's a question that I find difficult to answer - both on an artistic and economic level. Lot's of people love those guys, so would the economic loss of losing one be made up by
  11. Thanks for all the info Alexandra, Leigh and Paul. For some odd reason I thought Forsythe was considerably older than he is. I like the dance club metaphor too - it makes me think differently about the textural density that I perceived in the work. Rather than the idea that all of the different dancers cohere into some sort of unity I had difficulty grasping, perhaps instead there is no real unity, only like stars in the sky we project constellations on. I really think there is something to Forsythe - I immediately loved the Kylian but the Forsythe has made me think much harder.
  12. I saw the Forsythe last night for the first time, and I kind of wish I could see it three or four more times. I found it to be a very difficult and complex piece that was at times texturally so dense that I didn't know where to look. One thing I did notice was that there seemed to be a core of three dancers who were on stage for almost the entire work and were for me a kind of anchor to keep my attention on. I think nysusan's science metaphor was rather apt - there was a kind of chaos becoming form thing going on. I definitely enjoyed the work and was fascinated by it, though it is diffi
  13. I went to the contemporary works 11/02, and unlike Gia Kourlas's article I just loved the Kylian. Petite Morte and Sechs Tanze seemed to me very effective as companion pieces, and I hardly thought the only funny part were the dresses on rollers, though they were rather funny. I asked about the Kylian I think months ago, and Estelle replied that she thought Sechs Tanze was the funniest ballet she had ever seen, and I think I agree with that. I really cannot at all agree with this. Both ballets I thought were head and shoulders above the Duato and Welch I have seen (which is basically
  14. Sunday night, October 26, Masterworks program All in all, with few exceptions, I thought this was a pretty wonderfully danced program. Symphonic Variations seemed somewhat awkward, however. It also led off the program, changing places with Diversion of Angels. Right at the beginning, a ringing cell phone went off and seemed to distract the audience, and the dancing as whole seemed tense - almost as if everyone was extremely worried about making a big mistake and was trying too hard. A bit more "abandon" I think would have made this take off. By the way, I thought the ABT orchestra soun
  15. What surprised me was that he wasn't her partner or Ballet Master or a professional relation, he was her husband! It was definitely one of the more unusual husband wife dynamics I've seen. Could they really just keep their work at work? I almost forgot the funniest part of the whole thing. He tells her to keep doing this combination which culminates in a big lift, and that he won't actually lift her until she gets it right. So she does it about five or six times and he doesn't even touch her or move, and she starts breathing heavily, at which point he yells at her "what are you huffing
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