Funny Face

Does that book mention the fire in which he lost all the memorabilia of his work?

Dirac, just had to ask, despite Kelly not being Jewish, didn't you think his conversation with the mother was incredibly believable? That conversation at the table when the parents are visiting South Wind is the crux of the story. And his well-controlled seething as he defends himself is extremely credible to me. Even though I am not Jewish, that movie and book were rites of passage for me. And without Kelly in the part, I never would have loved that movie like I did. Kelly has such a range in that film -- when he tearfully pleads his case, stripping himself of all dignity, before the money backers of his play -- doesn't every girl just want to comfort him? And again, he just looks so much like my dad, he's like "Everyman" -- he's so much the essence of the American male. (Who more to compare a guy to than a girl's dad?!?)

Now I'm reminded of a famous quote: "What's the difference between genius and stupidity?" Scroll down to see the rest of the quote: "Genius has its limits."

Fred Astaire and Audrey Heburn performing the 'ballet' sequence (she wears a bridal gown resembling a tutu) in a movie called, ahem, er, uh, oh yeah -- "Funny Face" (!!!) Katherine Healey and Mary Tyler Moore in "Six Weeks." Healey portrays a young girl with leukemia whose days are numbered, but who has many wishes to fulfill, including auditioning for "Nutcracker," which she does when she goes with mom on a trip to NY. There's also a scene with Moore and Healey taking barre together. Regarding made for tv movies, Melissa Gilbert portrays a Russian ballet dancer opposite her real life husband, Bruce Boxleitner, in "Zoya." Gilbert, who obviously had ballet training, is credible in the role. Incidentally, during my first go round, years ago, as a dance major, one of my classmates was Bruce Boxleitner's sister, Terri Boxleitner, who displayed an early flair for choreography with a piece called "Pulsar," that she bowled us over with.

Well, I would go beyond calling it male athleticism. The guy was sexy! And, I have to tell you that as much as I loved him in his 'dance movies,' he was equally appealing to me when he wasn't dancing. Case in point, my favorite Kelly movie was "Marjorie Morningstar." That film, based on Herman Wouk's book of same name, was a rite of passage for all teenage girls. And, here's where I make my case about loving movies that are not about dance but include dance being more appealing to me than dance movies, per se. There is a scene in "Marjorie Morningstar," where Kelly is giving direction to a young dancer in a summer stock production about the right way to perform a combination. He does it the wrong way first -- throwing his body around in a very overt, vaudevillian way. Then he does it in the correct way -- moving with a subtlely seductive flair that astounds me every time I view it. His acting in that movie is also incredibly poignant. And the chemistry between him and Natalie Wood, who also dances in the movie, is amazing. Also loved him in "40 Carats" with Liv Ullman. He looks just like my dad in that film -- gotta love it!

Alexandra, could you delve a bit more into this analogy? If I understand you correctly, I think you are suggesting that choreographers need to be aware that there is more to presenting innovative work than simply offering, say, shock value. That similar to not striking a chord, any chord, you do not present a move, any move. That you must have a thorough understanding of what it is you are trying to convey and the tools with which you are doing so. Am I correct in this understanding?

Can you shed any light on what kind of classes have been offered for adults in recent years there? I was there for several months in late 1989, and when I called for class information, I was told that adult classes were offered on a sporadic basis -- that one had to call the school each day and find out if a class was being offered that day/evening and who was teaching it. I then opted to take adult class during that time with the Phil. Civic Company -- quel disaster. That's how I finally came to take class instead with Gwendolyn Bye at the university there. My philosophy overnight became "It is better to take a great modern class than a terrible or even mediocre ballet class." I think that must have been a rather dark period for the Penn. Ballet. I recall going to a lackluster performance there. No orchestra either. And the whole atmosphere didn't have that sense of excitement and wonder -- you know, something to dress up for. This was the period just following the schism between Milw. Ballet and Penn. Ballet -- a very short-lived alliance.

BW -- Thank you for your interest. I'll defer to your judgment as to where I should discuss the trials and tribulations of returning to college to complete a major AFTER dancing professionally. I know it is somewhat different from someone taking up a dance major later in life without having had previous experience. And -- I hadn't actually expected to go off on such a tangent in this choreography thread. So, wherever you think it best for me to address this experience is fine with me.

