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Everything posted by Helene

  1. Nor does the announcement apply to Nutcracker. Do the kids in the ballet -- they are a combination of 12+ and under 12 -- start rehearsals early? (I thought they were all really young, but Merrill Ashley wrote in her book that when she was 13 or 14, she was the first Candy Cane out, and she was already in the pre-professional division.) Biden said that vaccines for kids under 12 might be available in the next few months, which would be after school starts, but still Fall. Since the virus variants have changed the landscape pretty rapidly, I wouldn't be surprised to see policy changes even without under 12's being vaccinated, but perhaps they are waiting until the Fall to get anyones hopes up or dashed about Nutcracker, and before they have to start to issue a lot of refunds. Booster shots are already being tested, especially among the non-Nutcracker demographic. (My arm is ready anytime.) Israel is offering third shots to those over 60 starting Sunday. There has also been talk about full FDA approval for the vaccine, but between now and January 2022 (the deadline) doesnt help much for Nutcracker plans now, nor does "sooner than January 2022" and that's just for Pfizer, which has completed its application. Also according to the following article, Moderna has submitted parts of the application, and Johnson and Johnson expects to sometime next year: https://www.poynter.org/fact-checking/2021/when-will-the-covid-19-vaccines-get-full-fda-approval/ Once there is full FDA approval, there will be mandates for the military, and likely more in various government agencies, companies, universities, and schools where the population is eligible/for which there is full approval. (I haven't seen articles that say whether the military mandate will include staff and anyone living on base or will be limited to those serving.) It will also give a lot of people a graceful way of getting vaccinated or admitting that they got the vaccine. All of these factors hopefully will increase the number of vaccinated people who, even if we can spread COVID-19, at least the Delta variant, are less likely to, at least from what has been disclosed so far.
  2. This isn't off topic at all: it's official news about ballet professionals.
  3. Requiring a mask in addition to a vaccine or negative test for those under 12 has nothing to do with those who aren't vaccinated: it has to do with the science that shows that vaccinated people can carry viral loads even if they are unsymptomatic and can spread COVID-19 to other vaccinated people. It will be interesting to see how NYCB acts in the face of science, all of which could change by Nutcracker season.
  4. This article in Harper's Bazaar is about different dancers' reflections on the impact of COVID-19 during Black Lives Matter protests and talk about the lack of diversity in dance, but, being Harper's Bazaar, the visuals are all about fashion. I wished they hadn't gone with the blurry shots, but you can see the clothes more clearly and the dancers in motion in the video: https://www.harpersbazaar.com/culture/features/a36962917/dancer-portfolio-august-2021/?utm_source=The+Dance+Edit&utm_campaign=7d30d4e8e7-TheDanceEdit20201119_COPY_01&utm_medium=email&utm_term=0_71d672be74-7d30d4e8e7-69902614 They feature: Stella Abrera, Kaatsbaan Tatiana Desardouin, Passion Fruit Dance Company Vinson Fraley, Jr., Bill T. Jones/Arnie Zane Company Tiler Peck, New York City Ballet Calvin Royal III, American Ballet Theatre Lloyd Knight and Xin Ying, Martha Graham Dance Company Misty Copeland, American Ballet Theatre Melissa Verdecia, Ballet Hispánico Savion Glover Courtney Celeste Spears, Alvin Ailey American Dance Theater
  5. I guess I've seen too many ballet performances with kids where the applause is disproportionate to their technical quality. Of course, a lot of audience members are the family and friends of child performers -- can be in A Midsummer Night's Dream or "Hours" in Coppelia or the kids in Harlequinade as well -- and part of the thrill is seeing and cheering your own. I haven't seen that much Broadway, but, where I have, and in other professional theater, the kid performers are a lot more skilled than their ballet counterparts until most dancers have a are in their mid-teens and training pre-professionally. Company dancers, unlike freelancers, who are generally appreciative of the bundle they can make dancing Nutcracker, aren't signing up for one show. It's a trade-off to dance other rep, get a salary, etc. They don't always love everything they dance, and the Nutcracker schedule alone is a grind.
