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Posts posted by Helene


    36 minutes ago, PeggyTulle said:

    I have asked this before with no response. What does this mean? I have looked through the guidelines and such but can't find examples. Googling leads me nowhere, too.

    It's in our Rules & Policies under two separate bullet points:

    • Write what you think of the subject, not other posters, i.e., no ad hominem attacks, characterizations, or psychoanalysis.
    • Don't discuss the discussion.  Do not discuss each other.

      If you have a problem with a post, click the "Report" button at the bottom of the post, and the Moderators will review it

    I don't think we're important enough to Google for this to come up easily in search results.


    31 minutes ago, PeggyTulle said:

    Why is lack of gender inclusiveness here not allowed to be discussed? It's a central part of the issue and it seems the preferenceis to dance around it.

    You can discuss the lack of gender inclusiveness on this site by stating your point of view. You cannot discuss what other posters think about gender inclusiveness or tell them what they must or must not be as a result of their opinion aside from "I disagree" and then explaining your opinioin.

    31 minutes ago, PeggyTulle said:

    Also, why was my post edited without any note about it? 

    When we find a violation, we have the choice of removing it altogether, or leaving what isn't in violation of our rules and policies.   

    Which is in our Rules & Policies.

    Why did your post/part of your post disappear? It contained

          [list of policy violations]

    We generally don't put a note that we've edited a post, because that's like holding up a sign that says that you've violated policy.  Admin notes can refer to deleted posts, not necessarily the last post before the general warning.  If you prefer us to remove it altogether, then you can "Report" the post, PM me, or use the "Contact Us" link at the bottom of each page and ask for what remains to be deleted, and you wouldn't be the first.  You can also contact us if you have a question about a policy.

  2. I can't imagine the Edwards won't be useful in the current PNB rep, which includes some gender non-specific solo roles, like Fenley's "State of Darkness," danced by Jonathan Porretta, James Moore, and Rachel Foster.  (Noelani Pantastico was originally cast, but didn't perform). Also Jessica Lang's "The Calling," performed by Carla Korbes, James Moore, Dylan Wald, and Leah Merchant.  There is all an array of contemporary works which, like the other two, don't all have pointe work, although Crystal Pyte's "Emergence" does, and he could dance any of the roles.  Possibly the Dove rep, depending on what's in cycle and if PNB still has the rights for them.  There's new work coming in all the time.

  3. The trend in the choreographers that Peter Boal is hiring and the direction that the rep has been heading suggests that choreographers will be able to use Edwards as they see fit.

    If this happens, Edwards would not be the first young man, PD, apprentice, or corps member, who gets many opportunities from his peers or outside choreographers above rank.  There are also other opportunities beyond the McCaw Hall stage in which PNB dancers perform and choreograph, some fully or partly sponsored by PNB and others independent.

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  5. 27 minutes ago, Phrenchphry11 said:

    The group demands that 3 out of the top 5 AD candidates identify as black or indigenous people of color.  The other AD thread has a list going of likely SFB candidates, and very very few of them are people of color.  I think the best we can hope for (realistically) is a strong ally who will fight for representation and diverse choreography commissions. But that may be defeatist of me.

    I actually get why they're going for a majority of finalists: the optics would be atrocious if all three were bypassed, especially since there's not a hugely obvious candidate, like a Bernstein or van Karajan of the Executive Directorship world.


  6. 50 minutes ago, pherank said:

    I believe NYCB, PNB and MCB all need more representation from the Asian cultures and the Asian-American community.

    PNB has nine, possibly ten, dancers of Asian/Pacific Islander descent or, like Yuki Takahashi, is from Japan.  That's over 20% of the company.  I don't know any of the incoming dancers -- four -- and whether the company will hire another three dancers to replace the seven who have left.  

    The number of Hispanic dancers is low -- and we just lost the beautiful Angeli Mamon, sigh -- and PNB's history of hiring black dancers is dire.  (And, no, Amanda Morgan doesn't count for ten because she is a Black ballerina.) But I don't think the company is underrepresented by dancers with, at least, Japanese, Hawaiian, and Filipino descent. 

  7. 5 hours ago, lmspear said:

    I'm surprised the article total avoids mentioning fellow DTH alum Theresa Ruth Howard.  Her Memoirs of Blacks in Ballet website  https://mobballet.org/index.php/about-us/  is phenomenal and the NYT even did an article on her last August. https://www.nytimes.com/2020/08/06/arts/dance/theresa-ruth-howard.html


    I am, too.  I attended part of an online Zoom conference she organized, and one of the best takeaways was the often ignored Black foundational teachers:  most of the dancers interviewed had their early training in neighborhood schools.  Ballet training doesn't start the moment a student joins a pre-professional program.

