Memo

Found this article thought it was an interesting change http://articles.chicagotribune.com/2010-07-21/entertainment/ct-live-0722-joffrey-shrew-postponed-20100721_1_merry-widow-joffrey-ballet-british-choreographer-ronald-hynd

Yumelia Garcia also danced Cinderella in one of the performances I saw. It was a lovely production and played to full houses in Los Angeles. I would say it was a huge success.

I saw it in LA but I saw Dennis Matvieneko who I will say was not as strong as the other men. I have seen video of Vestris with Barishnikov and feel that this performance of it lacked depth. I loved the Ashton piece and think that David Halberg has an amazing line and visually is very expressive". I loved the duet by Roland Petit. Danced by Matvienko and Halberg. I had not planned to go and got a ticket at the last minute as well as a backstage pass. Desmond Richardson performed in the version I saw and he is also a force to watch. Its interested that he looks 6'3" on stage and is not nearly that tall in person.

I saw it twice in Los Angeles during the run. I enjoyed it very much. I thought Victoria was really beautiful as Cinderella. I did not enjoy Yumelias as much as I found her expression a bit forced in the "tutu" scenes. Loved the sisters and found Calvin Kitten to be quite amazing. I loved the 4 princes and the fairies variations are ingenious. Choreographically I really love the material and the music. I saw 2 different Fairy Godmothers and like Valerie the best. She had the maturity and energy for the role.

awwww congratulations to them

I agree Helene I have had it forwarded to me dozens of times. I find the dancers to be talented but the venue exploitive. There is something discomforting about it.

Thanks Peggy I already looked at that. Was hoping for some updated information.

Whats happening in the fall are they going on tour and is it listed anywhere?

Shanda Sawyer choreographed the piece. It was filmed in LA. They used local dancers ballet and contemporary people. Good cast.

I have seen her several times this season and she will be missed. She is still so vibrant and strong. Amazing to watch. Its hard to believe she is 42 years old. She certainly dances like a much younger woman, its amazing. Wish I could see the program. I will really miss seeing Tina LeBlanc, I have read that she loves to teach so hopefully she will pass on her wisdom to future generations of dancers, I just wish it did not have to end. Its coming up so quickly.

I saw Whitney Jensen perform at YAGP and she was wearing them. It made her foot look strange because the underside of the foot did not correspond with the top of the foot.

about time

My fears and predictions have just all been confirmed in reading this thread

I think I saw pics of him dancing with Morphesis (Christopher Weeldons company) if anyone else has more information I would love to know.

reminiscent of Fonteyn.

You just did exactly what I predicted. Any criticism of the method is almost considered sacrilegeous. It is obviously qualified for talented bodies but it is not for every body and those who teach it often expect the same of every body.

I agree Hans but I think there is truth in what she says. But then all methods have their strengths and weaknesses and as a dancer matures they add more layers but if the foundation is not strong there is collapse. I think it is important for them to expand and take other input. I find her thoughts interesting though they will be controversial, and criticism of the Vaganova training always is.

I thought I read that somewhere that there is a way to have some kind of silicone (like breast enhancements) implanted in her arches. I think feet are the "thing" right now. I have seen beautiful dancers rejected by major programs and companies when they have everything else except huge arches. I dont think Osopova is wearing arch enhancers. I think she has elastic inserts in her shoes but I cannt see arch enhances. However onstage her feet are quite strange. I have heard that Zenada wears them. I wonder if it gives the dancer more confidence onstage.

I can hear the squeals of delight! At the moment, I think WE look fine. Just afraid that the difference may be too subtle -- depending on room lighting and (for laptops) angle of the screen. Everyone looks good in Pink

Congrats to them both. I believe they are currently apprentices.

