Helene

Sippy cups for the ballet .

I got this email from Seattle Opera: Thank you for your support of Seattle Opera. We are looking forward to seeing you this season at McCaw Hall. We’ve been working hard over the summer with our colleagues from Pacific Northwest Ballet and Seattle Center to improve your McCaw Hall experience starting with Madame Butterfly. Quicker Service. Shorter Lines. More Options. We are making significant changes to our food and beverage service this season, to better serve all the visitors to McCaw Hall. You’ll notice menu changes and new features: Prelude Restaurant is introducing a new Chef's Table featuring starters and salads for selection. The new table will allow for a quicker entrée service and get you to your seats on time. We are doubling the number of bartenders on the grand lobby level. This should significantly reduce the time you spend in line during intermissions. A handful of snacks will now be available to purchase at every concession stand in the hall. No more moving from stand to stand to get everything you want. Take your wine to your seat! A reusable, lidded McCaw Hall cup is available for you to take into the auditorium. Available for an extra $2 and reusable at every visit to McCaw Hall. A new Lounge area at Prelude restaurant is available to accommodate those without a reservation. The Lounge will feature a selection of premium and local whiskeys as well as access to the bar and the new Prelude Chef's Table. You will continue to see featured concession areas at every performance like last season’s Champagne bar and, coming soon, local craft beers! Large Print and Braille Programs Now Available Stop by the desk near coat check (where opera glasses are available to rent) and pick up a large print or Braille program. We are pleased to be offering this service for the first time. Available for you during the performance at no cost with just your ID. Collaboration with the City to Improve Parking and Travel on Mercer Street We know that exiting the Mercer Street garage can be challenging. Traffic on Mercer Street has never been greater and will continue to grow. We’ve spent the past year working with Seattle Center Parking and the Seattle Police Department on ways to decrease the amount of time it takes to get out of the garage. The Seattle Department of Transportation is also in the midst of the installation of a program to synchronize the traffic lights on Mercer Street and expedite the movement of traffic following high volume events. However, when the garage is at full capacity, it will likely take at least 20-30 minutes for the last cars to exit the garage. If you are able, we encourage you to park at the 5th Avenue North Garage (adjacent to Gates Foundation), which is a short two block walk from McCaw Hall and offers an average exit time of less than 10 minutes! If you are holding Mercer Garage parking passes and would like to change garages, please contact us at tickets@seattleopera.org. Sincerely, Aidan Lang General Director, Seattle Opera Joe Paganelli General Manager, Marion Oliver McCaw Hall

I think that Pierre Lacotte's or Jean-Guillaume's opinion on Balanchine style is like Kevin McKenzie's opinion on Royal Danish Ballet style because ABT performs "La Sylphide" and "Etudes."

That's interesting, because the links to his other podcasts from the Balancing Pointe website seem to be working fine. I usually listen through my iTunes subscription. If you have iTunes, click the "View in iTunes" link for #7 The CocoMotion. It's supposed to be available from Stitcher.com, too, but I did a search (not signed in), and there was no match on James Whiteside or The Stage Rightside.

Good for her!

I wonder who ordered up the earthquake in Berkeley when the Bolshoi toured in the late '00's.

Rest in peace, Mr. Shepard.

Hello mickalia, Welcome to Ballet Alert! We are primarily an audience site, but there are members and people who peruse the site who may know. Answers can be posted on this thread, or for non-members, please use the Contact Us link at the bottom of each page, and we'll pass on the info.

I <3 Tereshkina. I'd watch her mop a floor.

I'm glad PNB has decided to monetize this: Peter Boal must have answered those questions a bazillion times by now in Q&A's

The dancer at the end is Patrick Kilbane, who danced with Whim W'him for the last 1.5 seasons and is heading to Ballet BC in Vancouver this season.

Free tickets are being issued via Eventbrite. To get one, RSVP from this page: https://www.pnb.org/pnb-presents/ Here's a direct link to the video trailer:

Macaulay liked PNB's "Giselle," which had lots of mime.

I can only think of Torvill and Dean who were asked to do "Bolero" in every performance of every show they did for years after they won the Olympic Gold Medal in 1984. They became quite sick of it.

sandik reviewed "Restless Creature" for "Seattle Weekly": https://www.seattleweekly.com/arts/in-restless-creature-a-portrait-of-pain-and-meaning/ I really loved it. I wish there was more of "Pictures at an Exhibition" in it: her staging for PNB was marvelous!

Congratulations to him

They have not cleared up for everyone. I, for example, am having the same issues with Chrome, despite clearing the cache, closing the browser, doing both in reverse, then rebooting, etc. Support has not been able to reproduce this, though. For the time being IE is working for me, so that I can post. Admin tools are, happily, workable, even in the broken UI. I've gotten emails to say that clearing the cache has worked for other people. However, I've been told by our Support people to instruct people to clear the entire cache, not to use the site-specific option.

If ticket sales were weak, that might speak, but if not, I don't think they care one way or another what we on this board think about the rep they bring. New York critics in general have not been particularly overwhelmed by Maillot: Gia Kourlas on 2016 Ballet de Monte Carlo Cinderella Anna Kisselgoff on 2003 Ballet de Monte Carlo Cinderella Snarking summary of Cinderella in The New Yorker (Unsigned, Not Sure from What Year) Gia Kourlas on Lac Marina Harss on 2013 Pacific Northwest Ballet Romeo et Juliette Worse than Eurotrash, Macaulay Called Romeo et Juliette "Trivial" Kisselgoff, though, was taken by Romeo et Juliette when Les Ballet de Monte Carlo brought it to NYC in 1999, which is, I think, when Peter Boal saw it and loved it, which is why we've seen it in Seattle in at least three runs so far, and why PNB has its own sets and costumes: http://www.nytimes.com/1999/05/14/movies/ballet-review-it-is-the-east-and-juliet-is-stripped-to-the-waist.html From London Jann Parry on Romeo et Juliette

I filed a ticket early this evening due to site issues, which manifested themselves differently for me on IE and Chrome on a Windows machine. There was a task that had stopped working properly, and it was addressed. However, you may need to clear your browser cache if you continue to see intermittent issues.

Sounds very much like all of the Maillot I've seen.

One of the problems with interpretations of Tall Girl, particularly when taken on by non-Balanchine companies, is that she becomes a caricature of Bad Girl. With all of the pony imagery, the key, IMO, to a successful Tall Girl, is that you don't know immediately that she's wielding the invisible whip: it's when it dawns on you while the four men are moving her legs that they are actually the strings, and she is the puppet master. It's like in "The Lesson" where you realize that the Accompanist is pushing the Ballet Master's buttons. That said, I thought Shipulina nailed it in the Bolshoi video.

I third this! MRR said:

Farrell was reported to be 5'8".

[Admin hat on] Members don't get to decide when a topic is over. Discuss the topic, not each other. If it's over for you, don't post about it. [Admin hat off]

I think what has become more striking is that the Bolshoi was traditionally more physically diverse -- something I remember as late as the Berkeley and DC performances in the 00's -- both among men and women, which had been more of a Mariinsky thing, and I mean from the auditorium, not in perusing the head shots or names/bios on the website for actual ethnicity and race. I haven't seen the Bolshoi since those 00's performances, and I can't speak to how they differ today from then, if there's been a difference in the way children have been selected, if the changes in leadership and their preferences have made a difference, or whether this is a fluke of selection from the very large corps for this particular tour.