Funny Face

FANTASTIC THREAD. :yes: Hope this can remain as a perpetual mainstay. It's a great source of information -- the kind you could never get anywhere else. While I've traveled extensively to perform, schedules are such that I could never see much ballet while traveling, except for Montreal. However, it has been wonderful to be in festivals with ethnic dance companies from all over the world and to be staying in the same facilities with them for weeks at a time. One of my all time favorite membories was teaching the Notre Dame Fight Song to a rowdy gang of Soviet Georgians late one night in our dorm. These, by the way, are the fellas who dance en pointe without pointe shoes. They are in full soldier regalia complete with swords, and do mind boggling turns in the air, landing on one knee, etc. They are -- dare I say -- the sexiest dancers I have ever seen. Years ago, there was a commercial for Dannon Yogurt that featured dancers from Soviet Georgia -- the message was that if you eat this food you'lll dance like this when you're 100 years old. It may not be nearly as exotic as other ports of call, but I've gone with friends to Jackson for the IBC, and when that rolls around again, I'll be glad to share all relevant information.

Alexandra, forgive me if this gets slightly off topic, but I did want to respectfully disagree about the BMI factor. BMI is very, very, very relative. There are men such as Mel Gibson or Sylvester Stallone whose BMI factors are greater than what is considered healthy/normal, etc., due in large part to the fact that they are more well muscled than the average Joe. At the same time, there are BMIs that might be considered too low, but remember that percentages for figures such as body fat have been raised in conjunction with the American AVERAGE going up, not because it's necessarily healthy. Not too many years ago, the norm or desirable range for women was 20-25%. Then it was raised to 30% due to increases in obesity in this country. For the past 12 years, since I first started having these measurements performed on an annual basis, I have remained at 15%. I assure you I have more than enough meat on the bone, and that it has not affected my female functioning in any way. The point I really want to stress here is that this story and others like it should not get us riled up to the point of creating extremely polarized choices here -- i.e., that the very real problem we do have with some dancers's quest for a dangerously thin body induce us to forget that there is another very real problem in this country -- that of obesity with its concomitant problems of diabetes, heart disease, etc. There is room for low BMIs, the same as there is for higher BMIs, when the individual circumstances warrant. I don't think the media even knows what story it wants to tell in the first place. It just wants ratings/viewers no matter how garbled the story. Let's not play into its misdirected hands by choosing 'sides' with regard to an issue that is relative, and is not even the real issue with regard at least to this particular dancer.

silvy, that is very cool. I'm fascinated by your geography and am curious about the South American perspective on ballet.

I saw the piece on The Today Show yesterday, and when I say "saw," I mean it was like driving through a one-horse town. Blink and you missed it. I went to moscowballet.com to get some more news, where the official story remains that she's overweight at 5'7" and 110 pounds. Just for some frame of reference, I remember the cover story on Shirley MacLaine in Time Magazine the year she turned 50, describing herself as a "big" dancer at 5'7" and 135 pounds. That's more where I am now, myself, although I did have many years in the 108-114 area, and wouldn't mind at all if I could have a taste of those days again. The original "Funny Face" was 5'7" and 110 pounds, and who would DARE to call the world's most beloved gamine fat?!? As a former newswoman, I did find the news blurb rather cheap and obvious in its intent -- designed solely to elicit a reaction by reporters and public alike.

Ummmm, the bumper stickers on the cars in my city read "Third World and Proud of It." :shrug:

Jane, you described a good portion of what I have taught to "baby" classes -- the tots between 3 and 6. The introduction to music is never too early. Facilitating various motor skills within a fun context has great merit, whether marching, skipping, etc. Also learnng spatial relationships -- going in and out of circle, marching backwards without closing in the circle, finding the corners and the middle of a room, lining up behind one another and leaving enough room by making the letter "J"," making staggered lines, creating a circle by blowing up a huge balloon, etc. And stimulating their imaginations by incorporating stories into all of this. I've never done all the hoopla with the bells, bangles and whistles, just tried to mix tender loving care with discipline, play and learning. They always seem so happy to return each week, and they have so much pride in what they accomplish. I never cease to be amazed by what they can and do learn.

