Helene

And you would be welcome to it! Only you probably wouldn't like it. It doesn't know how to do anything that produces significant amounts of MONEY! By then neither do the brains -- not to mention bodies, dedication, training, artistry, and generosity -- of 99% of our beloved dancers and choreographers

While the subject of Michael Popkin's excellent "Two Mosaics of Lincoln Kirstein's Life" in DanceView is Kirstein, in the middle of it, there is a jewel of a tribute to Eddie Bigelow, the curator of "Kirstein 100: A Tribute," the photo exhibition presented in the New York State Theater, which ends,

Yes, Mel. And, as always, the way to tell us when you think something's awry is to use the "Report" button, and/or to lead the topic in a different direction

According to Lisa Traiger's article on Dwight Rhoden in Friday's Washington Post, the program is: Tharp: Nine Sinatra Songs Rhoden: Smoke 'n Roses Balanchine: Theme and Variations http://www.washingtonpost.com/wp-dyn/conte...7081600686.html

Two reviews of Mozart Dances: Alastair Macaulay: Morris Meets Amadeus: Odd, Elective Affinities Clive Barnes: STAYIN' IN STEP WITH MOZART

August 18, 2007 Tanja Liedtke, director of Sydney Dance Company, was killed in an accident. Clive Barnes weighs in on Mark Morris's Mozart Dances. Roslyn Sulcas reviews Lula Washington Dance Theater for The New York Times. Jennifer Dunning reviews the US debut of Henri Oguike Dance Company at Jacob's Pillow. A correction appears to identify the photograph that accompanied Alastair Macaulay's review of Mark Morris's Mozart Dances.

My bad, for not giving the link* to the full interview. By the way, I saw Mozart Dances again this Wednesday and the new (for me) awareness of her ballet background enabled me to see her performance in a new light, especially in terms of her epaulement. * http://www.timeout.com/newyork/article/11073/grant-a-wish To go sideways for a moment, Lauren Grant is my all-time favorite of MMDG's female dancers.

SanderO, you may be interested in Laura Jacobs' assessment of Mark Morris in her book, Landscape With Moving Figures: A Decade on Dance (Contemporary Discourse on Movement and Dance) . Each essay in the book was published previously in The New Criterion. To say she's not a fan of Morris's recent work is an understatement. For example, this quoted by in Joy Goodwin's review in the New York Sun: Edited to add: I just found the link to her Morris chapter, written in 2003, in The New Criterion's online archives: http://newcriterion.com:81/archive/21/jun03/jacobs.htm Here's the concluding paragraph:

There may be some other functions that were affected as well. For example, I received two emails this morning from people who could no longer log in. If you are experiencing this, please click the "Contact Us" link to tell us what error message you're receiving. We'll file a support ticket once we can give them enough information for them to troubleshoot the issue.

Mark Morris gave ballet class at the University of Washington. I'm not sure if he was on the teaching faculty or in more of an adjunct position.

The site was down today for about five hours. One of our key files was corrupted, and it took a bit of digging to find and resolve it. I apologize to Ballet Talkers who tried to get on during the downtime.

Otto Neubert. When we have been lucky enough to have him in post-performance Q&A's at PNB where he is a Ballet Master, he's been delightful. Although English is not his first language, he speaks it as beautifully and thoughtfully as any native speaker I've heard. He is intelligent, insightful, and has a wondeful sense of humor and a winning way of drawing out the dancers on the panel.

Many thanks for your post on Madame Cunova, vrsfanatic. We focus so much on performers, with an honorable mention for artistic directors, and it's important to remember and recognize the people who are the spine of ballet: those who teach and pass on their heritage and provide inspiration and support to the next generations.

It's a good thing I have enough gray in my hair to make memory loss a plausible explanation

I had a similar experience viewing the Paris Opera Ballet DVD -- the combination of energy and classical placement of the women in the third movement gave me chills, and I had always snoozed during that movement before. My POB experience made me sit up and take notice when I next saw it live.

My post may have been less salty, but I'm pretty certain you got that quote dead on

He gets her in the end, though, after she realizes that Albrecht, I mean Ethan Stiefel's character, is a cad. She does choose to join Cooper's company instead of the Big Company, where she can continue to dance Susan Stroman's choreography. Hugely underestimated in the movie is Ilia Kulik's very natural performance. Highly regarded is Julie Kent's deft comedienne turn.

Hilarion would have to be portrayed as quite the boor for Albrecht to be considered the hero by comparison. Look at what they did to Baryshnikov's character on Sex and the City for the audience to root for Carrie to end up with Big. Ugh, what a choice.

Ah ... a dream come true! But it would need a Balanchine to do it justice. Davidsbuendlertaenze and Meditation are two that come to mind.

The most boring ballets I've seen were so boring I wouldn't waste the time to look up their titles in my performance diary. Of the ones I remember -- a double-edged sword -- I used to think it was MacMillan's Romeo and Juliet, whose Balcony Pas de Deux reminds me of movie previews that are better than the movie. Then I saw Manon at the Met in the '80's. Any ballet that feels eight hours long but stars Alessandra Ferri is not one I'm willing to see again.

It's not so much that I like the bed, but I like the fact that something simple is happening -- and not dancing -- during what I think is the most ravishing part of the score.

Saturday, August 11. The Torontonian is throwing a contest to award a pair of tickets to the live show version of So You Think You Can Dance to a registered member on its site. The star of the movie Billy Eliot, Jamie Bell, will open the Edinburgh Festival film program in Hallam Foe.

According to newspaper reports Martins was the one seen by a policeman to be attempting to hide the telltale baggie. He was involved in any case from a legal standpoint.

I thought it was good, I just didn’t understand the hosannas it was greeted with in some quarters. (I’ll allow that Amanda Root and Ciaran Hinds were not my idea of Anne and Wentworth.) I very much liked the movie, because of the secondary characters, and how they didn't make Anne Eliot a glamour-puss, nor prematurely happy. What I found missing from her performance was the "lost" happy girl that Wentworth and her late mother loved. I thought the Anne in the book had more of an internal struggle to give up Wentworth, the second great love and empathetic spirit that was taken away from her; in the movie, Root was a bit Cinderella-like. Ciaran Hinds was nothing like the self-made man of enthusiasm and self-confidence I envisioned from the book -- he was more Darcy-like -- and he didn't convince me that his interpretation was as valid as my impression. I thought this one was over-cast. My reading of the book from many years ago was that Elinor, though just a few years older than her sister, had aged herself prematurely and pretentiously. In my opinion, Emma Thompson looked a decade older than Kate Winslet's Marianne. Elinor was not a spinster in terms of the standards of her period, just a young women whose suppressed adolescence came back with a vengeance. Thompson looked like one of the late-twenties women in Austen's novels who either settle for the pompous minister or make an almost miraculous love match, which subverted the theme of the book.

According to the article in the New York Times, there is no case against the passenger, identified previously as Ramasar, unless either the attorney or Martins tells city police this information. Since Jones, the lawyer, made the allegations "outside court," the case can't be re-opened solely on this basis. Martins' lawyer is responsible to Martins, not his passenger. Whether Jones' statement will help Martins's reputation is to be seen. I found it noteworthy that unlike previous press reports predicting the terms of the deal, there is no rehab involved in the sentence.