Minnesota Ballet is a fairly young (history-wise), small, regional company headquartered in the northern city of Duluth. In addition to the two artistic directors and two guest artists, the company has 11 dancers. It is presenting two ballets this coming season. In addition to "Nutcracker," it is doing a "world premiere" of "Cinderella." It appears to be a community-involved company, giving lecture-dems in the Duluth area. It also has a school with classes offered for dancers of all ages and levels. If you would like more information, you can visit their web site: http://www.minnesotaballet.org/

I read the book "A Candle for St. Jude" (still have it) by Rumer Godden a number of years ago, and only recently learned it had been made into a film (56 min. long), apparently back in 1952, and was released on video in 1969. I am wondering if anyone has seen this and can recommend it. It was a Westinghouse Studio One presentation. I don't know if the story line in the film is true to the book -- all I have been able to learn about the film version is that it depicts a ballet troupe in conflict. The film is choreographed by Ruthanna Boris with Lili Darvas and Tanaquil LeClerq in the cast. For those unfamiliar with the story, here is beautiful, one-page site, with a synopsis. http://www.lunaea.com/words/rumer/mental.html

Sure, no problem. You know ballet dancers make so much money, they're constantly looking for luxuries to spend it on. I must say, this shoe is kind of a strange idea. People will have to get down on all fours in front of you to get a good look at it. And how the heck do you clean the darned things? Incidentally, for those who are looking for something in a more humane price range, I think that these are a hoot. I'm not sure about the hairstyles, however -- a classic bun would be better than these Minnie Mouse coiffures. http://www.target.com/gp/detail.html/601-8...w=images#images

Well, we started to touch on the topic of football in another thread, and I thought that before I got that one too off point(e) -- pardon the pun, I would take the discussion over here. After all, the season for both football and ballet are both gearing up, and some of the members here might be surprised to find that they have a bit in common. While the idea of ballet training for football players is slowly gaining acceptance (in recent years, the kicker for the Saints came to our studio for ballet training to improve his flexibility), there was a young man who did more than anyone in the 20th century to illustrate the benefits of ballet training for football players: Lynn Swann. Swann was a wide receiver for the Pittsburgh Steelers in the 1970s and 1980s, and his ballet training was well known throughout the league. According to the Pinstripe Press, Swann was described in NFL films as "a lethal combination of smooth sipping whiskey and greased lightning ... Swann was arguably the most graceful receiver in NFL history. He made more key catches - in more big games - and in more spectacular fashion - than any receiver did. His ballet training enabled him to defy gravity and his hands were second-to-none." Swann played in 4 Superbowls and was inducted into the Hall of Fame. He is now on the board of directors of Pittsburgh Ballet Theatre, where he has created a youth scholarship. I thought some of you might also be interested in a recent newspaper interview with Pacific Northwest dancer Nicolas Ade that appeared in the SEATTLE POST-INTELLIGENCER REPORTER. Here's an excerpt: What's the difference between ballet and football? "Ballet is art. It's not about winning, it's about creating movements that are compelling but look effortless. Football players have pads, tape, helmets and braces to protect them. We're out there on our own. Of course, in the corps, there's teamwork. Everybody has to be in sync and on the right count. Within that, you have a chance to express yourself." For more: http://seattlepi.nwsource.com/classical/12..._satchat28.html And finally, this is from the archives of UNIVERSITY WEEK, a publication of the University of Washington, from 2000, but well worth reading: Pirouettes and QB sacks: Ballet, contact sports pose equal risk of injury By Joel Schwarz News & Information Swan Lake and Sleeping Beauty may be as tough opponents as the Sonics or the Seahawks. Psychologists trying to understand the factors that put athletes and performers at risk for injuries have found that professional ballet dancers get hurt just as often and suffer just as serious injuries as athletes in contact sports. To read the entire article: http://depts.washington.edu/~uweek/archive.../_article6.html So, there you have just bit of how much ballet and football are compared and contrasted.

Hey, check these out: http://www.target.com/gp/detail.html/602-7...w=images#images

This happened earlier in the summer, but I'll post anyway, for those who are hungry for figure skating news during the summer hiatus: News from July, 2003 Russian Stars Shine in St. Petersburg Birthday Gala Tatiana Flade St. Petersburg skaters and coaches like to call their hometown "capital of Russian skating", and so they congratulated the city for its 300th anniversary with a special exhibignp2057tion gala. On June 6, most of Russia's best skaters were there to celebrate St. Petersburg with an exquisite show. Half of the participants were from St. Petersburg, the others from Moscow. The average ticket price was 300 Russian Rubles ($10 USD), and tickets were went fast. The "Ice Palace" was sold out with 14 000 spectators. The show was based on a idea of coach Alexei Mishin and his student Evgeni Plushenko, who wanted to bring top skating to St. Petersburg. However, it wouldn't have been possible without the financial support of Champions on Ice tour promoter Tom Collins, whose son Michael, the tour manager, traveled to St. Petersburg to attend the event. Michael Collins regards the show as a step into the Russian market and said that hopefully it marks the beginning of a future cooperation. To read more: http://www.bladesonice.com/mag/oldnews1.htm