I envy y'all. Nothing like that down here this year. This city has a "ballet" association which dictates what it will bring to town, with no apparent input from ticket holders. I put "ballet" in quotes because there isn't much ballet in the concert series. As an additional note, I went to school (this was during my first incarnation as a dance major years ago) with someone who eventually opened a studio in the same small town area where she grew up. As a very tiny boy, Stiefel used to accompany his sister to classes, and eventually started taking class himself there. If you watched that PBS special about the four ABT male stars, you'll see Stiefel go back there and pay her a visit and wow all the little girls taking there now. Later, while he was still in his youth, he took class at Milwaukee Ballet from former ABT star and then director of Milwaukee Ballet, Ted Kivitt. I was taking class as an adult there at the time, and went to see a student recital at one point. Since I've saved all my programs from this, that and the other over the years, I went to see if his name was on there, and sure enough, it was a very young Ethan Stiefel in the school recital. Little did I know I was watching the emergence of future greatness.

I'm glad you brought up the passage about Aunt Ruth. I just didn't want to blab on and on there. But it's an important passage. Again, even in that passage, you get an idea of the romantic nature of Betsy and Joe's marriage, as she fears she will miss the "tender intimacies" she and Joe used to be able to share in any room of the house when it was just the two of them. And how ashamed she feels when after telling Joe that it's okay to have Aunt Ruth come to stay with them, he humbly thanks Betsy. We all loved that little first apartment, as many young couples have, but then didn't we all fall even more in love with the little house they found as a result of needing more space for Aunt Ruth? And, if you've ever lived in Minnesota, as I have, you really get a sense of place. You know how the air smells and how homey that street probably was, with its sturdy small houses and big apple trees. And -- I just loved the social life those two had that first year or two. The ways that all those couples could entertain themselves with writing groups or potluck dinners, or rolling back the rugs and dancing, rowing on the lake, etc. I think we ought to mobilize to start a renewal of these traditions, as opposed to all the things people do outside of their homes instead.

Thanks, this is a good idea. Just wondering, what do you call a turn that is done on one leg but ends in a pratfall because your fellow students decided to use both water AND rosin on a wood floor, and forgot to tell you to bring your figure skates instead of your ballet slippers?

Regarding Betsy and Tacy, I hadn't found out until after the fact about the big get together in Mankato (Deep Valley) in 1992. Lovelace's daughter was there and addressed the group -- the whole thing sounded heavenly. There's a wonderful tribute to the books that was given by a keynote speaker there, and it was reprinted in one of the newsletters and was absolutely wonderful. It discussed just why those books really touched the hearts of girls everywhere. I could truly identify with the girl who had the two sides to her -- the one who strived for beauty and romance, and who loved fun and parties more than anyone. And the one who had that serious side, the writer who knew she had to be alone at times to get within herself. She also had a deep conscience and a sense of wanting to do the right thing at all times. I think it was those latter traits that Joe Willard saw in her and loved her for, and wouldn't let her get away with being less. I loved it when Betsy reflected on her father's traits and how his selflessness drew people to him, all kinds of people. She wondered what kind of person she would grow up to be and thought, "I'd like to be a fine one." I loved that use of the word "fine." How many people take time to think about being a fine person? And "Betsy's Wedding" is a manual for all newlyweds. There is SO much in between the lines. Joe finished writing something he's really excited about and he wants to share it with Betsy. Betsy is in the middle of preparing dinner and she could easily ask Joe to wait awhile. But all the writer says is that Betsy immediately removed her apron and sat down to listen to Joe. That speaks volumes! Yes, those books are deceptively profound. How about the time Betsy and Joe come back from a night out with friends, and as Betsy is going through her nightly beauty ritual, she talks to Joe, who is sitting in bed already, wearing pajamas that match his eyes. Betsy thinks to herself that she must never let Joe wear anything but blue pajamas. The author is telling us in the most wholesome way that Betsy is DEFINITELY attracted to her husband. I've read these books aloud with my fiance and even he sees their value. Just had to comment on those books since they were brought up here, because they are such treasures for all ages.

