Helene

Then it will stay up until tomorrow, March 21, when the young choreographer's workshop is listed as an online stream starting at 7pm St. Petersburg time, 12pm EDT, 9am PDT. According to Laura Capelle's tweet: Here are more tweets from Capelle about the stream: Link to her Dec 2014/Jan 2015 interview with Tereshkina in "Pointe Magazine" from this tweet: http://www.pointemagazine.com/issues/december-2014january-2015/reverence-star-st-petersburg https://twitter.com/bellafigural/status/578612529196335104 https://twitter.com/bellafigural/status/578613092323569664 https://twitter.com/bellafigural/status/578631632313294848 https://twitter.com/bellafigural/status/578632154973925377 https://twitter.com/bellafigural/status/578649360617115648

I just got a heads up about this documentary on Merrill Ashley's transition from dancing to her next life; First Run Features is taking pre-orders for a documentary http://firstrunfeatures.com/dancegoodbye.html The pre-order discount is 35%. Here is the Facebook Page for the film: https://www.facebook.com/TheDanceGoodbye The film was reviewed in 2012. An early, nearly 5-minute, trailer posted to the page in October 2012: http://dancemedia.com/v/4089

Even the Mariinsky has a woman, Ksenia Zvereva, in its Creative Workshop of Young Choreographers on Saturday: http://www.mariinsky.ru/en/playbill/playbill/2015/3/21/2_1900/ The webpage says there is an online broadcast. It starts at 7pm St. Petersburg time, 12pm EDT, and 9am PDT.

What you quoted of mine is a definition, not a determination. In Ms. Lavine's opinion, it applied to her situation.

I have seen enough ballet to agree with Tapfan: Dance Theatre of Harlem and National Ballet of Cuba.

On the PNB website, the composer for Price Suddarth's new work to premiere on the November "Emergence" program has been changed from Vivaldi to Barret Anspach. Anspach is PNB dancer Jessika Anspach's composer brother, who created the score for Andrew Bartee's "arms that work."

"New Suite" is a series of pas de deux from works William Forsythe made for Frankfurt Ballet, and each time it is staged, he picks a different set of dances. It's a great way to ensure continuity, as new generations of dancers learn choreography that would otherwise be lost when the full works themselves aren't re-staged, and it's also a great way to see both the range and similarities in his choreography. It also means that each combination and/or order has a different resonance. At the Q&A on Saturday night, Peter Boal told us that Forsythe, who was in Seattle for opening weekend, thought that the Slingerland Pas de Deux might not be a fit in the group selected for PNB, and on opening weekend Saturday, it was left off. (It was serendipitous that Karel Cruz, who was scheduled to dance it, was able to partner Sarah Ricard Orza in the Bach pas that followed.) From the cast lists on the website, he must have concluded that "New Suite" works better without it; there are eight, not nine, couples listed. I was glad to have seen and heard the Slingerland pas. I wish it could be added into the "Emergence" program next year as a stand-alone along with the Lang (4-minute solo) and the Suddarth (TBD), but that might put that program into overtime.

Where as I read Tapfan's point to mean that when Ratmansky uses colorblind casting, skin color no longer holds black and brown dancers back since it's not a factor, and they get more opportunities as a result. The meaning of "colorblind" casting is that the person casting does not take race into the equation when casting. There's no "despite" in colorblind casting, which is the opposite of any type of casting where race is taken into consideration, positively or negatively.

"In the Middle" was created for the young stars that Nureyev pushed through the hierarchy and cast prominently. Decades later, Benjamin Millepied is making his mark by casting someone who was trained at the Australian Ballet School and is currently a coryphee as Odette/Odile: http://dancelines.com.au/japan-australia-hannah-oneill-takes-leading-role-paris/

The point that Lavine made was that Ratmansky used colorblind casting, ie, casting does not have anything to do with their skin color. Black and brown dancers get more opportunities when casting is colorblind. If there's any leap, it is that Lavine is correct about Ratmansky, but I don't think it is a leap.

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A link to Bacall's 1994 interview on "Fresh Air": http://www.npr.org/2014/08/15/340632455/in-acting-and-in-life-lauren-bacall-loved-the-idea-of-adventure

According to the article, "She told her own story in a TEDx Amsterdam talk in November that has been viewed about 25,000 times. Consequently, she has become a celebrity in the Netherlands, where she has been profiled in newspaper articles and appeared on television talk shows, and has become an inspiration to girls worldwide." They both wrote books about their stories. Her AD has imposed a moratorium since on appearances and interviews; I'm not sure how practical this would be in the US had McKenzie wanted to. The most comparable thing in their situations is the racism they both encountered in the US, which DePrince's mother has spoken about, while Copeland, who is the barely veiled comparison, has spoken on her own. An African-born child, who is the victim of black-on-black violence and black-on-black prejudice "saved" by the white ballerina dream and white adoptive parents is compelling in a way to a white audience that a black American child's story isn't.