I remember this book when it first came out. Had I known how rare it would become, I would have nabbed a copy. But -- to suggest one more possible source: If there is a university near you with a dance program, they might have a dance dept. library. The university I attend for the dance major program has a small but comprehensive dance library, which collection has been compiled largely through donations since the 1940s. And, for all those dancers who are sorting out their various dance publications and thinking of tossing old ones in the garbage or putting them in a yard sale, please do contact your local college first. If they have a dance dept., they might have a dance library. (If they don't have a dance library, they should start one!)

Carbro, I'm so glad you pointed that out about the composer/choreographer connection, because it happened to me too, and it now makes sense! (Every project I undertook in completing the college dance major was one in which I tackled the whole picture -- choreographing, composing, scripting, costuming, artwork, -- I tend to focus on the 'whole forest' when putting something together). Anyway, that was very astute of you, and perhaps the results of these two quizzes are best viewed together.

This thread makes me sad. I am looking at a newspaper clipping from 1974, with the headline, "Marriage is a Pas de Deaux." It's about my dearest teacher ever, Jury Gotshalks, during a happier time in his life with his gorgeous model/dancer wife, Judy. Jury was trained in Latvia; after moving to Canada, he had his own ballet school and ballet company in Halifax. He danced with virtually every major ballet company in the U.S. and Canada, and had his own tv show and produced a number of shows for CBC in Toronto and Montreal, where he met his wife-to-be. He taught at the National Ballet School of Canada and the Philadelphia Academy of Dance. He danced at Radio City, where the exaggerated lifts in a theater of that size, as he related to me, led to degenerated discs in years to come. He was handsome and dapper, and he and his wife were an incredible, head-turning couple. They had strong ties to ABT, and so, friends of his from that company would come to perform as guest artists at student concerts at the U. of Wisconsin when I was there. He could be brutal with me in class, but he would bring his closest friends to see me perform, and boast about his talented student to them. Knowing that couple made my life feel special and elevated. As he got older and tried to cope with the problems of being separated from his wife, and of no longer being the young, vital dancer he once was, he died of a self-inflicted gunshot wound. Tragically, not many years later, his wife died while piloting a plane in France. To this day, I miss them both.

I wish I hadn't been so darned honest, because if I'd been George Balanchine, I'd be one step closer to his choreographic protege, Jacques D'Amboise, the one I REALLY identify with because 1) of his fantastic work with children; 2) his climbing the Appalachian Trail (I'm a walking/hiking addict and love the outdoors); and 3) his using the beautiful and talented Janet Eilber in his production with the kids (I once played the same role she did in the play "Romantic Comedy"). Yes, yes, I digress, that's what I do.

I took the darned test three times and ended up being Stravinsky all three times. How can this be? I want to be Copeland or Satie or Debussy, or maybe spitting out mazurkas like Chopin, but Stravinsky???!!! Who created this test anyway?? Account for yourself!

I won't be giving anything away in terms of choices because I scored the same as you, Alexandra. Wish there were one for living choreographers.

I apologize. I guess I was making the assumption that most balletomanes knew which major cities in the U.S. sustained their own ballet companies, and which major cities did not, or, in the alternative, shared a company with one or two other cities. With that said, I think it might be interesting to share, in the near future, a bit of history of ballet companies in the Midwest, in a different thread, perhaps within the section devoted to American Ballet Companies. I've done some research, interviewing and writing in this respect, and hopefully, can share some insights. More later.

The Larry King interview was done in February 2002; I have a copy. He did, in fact, say his acting forays had been a mistake, and he knew better than to repeat it. Perhaps he doesn't view a cameo spot on a tv show as in the same league as a movie role.

