aspirant

New Yawker, but in Denmark for the time being.

I have not seen, nor read anything about Greve's Hamlet, but have heard that it was quite a good choreography. Haven't heard anything about the quality of the dancing, however. But these recent posts have brought up some questions-- 1. If one of the two (choreography/dancing) is poor does it immediately sour the other or is it possible to appreciate the un-tainted element? 2. With regard to programming, I personally enjoy a program that is truly "mixed" with distinct differences between the rep evening. As I have posted re: the RDB triple bill, too much of the same makes for little to remember for me. This evening, the company changed the program due to illness and injury I believe. Originally scheduled: La Sylphide and Etudes, this changed to Vers Un Pays Sage (Maillot) and La Sylphide. I wonder which is the more effective program aesthetically (provided we disregard the details of dancers that are available, time limits, subscription worries etc. etc.) 3. What can be said for "home court advantage"? I suspect that it must be difficult for a foreign company to put on any ballet in its home turf--in the case of La Sylfide even with the Schaufass choreography. Or, to use an example of an extreme case--last season both NYCB and Dance Theatre of Harlem had Serenade in the rep. AND both of these Serenades were performed on the same stage!

Having seen "In the middle" a number of times now in Copenhagen, it has grown on me a great deal. I really enjoy seeing the sort of contest it becomes, sometimes friendly, sometimes not. As for the "noise", it seems to support the movement for me. But I wonder what it would be like without the bass line?

Socal (and everyone) There seems to be a rash of injury/illness across the world right now. Certainly here in Copenhagen, but also from my friends reporting from afield. Perhaps this has something to do with Bizet and Palais? Also, should let you (and everyone!) know that the RDB has a wonderful way of putting their tickets on sale for 1/2 price at 5pm the day of the show. It has made a wonderful experience of a 20 dollar ticket for me.

Greve did stage Hamlet this year for Ballet South Africa.

The Royal Danish Ballet is in the process now of documenting all of the Bournonville Schools on video tape to share with the world. Plans are to have it done by the festival in 2005.

I have just finished "Dancer" by Colum McCann which is a fictional rendition of Nureyev's life. It is quite sensational (meaning that there are a good number of 'eye popper' passages) and written with the expectation that you've got some ballet/general art history under your belt. All in all, I found it to be a very interesting way of making someone come alive again.

I am traveling to Greece for a dance conference next month in Naxos. Any tips or tricks would be helpful to hear. I have also on a number of occasions traveled for ballet purposes and stayed with friends (or friends of friends of friends...).

Where to sit---if it is free, wherever they let me! If I am parting with some of my own ballet bucks, slightly to the left of center, preferably in the middle of a row (to minimize the up and down and excuse me's) and mid-to-rear orchestra or first ring. I have had the occasion, to stand in (though not actually watch a performance from) the Queen's box at the Royal Theatre in Copenhagen. It made me a little bit nervous to be honest. Oh, and of course there is the stage right wing in the smallest, most cramped corner that you can find which will make my day! Now my question is on seating etiquette. When the lights go down, do you scoot to the center, run down a few rings or stay put until the first intermission?

I have seen the triple bill three times. I am still trying to decide what I think about it, and might put out there that I most likely would have much more of an appreciation for each of the ballets were they not in the same evening. At the end of the evening, it is difficult to come out with anything distinctive to say between the three. Barring that, there is a linking theme with exploiting the body and the way that it moves. These are dances for athletes, not for slyphs, and that is exciting to watch (but at the same time, it is occasionally like sitting through the entire Tour de France---some bursts of energy and flair but alltogether a lot of bike riding). Oh dear, I think that I've already started offending people on day two of my membership. Eh.

With this current Hübbe production, I'd have to say that one of the most interesting points for me is watching the "newbies" fit themselves into their roles. Amy Watson, for example, has to be a bit petrified to come up against such huge Bournonville history at this career changing point in her life. She seems to be figuring it out, though occasionally it seems a bit talk here, dance here, talk here again. I have yet to see Caroline Cavallo, but I am interested as she has many more years of Bournonville under her belt to draw from.

I don't believe that there has been any official word, but NCYB has a habit of letting dancers slip away without any sort of pomp and circumstance when they are (oftentimes disposable) corps members. My inkling is that she felt that she served her time and watched others climb the totem pole faster and wanted to be doing more dancing and less standing in the back looking pretty.

I like this "name that tune" sort of game. I have two questions for you all: 1. Is there a specific word for a pirouette taken directly out of a grand plie? (short of... jee thats hard) 2. (please excuse the desperate attempt at description, this is what i love about dance--that you can't ever pin it down on paper or elsewhere!) So... you start with the same take-off as for tour jete/ grand jete en tournon whichever you are calling it and after the first battement front instead of completing the step the normal way, you finish facing the direction you are traveling (with the second leg to the front). as in... chasse, battement R front, fouette completely, land on R foot with L leg front facing same direction as the battement. ACK! They've been doing this one a good deal in class and its in Manon. Any help will be much appreciated.

alexandra-- i have been reading for a while, and just couldn't resist. no use in sitting back and watching the debate happen! i am midway through your book, and in copenhagen at the moment and it is quite an adventure (both book and city). i will be here for a while, so figured that i should let all of you across the ocean know, in case you are looking for anything bournonville. perhaps this should be redirected to the RDB forum? cheers.

Bouder is on her way back, after a much needed break. Fairchild, I am going to stick my neck out here, is quite possibly the next biggest thing to hit NYCB in quite some time, followed closely by Reichland and LeCrone (who has been injured for the majority of the season)

:yes: Agreed on the comments re: Craig Hall and Jerome Johnson. These two deserve more than to be Evan's seconds, simply waiting in the wings because they aren't being cast in the white-tutu ballets.