All of the Principals except the Tisserands (2003/2006) started their professional careers between 1995 and 2001, and I think it's safe to say those that did are in their 30's. While they are very different dancers, Pantastico is, at most, two years older than Korbes, and they are at about the same place in experience and performance maturity, and in that sense, that Principal "slot" has a type of continuity. Whether Pantastico's second PNB career is more like Weese's first, or if she will dance into her 40's like Nakamura, is still to be seen. I think one factor is how hard it will be to regain the level of classical technique she had when she left (or close enough) after dancing Maillot, and whether this will be a limiting factor in whatever rep is chosen. Farrell and Mejia did a daily "Balanchine" barre on their own when they danced with Bejart to maintain their technique, and Farrell was able to step back in as a result. I hope Pantastici approaches this with a solid plan and doesn't push too fast. On the other hand, her schedule at PNB may feel easier, without having to expend energy in touring and dancing on different stages. Promotions at PNB are almost always recognition of having danced at the new level for at least several seasons. I think that Leta Biasucci is as equipped to step into any lead role as all but a few dancers in the company, and she's already proven she can that she can carry a full-length. If tradition holds, she'll have to keep doing this as a Soloist. Neither Laura Tisserand nor Lindsi Dec, for example, are conventional choices for classical ballet leads, like Moore and Poretta aren't conventional choices for classical cavaliers, which is not to say they can't be compelling in them. If PNB didn't promote until a dancer was a perfect fit for the Aurora/Odette-Odile/Giselle trifecta, there would be few Principal women, and few even if that was extended to a perfect fit for Myrtha and Lilac instead of Giselle and Aurora. Next year's rep is interesting in its lack of classical full-lengths, with "Coppelia" a great strategic choice to showcase the younger phenoms while having Act III roles and "Romeo et Juliette" for most of the experienced Principals. The company is thriving in the Forsythe rep, with 29-31 juicy roles, and the four mixed bills next season will give a lot of opportunities to a lot of dancers. The rep next season also mitigates the impact of bringing in a Principal, even as a homecoming, where the lost opportunity among her peers or the first-in-line up-and-comer would be to one Juliette, rather than two-three full-length leads in one season.

Info about dancers must reference an official source. Here is Mr. Ribagorda's realtor affiliation. http://www.realtor.com/realestateagents/Luis-Ribagorda_Jersey-City_NJ__15247141

What an opener! Since this season was announced, the dancers have said unanimously that this would be one of the highlights, if not the highlight for them in the season, and they danced it like it was. As an exploration of classicism, it was mind-blowing. Inthe Q&A, Benjamin Griffiths said that in "In the Middle, Somewhat Elevated," Forsythe had them pare down to the basics, examining the start of the movement, only adding the modernism in the last week. Just go. Here's a link to the newest video on the PNB Facebook Page, of "Vertiginous Thrill of Exactitude": https://www.facebook.com/video.php?v=10152880255898952 The Men: Benjamin Griffiths (left), Jonathan Porretta (right). The Women (in order of appearance): Leta Biasucci, Margaret Mullin, Carrie Imler.

Thank you so much for posting your detailed impressions and the links to the lovely photographs.

According to her interview with Terry Gross on "Fresh Air," Schoonmaker said, "Marty not only gave me the best job in the world, but the best husband as well." Powell was an Artist at Residence at Dartmouth, and he would call Scorsese's editing room to chat when he was feeling alone. Schoonmaker would answer the phone and talk with him, and then one day Scorsese said he was coming for dinner and asked her to join them, and that was it for her: http://www.npr.org/templates/story/story.php?storyId=5069962 It's a great interview.

Thank you so much for posting this, innopac!

Casting is up for second weekend: http://pnb.org/Season/14-15/AllForsythe/ (Casting tab) There's a new cast for "Vertiginous Thrill of Exactitude" second weekend Friday and Sunday. Maria Chapman's return in "New Suite" is next Friday. Angelica Generosa and Christian Poppe, the couple in the middle of the first group being coached by William Forsythe last night, Lindsi Dec and Joshua Grant, Leta Biasucci and Jonathan Porretta, Leah Merchant and Raphael Bouchard, Rachel Foster and Benjamin Griffiths, Margaret Mullin and Price Suddarth, and Sarah Pasch and Jerome Tisserand all debut, many in a different pas de deux with new partners. Here's the spreadsheet: Forsythe 2015 03 12.xlsx

Thank you so much, Jane! I thought I recognized Praetorius, who, for me, is another connection to "The Lesson." We just need Thomas Lund to be von Rothbart.

Who was in the trailer? I love the pianist reference to "The Lesson."

MMDG brought "Pacific," "Words," "Jenna and Spencer," and "Crosswalk" to Meany Hall at the University of Washington last weekend, and I'm still over the moon. In terms of sheer beauty I haven't seen this much in dance for a while. We were lucky.

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A video from earlier today: an excerpt from a "New Suite" pas de deux danced by Chelsea Adomaitis and Steven Loch to music by Berio: https://www.facebook.com/video.php?v=10152875463413952&set=vb.21358443951&type=2&theater&notif_t=notify_me