I can't help giggling over some of these stories -- especially the tale of the itching man ... yuck. But -- until you've lived in my city, you have yet to experience real boorishness at the ballet. Yes, this is a fun city, but it's definitely low brow in its performance-attending behavior -- no matter how much you dress 'em up and how much they donate. I hate to say it, but performing here has to be a dancer's nightmare. Example: when Baryshnikov first danced with Mark Morris, the company was brought to this city by an entity other than the association that typically brings dance companies here, and the company performed in an auditorium not typically used for dance performances, perhaps to an audience not entirely typical of the usual peformance goers. Still -- what chaos! These poor rubes apparently didn't understand what they were going to see. They catcalled and wolf-whistled at Baryshnikov. A good portion of the audience conversed in everyday speaking tones. And -- hordes of people, sounding like sailors stomping on a gang plank, kept up a continuous entry and exit through swinging doors, carting in jumbo-sized colas, boxes of popcorn, and cellophane-wrapped candy. You could hear the ice jangling, the popcorn crunching, and the candy spilling on the non-carpeted floor. Our regular dance goers aren't much better. By way of background, there is no ballet company here. About 12 or 13 years ago was the last year of the existence of tri-city ballet. Since that time, there is an association that brings about 6 major dance performances per year to a performing arts theater (which has yet to put soap in the restrooms). Everything starts late in this town, and dance is no different. If a performance is to start at 8:00, that's when most people are leaving their houses for the performance, which doesn't get underway until about a 1/2 hour later. And when I say "get underway," I don't mean that the dancing starts. Nope -- that's when the association director comes out onstage with the corporate sponsors and they all congratulate each other over and over again on bringing this company here, and the audience has to clap repeatedly. It must be so nice for the dancers to warm up and then hurry up and wait. The intermissions go on indefinitely. This is a drinking town, and that takes precedence. At the end of a very long evening, the dancers have to come back out on stage (tired, sweating and aching -- probably wanting nothing more than a hot shower and a meal) and give, as part of the deal with the association, an "Informance" -- doing Q and A with the audience members who opt to stay afterwards. The whole thing embarrasses me, having come from a Midwestern city of the same size that treats dancers like gold. It's the only Midwestern city that has continually and by itself supported a ballet company, kept it in the black all these years, and given it the same attention and support the city gives its opera, theater, symphony and sports. The company's headquarters are in the most beautiful studios I have ever seen -- and I've been in a lot of studios throughout the country. The theater is set up so well -- parking is in an adjacent building, accessible by skywalk. There is a wonderful little restaurant and lounge in the lower level. The building is elegant and well tended. And the audience arrives on time -- or isn't seated -- is punctual about returning from intermissions, would never think of bringing in food or drink, and behaves like true balletomanes. That city is an unsung jewel.

I just wanted to comment on the earlier comment that most college departments are modern. When I first majored in dance at a large midwestern university, decades ago, the major was clearly and equally divided between ballet and modern. Period. If you wanted to take yoga or jazz or character, you did so through a university extension program, but did not receive college credit for it, nor did it count towards the major. I also took several levels of dance composition, but comp was, for whatever reasons, focused on modern. Student performances were choreographed by teachers and students, but the ballet choreography, to my recollection, was always done by the teachers. Students either didn't care to try it or didn't feel capable of it. A friend of mine from those days danced for, among others, the Milwaukee Ballet, and when we caught up several years ago, she urged me to do what she had done. Go back all these years later and finish what I'd started. I first went to meet with the chair of the department we had attended so many years ago and where she went back to finish. It was totally modern. Ballet was an elective. I asked the chair about the shift in focus over the years and I'm going to paraphrase her explanation as to why most college dance departments are now modern-based. She said that modern dance is feasible for the older dancers or the dancers who start late, or the dancers who simply don't have the technique for ballet, etc. She said that only a few ballet-oriented dance departments still exist in the U.S. because in order to recruit truly talented ballet dancers, the departments would have to be endowed with the same kind of funds that athletic departments have. Those ballet dancers, she explained, are going to choose an early career over a dance major. At the time that I had this interview with her, it was the last days of ballet teaching for the professor I'd had many years ago. Those must have been bittersweet days for her. I just couldn't see myself returning to that department with those changes. And, I also felt the BFA was too easy -- a total of 7 semesters of dance were required, and those semesters could include the lowest levels of technique. As I was beginning to think this was all a pipe dream, I ran into a woman with whom I've taken class in this city, who is also chair of the Theater/Dance Department at a private university in my state. She told me that the department, which had offered a minor for years, had just started a dance major, the only one offered in the state. It offers a BFA and BA. Both are demanding. There is equal emphasis on ballet and modern. The BFA requires 16 semesters of technique (2 courses each semester in ballet and modern) and you must audition, and you must achieve advanced level in both for graduation. The BA requires 8 semesters of technique, and you must achieve advanced level in either ballet or modern and intermediate in the one you don't achieve advanced level in. Also, the intermediate level of class works twice a week by itself and joins with the advanced level twice a week, so there is still the impetus to keep up with the higher level. I successfully auditioned for the program as a transfer student in fall 2001, and in so doing, became the oldest dance major in the history of the university (and the state). Doing this while in cancer recovery was especially rewarding for me. I felt like a kid again every single day -- what a joy to place my hand on the barre each morning, look out the window at this beautiful campus, hear the music, and begin the plies all over again. I completed the program this past spring with a solid 4.0 and, while I am happy to begin a new career of motivational speaking for others in cancer recovery, I now feel the whole experience flew by way too fast. However, even though I've completed the requirements for the major, I still have to take several non-related (science) courses to achieve the degree. The department chair told me they've established a new rule -- that as long as a dance major is still taking courses at the university, she must remain in technique class each semester to keep up her level of technique until she graduates. This is not a requirement I am going to balk at. I get to be a kid just a little longer. And as to choreography being taught, the major requires 4 levels of choreography training, including a major senior project. Although I had actually completed that requirement in my past life, I opted to take a choreography class again, because I think it's important to look for those workshop opportunities and keep yourself fresh in this regard. For our student concert last year, I composed and recorded the music along wtih choreographing a piece, and it was very rewarding. One thing I've noticed that is similar to my first college experience: students still want to do only modern choreography, and the teachers are the ones who choreograph the ballet pieces. I wonder if anyone, particularly our younger, up and coming dancers, could comment on this.

