Helene

The anonymous editorialista/debater is part of US history: the vicious fights about creating the Federacy were rife with the thoughts of Roman generals. The talent level, however, has gone downhill since.

I also remember him at the two extremes, too: in lead roles as that fabulous Puck and as Mercutio in the Maillot -- both "A Midsummer Night's Dream" and many versions of "Romeo and Juliet" are listed among his ten favorite dance works in this week's Pas de Chat podcast -- but also in the corps as a dancer who always drew my eye. I'll never forget him crossing the stage in the first movement of "Glass Pieces," for example. I still miss his dancing.

Many thanks, @Sebastian!

I don't think he sleeps. Seriously.

Here's a link to a new article in "Dance Magazine" by Barry Kerollis about his life as a super-commuter from Philadelphia to NYC, where he'll be moving this Fall: http://www.dancemagazine.com/why-i-became-a-dancing-super-commuter-2392386868.html He has been teaching up a storm, choreographing, writing, podcasting, and doing speaking engagements.

To repeat the title, single tickets for the 2017-18 season go on sale starting Monday, July 24, and there will be no service fees "if you order by July 31."

I think a lot of the top ten-ish companies in the US have that kind of stability if there is stability after a change in AD's, unlike the bloodbath in Philadelphia. There are companies in the next rank where there would be more fluidity where dancers leave for bigger companies with better contracts, more work, more prestige, where they grew up, etc. Remember that now at PNB, the upper ranks are full of dancers who spent time in the school and joined PNB as apprentices or joined as corps members after brief careers elsewhere (James Moore, Rachel Foster, Benjamin Griffiths, Jerome [New Dad!] Tisserand, Sarah Ricard Orza, Matthew Renko, William Lin-Yee), while when Russell and Stowell were building the company, many of the Principals and Soloists came from outside the company and finished out their company careers with PNB, like Stanko Milov (Pittsburgh), Le Yin (Houston), Phil Otto (PA Ballet), Jeffrey Stanton, Kimberly Davey, Lisa Apple, Paul Gibson (SFB), Kaori Nakamura, Olivier Wevers (Royal Winnipeg Ballet), Louise Nadeau (Kansas City Ballet), as well as a few dancers who only stayed for a handful of years. Companies like NYCB, POB, the Mariinsky, Royal Danish Ballet, and the Bolshoi Ballet also have a high percentage of lifers particularly among the dancers who went through their schools (or in the case of the Bolshoi, dancers who went to the Vaganova Academy. The Royal Ballet used to be like that. There seems to be a lot of moving around among the international dancers in companies like Dutch National Ballet, but I'm not sure how much movement there is among native born dancers.

I think JMcN is talking about real roundabouts, not the little ones we have at four-way intersections. I remember going round and round a major one trying to get out of the Dublin airport (and taking the wrong branch in the dark), and there was one to get to the South Dublin office park I used to drive to. When I came home after six weeks in Ireland, I got to one of the little Seattle ones a block away from my apartment building and froze: I couldn't remember which way to enter it.

I loved Martin Landau. In "Mission Impossible," he and Barbara Bain were the height of elegance for TV, where casual was the norm, at least by the '60's.

Or, perhaps, the critic was being mock heroic, as Adam Gopnik describes in "The Table Comes First":

That would be great. But video is better than having nothing to work with.

Regardless of the limitations, I'm glad we have video of some Tetley and Tudor, especially the Tudor with Sallie Wilson, because the alternative is relying entirely on memory, where the works weren't notated. And enough works have been lost that way.

Jerome Tisserand did one of the last Q&A's I attended during the season-ending program, and he lit up when he spoke about becoming a dad. I'm so happy for both of them!

Congratulations to Laura and Jerome Tisserand on the birth of their daughter this week https://m.facebook.com/PNBallet/photos/a.439537898951.224264.21358443951/10155043411393952/

This is a wonderful article about TUPAC and Mitchell: http://www.thenewstribune.com/news/local/article161164353.html

Except they do:

"Hallelujah," Vorece Miller:

Da'Von Duane, Dance Theatre of Harlem, in José Limón's "Chaconne":

Lena Silverman, Spectrum Dance Theater, in "Smoke and Tequilla," choreography by Alex Crozier:

MW Tap Connection:

3rd Movement of Mitchell's Que!, danced by ARC Dance Company

Clips from Sunday's Celebration of Life have been posted to YouTube. This is the compilation of Mitchell's dancing:

That's so odd, because it was scored for voice, and I think Emile de Cou was Music Director when Tomasson's version debuted. (I saw the Christensen version during the last run before War Memorial closed for seismic upgrades. In the Balanchine, it's where the snowflakes make a "v" and Marie and the Nephew/Prince enter from the wings and walk slowly upstage.

I think PNB does it with a handful of people. Maybe SFB does as well. There's also the possibility of an off-stage chorus for Nutcracker.