  8. And there was this:


    [Rohan] was 27 when she joined the company, already married and hiding from Mitchell that she was a mother of three young children for fear it get her kicked out. When she eventually confessed a year later, he got mad, insisting he would have increased her salary if he’d known she had mouths to feed.

    The photos are wonderful.

  9. David Remnick just sent out the following email:

    Janet Malcolm, a dear friend for many decades to everyone at The New Yorker and one of the greatest writers we’ve ever been fortunate enough to publish, died on Wednesday in New York. From her early pieces on the world of psychoanalysis to her most recent Profiles, her reputation often seemed to rest as much on her razor-sharp acuity as on the enormous intelligence of her prose. And yet she was immensely kind, full of scrupulous self-questioning about all acts of definitive judgment. Tilting her head slightly, her eyes narrowing, she seemed, catlike, to take everything in. And, when she sat down to write, the instrument of her prose was equal to the intelligence and range of her mind.

    Janet Malcolm was born in Prague in 1934. Her family emigrated five years later. It was, of course, never lost on her what fates might have been her own: the Nazi concentration camps, Soviet occupation. She first started writing for The New Yorker in the early sixties, publishing pieces on children’s literature and shopping; she even wrote a design column called “About the House.” After that apprenticeship, she began publishing what amounted to a string of lasting and vivid works: “Psychoanalysis: The Impossible Profession”; “In the Freud Archives”; “The Journalist and the Murderer; “The Silent Woman: Sylvia Plath and Ted Hughes”; and many more.

    In the coming days, you’ll be able to read many obituaries and appreciations of Janet’s work here and elsewhere. But, in the immediate hours and days after her death, we hope you’ll read her work, some of which is presented here. Her sentences, clear as gin, spare as arrows, are like no one else’s. And her considerations—of psychoanalysis, of biography, and of journalism itself—are all examples of a rare and utterly free mind at work.

  10. I don't remember if there was any overlap, but because of Martins' retirement as a dancer, NYCB hired Otto Neubert from Stuttgart and cast him in many Martins roles.  I remember him in Gold and Silver with, at first von Aroldingen, and then Calegari.  He was elegant, but, at the time, was Not Martins, and he was never embraced in NYC.

    He is now one of two Rehearsal Directors at Pacific Northwest Ballet, and he's performed character roles, like von Rothbart and as Don Quixote in the Ratmansky production.  While Tom Skerritt was a coup for the company as DQ, he's a film actor, and movement isn't his forte.  As the Don, Neubert was fiercely compelling. 

  11. 6 minutes ago, Kathleen O'Connell said:

    Karin von Aroldingen took over the Gold and Silver Waltz role after Kay Mazzo retired. Helene Alexopoulos, Maria Calegari, Rebecca Krohn, Lourdes Lopez, Lauren Lovette, Teresa Reichlen, and Jenifer Ringer have also been cast in the role. I can't discern a real thread connecting them except that they all looked grown up and glamorous in the costume. No one has ever looked as good in those red pants as Martins. 

    I've only seen Mazzo on video -- Stravinsky Violin Concerto and, maybe, Duo Concertante? -- but I'd seen von Aroldingen many times in a range of roles.  After seeing von Aroldingen, I was surprised to learn that Mazzo was the original.

    I think the ballet has an arc, from the innocents of Tales of the Vienna Woods, to the faux innocence of Voices of Spring -- anyone who has been to a traditional musical there will recognize the 40-year-old tenor star in his lederhosen playing a 17-year-old and flashing his teeth like a matinee idol -- to the demi-monde in Explosion Polka on the outskirts of Vienna, to the La Ronde sophistication of Gold and Silver, to the turn-of-the-century neurosis of Rosenkavalier, where the partner might be unreal, all wrapped up in the big denial finale before WWI sends everything crashing.

    For Gold and Silver to work, in my opinion it has to be grown-ups playing a cat-and-mouse game, which is why von Aroldingen and Martins worked so well at it.  (Plus his ballroom dancing experience growing up in Denmark.)  I've only seen a couple of the other women at NYCB do the role, but the ones I did see didn't "get" it, even Calegari, who seemed more dramatically suited to Rosenkavalier, since she didn't seem to be interested in the give-and-take of Gold and Silver.  Play-acting it without chemistry falls flat, and it rends the arc of the entire work, at least for me.

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