I was trained by 3 dancers mentioned above who danced with the Royal Ballet in the "hey day" so to speak. Rowena Jackson, Philip Chatfield, Brian and Dorothea Ashbridge throughout my career as a pre professional and professional dancer. (I was also privately coached by Rowena Jackson as a small child maybe 9 or 10 and remember those sessions very clearly still today) I feel that the style was very distinct and unique. I am attracted to the style and it reminds me of my training and I really enjoy the "look" of it. However dancers schooled in the Russian tradition or Balanchine work done really well, also fascinates and intrigues me. I saw Ashley Bouder dance a few years back at a gala and found her truly thrilling to watch. As these dancers have gone out into the world however has it been watered down or mixed with other styles to meet the demands of a more athletic finish needed for todays contemporary work? Are low legs are great lines given ANY VALUE in todays ballet market as a young dancer goes out and tries to find a position? One of the big complaints and debates today about the ballet world is that it is so steeped in tradition that it does not keep up with times. Has the real "Royal Ballet Style" gone or is it constantly evolving? Also are one or two dancers joining the company a year because that is what is available? Is what contracts the director is allowed to offer? They can only offer what they have. If they are satisfied with their company and do not have need to fire anyone, they can only offer spots that have been vacated. They do not have an unlimited supply of contracts to hand out they are all on strict budgets.

Can you give me an example of this?

I would like to see the percentage of dancers who are in NYCB have been fully trained say since age 11 by SAB. SAB very rarely takes dancers into the company without them dancing in the school first but how long they dance at the school is sometimes a formality and for maybe a semester for a year. However if you refuse the schools training the chance of you auditioning for the company is slim to none. thats true and although the school trains up to Advanced 1 this is not a factor as to who they take although I do not think it ever was, it just happened that more dancers were trained that way. I do not think this is correct. I think there was something new last year where 2 dancers from the Prix de Lausanne were offered apprentice slots, one of which was taken up I believe. However the Prix de Lausanne is more focused towards giving students scholarships and many have been given by the RBS to talented students as well as the RBS having a consistently good showing of winners at the Prix of students they were currently training. I do not think you could say that the RB corps is being drawn from the Prix de Lausanne. (please someone correct me if I am wrong). I think the company would keep that information to themselves. I think they hire the best dancers they can find and think some will rise through the ranks and some fit well in the corps but then only time and individual dancer can really determine what happens from there. I also think all companies are different. Some really keep the corps very busy and many get to step up into soloist roles. Especially if there is new choreography going on and the choreographers are able to choose the dancers they want. That levels the playing field and gives everyone a chance at a role which I think is very healthy and keeps dancers motivated and "on their toes so to speak". My guess is the the more traditional companies have more of the status quo and more innovative directors might be more inclined to give new dancers more chances. However I do think that a cross section of hiring does happen when a director hires what he or she thinks as a solid corps member as well as dancers who are potential soloists. However I wonder if the factor of national origin comes into affect when hiring a dancer who a director really sees as having potential and being able to handle roles in the future or if they just want to hire the best dancer for the spot! I guess if they are a native of the country its a bonus but I don't think they will pass up a dancer they really love just because they are not a local. Put yourself in the directors shoes.........they must have pressure to do this as I am sure the Royal Ballet does, as there is a lot of discussion on this subject. But ultimately the audience then wants to see the best dancers, with a unified style, and the distinct presentation of that particular company, when they pay for that pricey ticket to the ballet do they not? What's a director to do? Also as Helene mentioned about Melissa Haydens quote, if the coaching is not strong enough at the company level, the dancer is not going to continue to grow or develop an understanding of different choreographers. As they mature their knowledge and understanding increases and the coaching must continue to be very strong as the company level and not just in school in order for the dancer to continue to grow.

My question is do you think the company should go back to that? Should the nationality of the dancer be taken into consideration when hiring?

i do the exact same thing with the yardstick Hans. I enjoyed reading this. What do you advocate if the dancer is so lacking in turnout that when the leg is in the a la second position they are unable to rotate the working leg and get the heel forward. Some teachers have them bring the leg forward. I am not confortable with this as I do not feel that the forward position makes any sense if they put the heel down they are not in second so it is confusing to the dancer.