Yes, isn't it sad that Mongtgomery's life couldn't be more like her books. I'm always gratified to know that at least Maud Hart Lovelace's life, both in childhood and adulthood, was closely related to her books ("Betsy and Tacy"). It makes me feel happier about those books, knowing that that kind of happiness did in fact exist. The Bridget Jones/P&P analogy struck me mid-movie. Yes, I was aware that Colin Firth played both Darcys. And as the story unfolds, you become more aware of the similarities. But I had never actually read anything about the similarities, and felt I had discovered them by myself. And yes, "Clueless" is supposed to be a modern day "Emma."

Make 'em laugh, make 'em laugh, make 'em laugh! That was wonderful.

The classics you didn't read in college ... good one. We've all had a few escape us until later in life. John Knowles' "A Separate Peace" made a big impression on me in my 20s. Anything by Hemingway, Fitzgerald and Faulkner. Read "Pride and Prejudice" and then see every film version ever done -- that's fun. Including "Bridge Jones's Diary," which will hit you halfway through the movie that it's actually a modern day take on P&P. And I highly recommend that all women, if they haven't already done so, read the entire Anne of Green Gables series right through the lives of Anne's children. Mark Twain said that no one penned better tales of childhood, and I quite agree. You'll end up feeling all's right with the world.

I'm very impressed, vagansmom, that your husband attended St. John's. Wish more colleges had that kind of program. Among my required reading for school this semester is "The Hydrogen Economy -- The Creation of the Worldwide Energy Web and the Redistribution of Power on Earth" by Jeremy Rifkin. For my b-day this week I received "Me Talk Pretty One Day" by David Sedaris. Each passage can be read in a few minutes -- perfect before bed. Also reading Faith Sullivan's "What A Woman Must Do." Enjoy Sullivan's work, including "The Cape Ann" and "The Empress of One." Was also given recently 'The Book That Changed My Life," wherein "fifteen of America's most influential authors discuss their own special literary choices." Waiting for Fannie Flagg's next venture, whatever it may be -- loved "Standing in the Rainbow." Any poetry readers out there?

Lissen, we gotta stay on our toes to even begin to keep up with Major Mel!!!

I distinctly remember Baryshnikov telling Larry King during his Feb. 2002 interview that there are certain choreographic movements asked of him and he'll say, "If you make me do that, this knee will scream." It seems those knees are the real achilles heel for so many dancers. We can work around almost anything, but those particular joints are key.

And if memory serves correctly, wasn't this the first ballet that had music composed especially for it (as opposed to choreography being set to already existing music)? If this is true, wouldn't that explain some of the complications in keeping everyone happy?

I remember researching this a couple of years ago, and what I recall is that he did it a few bars at a time to suit the choreographer, so he would only have been able to write it as fast as the dance itself was being composed. I checked out balletmet.org which notes that Adam claims to have finished the sketches in 8 days, and the full score in 3 weeks -- and two months was allotted for working on the choreography.

Does anyone remember Regina J. Woody? When I was growing up and reading "American Girl' magazine, which was the official magazine of the Girl Scouts, her short stories were often printed there. I also checked out all of her books from the local library, the most memorable one being "Ballet in the Barn." The books are virtually extinct now -- I can barely find out anything on E-bay. Very disheartening. I also do seem to remember Lee Wyndham -- will have to check that out again. I too agree that no one is too old for any of Streatfeild's books. Remember that lovely scene in "You've Got Mail" when Meg Ryan's character talks about these books with tears in her eyes? Here's another suggestion: go to your local bookseller and ask to order "The Random House Book of Dance Stories." The ISBN number is 0-679-88529-3. This is an anthology of ballet and other dance stories by the likes of: Louisa May Alcott, Rudyard Kipling, Noel Streatfield, and Oscar Wilde. This books sells for $9.99, and would make a wonderful holiday stocking stuffer. Some time ago, I found a wonderful book (in a library sale) by Nada Curcija-Prodanovic called "Ballerina," which has wonderful sketches throughout as well. It was written in 1964 and first published by Oxford University Press -- with the American edition published by Criterion Books, Inc. It depicts life in a ballet school for a young dancer and her realization of becoming a company member. The author worked as a piano teacher at the State Ballet School in Belgrade. Very special to me because one of my dearest teachers was from Belgrade, and my grandparents came from Yugoslavia. I found a set of Satin Slippers at my local St. Vincent de Paul thrift shop. I have numbers one through 12 (but missing no. 7) which follow the career of a young dancer with a school in San Francisco, named "Leah Stephenson." Anyone familiar with that series? I never care what age these books are supposed to be for, since I collect children's and young adult fiction for my own pleasure. Re-reading these books and reading them for the first time is highly therapeutic -- a part of us is always a young girl.

