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About bart

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    lifelong fan
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    palm beach gardens
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  1. bart

    Mathilde Froustey

    Here's a photo of Kay Mazzo that shows why Froustey reminded me so much of her. http://www.ebay.com/itm/1970-Press-Photo-Kay-Mazzo-of-New-York-City-Ballet-/350636988617 My apologies for linking to something on an Ebay page, but this was the closest I could find on Google to phrank's photo of Froustey with Helimets.
  2. bart

    Mathilde Froustey

    Watching the video, and reading the interview, makes me think this is a dancer I'd like to follow. (Possibly because her head, and the way it sits upon the neck, remind me of a former NYCB favorite of mine, Kay Mazzo.) The Nutcracker pdd was fascinating: parts lovely and subtle, parts that seem just to be sketched in. Possibly this is due to something phrank has noted: On the whole, I wish (along with Quiggin) for her "not to pick up an international look." Her movement style, phrasing, and self-presentation reflect her training, but also her body and temperament. It might be a goo
  3. From Judith Flanders' review of the Royal Ballet's (Carlos Acosta's) new production of Don Quixote, in the Times:Literary Supplement.
  4. Context: Alastair Macaulay review, NYTimes, 9/26/13: "Amid a fall dance season richly packed with significant events cross the New York dance map, a single program at New York City Ballet stands out like a summit. All four of its items are by George Balnchine, and all are well known -- and yet who ever knows any Balanchine ballet?
  5. bart

    David Hallberg

    The images are very, very strange (though possibly the norm in high fashion magazines nowadays?). I'd love to hear what others think about the photos ... and, from those who read Russian, the interview itself.
  6. I've been trying to think of how the Botticelli painting would relate to the white acts of Swan Lake. They share a watery milieus of course. Venus -- unlike Odette -- exists in world of light, with movement of wind and water, and with vibrant colors. Also, you have to take the music into consideration; As to music, The Birth of Venus is far from being an "adagio" painting. Didn't someone do a dance to "Pavane for a Dead Princess," using the iconography of the Velazquez Las Meninas? I can see the dance-to-painting connection in something like that. Goya's world has also been used in da
  7. Both sandik and dirac have mentioned the role played by tableau vivant in the development of dance..This thread has made me think of the musical "Sunday in the Park With George," based on the Seurat painting. I can imagine a ballet based on a similar premise -- or, if that is too difficult to convey without words, a ballet that begins with a tableau vivant of a famous painting, after which the figures move to music, relate to each other (or not), and -- just in time for the opening bell -- return to their frozen positions. The painting: http://commons.wikimedia.org/wiki/File:Georges_Seurat_
  8. Off topic (cont'd.) You're right, diract. I don't know why I included his name in that sentence. Perhaps it was because I couldn't, off the top of my head, remember any other ballet-dancer/actors except Stiefel.
  9. It's interesting that several MCB male dancers have appeared on Broadway. Wong. Jeremy Cox. Possibly others. But neither had a featured role. (Cox I believe started in Tharp's Come Fly Away in the swing cast and was promoted later.) If I had to choose between the two, I'd go with Cox, who dances best close to the ground, but can jump when needed, not unlike Kelly. His affect is "young but mature," -- again, not unlike Kelly. Assuming that he can speak lines and sing, and dominate the stage while doing so, Cox might be okay. Wong is a creature of the air; his affect is light and yo
  10. Agree completely with this, especially the part I've put in boldface. The world of Broadway musicals is hugely different from the world of ballet dances that use Broadway scores. This includes audience expectations and psychology. (Stephen Sondheim's books, Finishing the Hat and Look, I Made a Hat, are especially revealing about the process of creating and putting on a Broadway musical.) My local company is currently preparing West Side Story Suite, which they will perform in February. Dancers who can actually sing have already been cast for parts that require it. I'm sure it will be fun
  11. dirac, thanks for that link. Some excellent reviews and comments. Definitely worth reading. phrank, thanks for the video of "The Goblins. McRae does seem to have some of the necessary style. He got excellent reviews for his dancing of the Mad Hatter in Wheeldon's Alice, so has the advantage of knowing the choreographer well. I Googled and came up with this article (March 15, 2013) from The Guardian: Steven McRae -- the Ballet Star who's a Modern-Day Fred Astaire The careers of countless British actors demonstrate that good training and hard work can allow you to acquire all sorts of
  12. Wheeldon would have to reinvent the choreography to a huge extent to make it work for a ballet dancer, even the esteemable Damian Woetzel at his prime. Assuming that this dancer would also be doing the acting and singing, a decision to hire any of the male ballet dancers mentioned so far would require a major reinvention of the story. If I were a casting agent I'd be more likely to be thinking along the lines of -- Does Hugh Jackman dance? Does Rasta Thomas sing? Does Savion Glover act? As for the female lead, a ballet dancer seems more possible. (Leslie Caron was one,). Foreign acce
  13. I agree with Diane (and with Balanchine of course) ... If only more ballet choreographers in our own age could take the time to think about this, there might be less aimless busy-ness in so much of what they do.
  14. This one is for cubanmiamiboy: From the Balanchine Foundation:
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