I'm not sure that dancing en pointe is incompatible with any other dance form, but it does perhaps require more attention to the feet. I danced with a company whose repertoire included works from virtually every country. The tango has long been part of our repertoire, and there were long hours of rehearsals involved. You didn't say what kind of heels you were wearing. We typically wore character shoes with approx. 2-1/2" heels. I was doing pointe class during those years, and I don't recall a problem. I have a friend from Argentina who is responsible for bringing some incredible tango shows here, and those women DO wear higher heels. The shoes are to die for -- almost literally. Gorgeous to look at, but perhaps a lot more painful. And I have to say, that I have never seen such sinewy dancers in my life. I didn't know women could be that thin and at the same time so extraordinarily strong. But to get back on point, pardon the pun, no dancing in character shoes ever posed a problem for my ballet work, whether it was Uzbekistan or Brazilian, etc. etc. There are, however, other dances that have posed some problems. Our Basque suite required a good deal of dancing consistently somewhere between a demi-pointe and a flat foot -- that can be a strain. Also, I noticed that when I danced a good deal in character boots, it was not all that conducive to ballet. What I mean is that I really needed to work harder on stretching the foot after all that stomping. I also noted that one of our dancers whose specialty was Flamenco seemed to have difficulty really pointing her foot in a ballet slipper. I guess it's the articulation of the foot that seems challenged by all that character work. And -- it's just plain hard on the tootsies. They need special care -- soaks and massages and so forth. Many years ago, I had a ballet professor who advised us to never wear anything higher than a "Cuban heel" (so as not to shorten the achilles tendon). I don't think any of us really understood what that was. I thought it was perhaps the same as a "squash heel," which was in fashion some time ago. And yes, I can see how that can be more comfortable than a totally flat shoe. That's why the teaching shoe has that little heel. Seems to provide some relief. There has also been some debate as to whether a lot of walking is good for a dancer. Well, it's too late for me if it is. I'll walk as much as 10 miles a day, just getting to and from wherever. But -- I wear shoes that REALLY cushion and that have a wide toe box. I worked for a lovely woman for many years, teaching in her studio, and she always wore these pretty little flats on her delicate feet, and I thought that was so pretty that I went out and bought some delicate little flats so I could look like that. That lasted about one day. My feet ached. If you're going to do some real walking, then fashion stops at the ankle. (Although practical shoes are getting more attractive). And -- for some reason, fashion boots don't pose a problem for me. I wear them on occasion, and they don't bother me the way other fashion shoes might. I took some classes about 12 years ago while sojourning in Philadelphia from a wonderful modern teacher there, and I'll never forget her going around the room and checking the knuckles in our feet. She said they should be as prominent as those in our hands. There were one or two men in class that had no problem in this regard, but several of the women in class had problems even finding these knuckles. The teacher had to really push them out for the students. Apparently, if you walk in heels enough, those knuckles will get lost and never return. All you need to do is go back and look at fashion magazines from the 1980s and you'll see nothing by strappy sandals posing as harbingers of problems to come. She suggested a variety of exercises and although I was a serious walker, I took these exercises to heart. Things like picking up a pen with your toes and trying to write your name. To this day, I do a lot of "monkey toes" exercises to keep my feet articulating and strong.