And of course, the thing we haven't mentioned but, let's face it, is always a consideration, is where your seat is in proximity to the ladies' room. Those intermissions can be dreadful, even in my current town which likes to spend as much time at intermission (they sell a LOT of drinks here) as it does watching the actual performance.

The side loge of the Performing Arts Center in Milwaukee. I adore(d) it. The only theater I've ever been in that had a side loge. I feel like a storybook heroine in a very European theater -- just imagine those opera boxes. Fantastic view of the entire theater (downstairs and balconies), as well as stage. Cheers for that architect.

Yes, Mel, that kind of moving about of a reporter from one beat to another (sewerage commission to dance, etc.) is not uncommon. I well recall when one such neophyte took over as dance critic at the large midwestern paper I worked for some time ago (but he did actually seem to grow into the role eventually). And yes, sometimes the critic rhapsodizes over any kind of avant garde modern piece while giving short shrift to ballet because it seems 'chic' and 'enlightened.' Perhaps some balletomanes need to be more aggressive in becoming contributing editors, or at least writing to the powers that be at such publications to voice their discontent (or approval when justified) over reviews and features. Actually, it may not be possible to contribute reviews or critiques to papers that already have someone in place to do so, but a good (well written, interesting) feature is always welcome. I encourage my colleagues to take a stab at it now and then.

Hi again. Just for clarification, I didn't mean to suggest that the music reporter would be assigned to the dance piece. Rather, my point was that the other arts (music, paintings, etc.) covered regularly on that program are done so by reporters whose expertise is specific to that subject. Therefore, it would seem they could find someone equally competent to cover dance. I would simply have liked to see the Balanchine piece covered a little more comprehensively than how it was done, and to receive coverage equal to that given to subjects (such as the aforementioned piece on celebrity watching) that have received more than enough coverage. Ballet does seem to intimidate the press, however. I well recall the Larry King interview (Feb. 2002) with Baryshnikov when the latter could not seem to make his interviewer understand why he still regularly took class. King was clearly perplexed -- "I mean, you already know how to dance ...." I'm paraphrasing, of course, but that was the gist of it, and one certainly had to wish that King had done a little more homework in this regard. Would certainly like to see the same interview with someone like James Lipton (now THERE would be a great guest reporter for the Balanchine piece).

Well, it's still summer, and even though today starts the 4th week of school (!!!!!) I'm still working on my summer reading, as it's the perfect counterpart to all the studying. Just finished "Where the Heart Is," by Billie Letts. Never did see the movie, even though both book and movie have been out for several years. Another good Southern novel, but grittier than some. Just started "What A Woman Must Do," by Faith Sullivan, a Minnesota writer (lots of wonderful women writers in that state). I loved her "The Cape Ann" and "The Empress of One." A friend just gave me "Me Talk Pretty One Day," by David Sedaris, real life vignettes that can be read in a few minutes. I'm still saving the two most recent Jan Karon books. Anyone ever read the Griffin and Sabine series? I never did get the last of the series, which I'll have to do, and then I'll have to go back and read from book one to the present to refresh myself. For those who aren't familiar, these are books that contain postcards and letters -- you literally are reading someone else's mail. Very clever. Happy reading.

I'm curious. Why do you believe that a longer piece might have been worse, or in what way? Does it have to do with the possible incapacity (knowledge) of doing more with the piece? Because, they do, in fact, have an extremely erudite music reporter, so they are not just scanning the arts in general. Also, I do recall a wonderful piece they did several years back on Ann Bates' ballet school in Bozeman, Montana. I'm therefore interested in your reasons.