  6. Yes, but it never stuck. The original was Francisco Moncion smoking a hookah with four child attendants, changed to the current female solo, one of several bones "for tired businessman." Although PNB never said, Kent Stowell's Drosselmeier-turned-Act-II-Pasha, with his menace, whips, child slaves, and captive (literally) entertainment, was so politically un-correct that, whatever the box office after the premiere of the Balanchine version, some local calls for the Stowell/Sendak version to be revived is a non-starter. I don't know that much about Broadway, but aside from Annie and a few others, in how many shows are the adults upstaged by the kids, night after night after night? Snow -- with the danger of slipping on the paper snow -- and flowers corps can be pretty thankless when you're deeper into your career. But as the counter to that, Peter Boal's anecdote about ex-senior corps member Nancy Casciano as she was leaving at the end of the season was that she wanted to be in every show and turned down offers for a rest. Of course, PNB's schedule isn't as brutal as NYCB's, but I wouldn't be surprised if she had wanted to dance every show when she was at NYCB before coming to Seattle.
  7. Admin note: please keep this discussion to the factual -- what theaters are requiring what, government recommendations and policies, science -- or your personal calculus about attending event in person.
  8. One reason why the CDC decided to recomment indoor masking for everyone where local conditions warranted is because vaccinated people have high enough loads to be contagious: https://wkow.com/2021/07/28/covid-19-spread-from-vaccinated-to-unvaccinated-may-already-be-happening-in-dane-county/ This is a significantly different message that was sent pre-Delta, which has changed the game significantly.
  9. We just received a communication from Patricia Wilde's daughter that the official Bardyguine Family obituary has been posted to the Pittsburgh Ballet Theatre website: https://www.pbt.org/the-company/history/company-history/remembering-patricia-wilde/
  10. Here is a direct link: to the Balanchine Foundation's post: https://www.facebook.com/permalink.php?story_fbid=10159433924689819&id=284470914818 I think she is the very last of that golden age generation. Kent and Villella are about ten years younger than Wilde was. Rest in peace, Patricia Wilde.
  11. A lot of organizations are relying on emotional attachment to continue to be supporters after a major disruption in which a lot of people have considered, at least, reassessing their priorities. While organizations are reliant on major donors, they still a lot of us little people to continue to write comparatively little checks and to subscribe. If I weren't loyal to PNB and Seattle Opera, for example, I wouldn't have renewed my physical subscriptions, knowing that I'm not planning to be in the theater until 2022. Other organizations I'm more on the fence about, and if they sent a message like "We've rebranded" that annoyed me they would go into in the "purge" pile for no particularly rational reason.
  12. Many dancers have written or said that dancers with the reputation for learning quickly are the first ones sought for substitutions, if a role needs to be taught. They've also said/written that it helps to be talked through/given prompts for the choreography in performance by their colleagues, since the steps and patterns aren't yet in muscle memory. I think it was Peter Martins who wrote that he learned things quickly [which was helpful in getting cast] but then promptly forgot them.
  13. Being right there to jump on it is considered especially opportune. In her book Merrill Ashley wrote about, in the days before cell phones (and maybe answering machines), how dancers could miss out on substituting because they were walking home from the theater when the call came through, and, after no answer, the company went onto the next possible dancer. Soprano Jane Eaglen told the story on a Zoom interview with the Wagner Society of Northern California last weekend that she got her first role at Seattle Opera, where Speight Jenkins had not yet heard her in person, because the other soprano had her cell phone off, and he needed to replace a singer who had to withdraw. While management can cast (or attempt to cast) Principal Dancers in roles below their pay grade, I've never read or heard about an ambitious dancer to actively campaign for one, outside of a retirement performance. I think when Thomas Lund retired, all of the men were in kilts in La Sylphide as a tribute.
  14. That sounds delightful, @KarenAG, and I hope you enjoy Saturday's program just as much!
  15. In her interview with Megan Fairchild, Ashley was pretty clear about how she needs to take care of her body and also spend time with her husband, who is older, which is significant at their ages. She gets to live her life after dedicating so many years to the ballet world.
  16. Except he's been treated by NYCB as if he were. He was after my time, so I didn't get to see him often, but when I did on visits, I usually ended up watching his partner or other people on stage. I was trying to understand why he was cast so prominently, but he never held my attention for long.
  17. I have no idea who the actual candidates are, but given the dearth of POC who are connected to SFB in any way, they must be from outside SFB world, at least since the time of being in the school, which I would assume from the known candidates from all other companies except NYCB in North America being from outside whatever company is hiring, especially for one of the major companies. When PNB hired Peter Boal, only former Principal Dancer Benjamin Houk, who had at most a few years experience as an AD for smaller companies, made the final cut, and Patricia Barker, who has had a more illustrious career as an AD since, was cut after the semis. While the tendency is to look at all of the current and former Principal Dancers of a company as the most likely suspects, that hasn't been the case for the majority of AD hires, even if the eventual hires were Principal Dancers somewhere.
  18. Great opportunities at every level in a story ballet, with multiple starring roles and multiple "best supporting" roles, kids in the production, so chances for stage experience and intense engagement, plus relatives and family friends buying tickets, beautiful sets and costumes, gorgeous music, comedy and pathos, What's not to like?
  19. The best season's programming I've seen so far. And plenty of opportunities for Steven Loch, too! (I'd love to see his Prodigal, but it might not be his year yet.)
  20. Adam Luders danced the Act II Divertissement for his retirement performance.
  21. I fixed the dates for All Balanchine, which is in March (24-27) at the Orpheum Theater. It's sad for me that since BA lost a performance, and All Balanchine moved from June to May that they lost live music for it, even though it remained at Symphony Hall until this coming season. (I'm not sure if this was co-incidence or because of the schedule change.). Now it's moved to the smaller Orpheum, and it's rare to have live music at the Orpheum. I once heard a pianist play for Andersen's Shostakovich work, and they may have had a few musicians p!ay, which I thought worked really well for PNB's digital season, but it was Bouree Fantasque at ABT was what grabbed me for Balanchine. I was in college when the PBS series aired, or it would have happened before, but La Sonnambula just didn't do it for me as an intro. The rare live performances I saw growing up were at ABT, but mostly full-lengths, and I'd never seen Theme there. If I feel safe travelling next March, I'd go to Phoenix just to see that ballet again. The world premiere in May is a draw for me, too.
  22. Charlotte Ballet's AD Hope Muir will become the next Artistic Director of National Ballet of Canada on January 1, 2022, according to Michael Crabb's article in The Toronto Star: https://www.thestar.com/entertainment/stage/2021/07/07/i-wanted-this-next-challenge-says-hope-muir-the-new-artistic-director-of-the-national-ballet-of-canada.html (Many thanks to a Facebook friend for the heads up :flowers:) It wasn't even her idea to apply: According to the article, she's got a lot of experience as a performer in modern/contemporary dance, as a member of Rambert Dance Comipany and Hubbard Street and is expected to expand the contemporary rep at NBoC.
  23. Since none of these roles are programmed for the coming season, he wouldn't be an apprentice if he were cast in them in the next few years. Dylan Wald got The Calling solo very early in his career at PNB, and other dancers thought what they thought. I don't know if Edwards will be fast-tracked, but there are certainly other dancers who were cast far above rank until they were, eventually, promoted. One way to test the audience acceptance could be through gender blind roles, although the Fenley is more than The Calling, with the huge skirt that is hugely suggestive of gender, more gender bending than fluid. I don't know if Peter Boal will start out with casting Edwards in pointe roles or the female corps in the upcoming season. Nutcracker and Swan Lake are the big neo or classical corps ballets that need far more women than men and usually rely on PD's to fill out the corps. To me, the corps in Romeo et Juliette are a bunch of people wearing lots of fabric and just trying to differentiate the clans is hard enough, and everyone in the corps blends together. Tharp controls everything about her work, so it would be entirely up to her. We'll certainly see this season.
  24. One example of discussing the discussion, as I pointed out earlier, is: Aside from this statement being not true, I'm quoting your post that I'm using as a descriptive example. Other examples are when people talk about how they don't like the way the discussion is going, or that the subject is inappropriate. In all cases, if you feel that something violates a rule or policy, report the post, and we'll review and decide. We don't expect everyone to like or be comfortable with every opinion that's posted. Arguing about the rules on the board instead of by contacting us directly is another example. We know that our rules curtail certain ways of having discussions, although not subjects that are on relevant forum topics, but everyone who creates/maintains a site gets to determine its own communicty standards that people can accept or pass on., since participation is voluntary. It is rare that these aren't removed, but sometimes, we need to make a point. If this still isn't clear, I don't know how else to explain a concept that has, for the most part, been understood and followed for over two decades. As far as not discussing each other, using "you"/"your" to reply to a post, aside from "I agree with you"/"You expressed it better than I ever could" or "I disagree with your post," can guarantee that it will follow will be a type of personalization, characterization/mischaracterization, or assumption that is in violation, hence the general rule against it. The sentences I edited out did exactly that, and, from my experience, would have been reported by the morning, if I hadn't caught them first.
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