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I confess that the hops-on-point generate an involuntary twinge of "ouch" in my shins. Other than that, I find myself falling quickly into the illusion that dancers are magicians --near weightless and free from the physical limitations that plague us lesser folks. It's a kind of suspension of disbelief. I guess this is, somehow, built into the nature of the art.

A great choice for a touring company, especially when strongly cast. As I watched, I was struck by the similarity in look, body type, and movement style of Ramassar and Francisco Moncion, having forgotten that Moncion was the original dancer in the role. I liked Tiler Peck very much. She's so strong, so definite, so in control of her mood and body shifts and of her gestures. Peck even performs that final, surprising, self-abasing bow (grovel?) from a position of emotional distance. I recall that Robbins originally intended this role for Melissa Hayden, though it was actually danced by Patricia McBride. McBride, perhaps having Hayden in mind, danced with intensity and avoided the temptation of winning a few chuckles. She believed everything she felt, at the time she felt it. Peck's interpretation strikes me as belonging to that tradition. Is this kind of casting -- I mean, casting in a way that reflects the look and feel of the creators of the roles -- a tradition at NYCB? After all, Martins was in that original cast, and I assume that he had a hand in the casting for Vail.

I understand that the teaching credentials are authentic. I was wondering more about the extent of his connection with, and understanding of, the larger world of Russian ballet. Some teachers and trainee teachers are very much part of all aspects their art, including performance, close ties with working dancers, a range of contacts with the company, etc. Others have more limited experience outside the actual classroom. Of course, everyone has a right to his or her opinion, as YouTube demonstrates many times each day. But Mr. Conrad's statements imply that he has extensive experience within the Russian ballet world and with those who inhabit it, the kind of experience that leads to real (or at least "insider") knowledge.

Have to get this! !! Thanks, macnellie.Kathleen, I agree about Wolf Hall and Bring up the Bodies. Serious historical fiction is a joy. Mantel's are possibly the best written historical novels I've ever read. She has an earlier novel about the French Revolution, A Place of Greater Safety -- focusing on the relationships among Danton, Robespierre, and Desmoulins. You can see the origins of the narrative style that makes the two novels about Thomas Cromwell so astonishing. Re Gore Vidal: I also like the historical novels and am thinking of rereading Burr, with its roguish, though charming, almost tragic leading man. Have you read 1876? A lot of rogues in that, too. Both novels have amazing resonance given what is happening in U.S. politics today -- one of the low points of our long history.

Mr. Conrad seems comfortable with making sweeping statements, implying expertise and insider knowledge.. I am curious as to whether his own credentials actually the impression he is trying to make. A cursory search on Google turns up quite a lot of talk about his teaching method, based on a course of study at the Bolshoi, but not much about his other qualifications. If this were a trial, would he be accepted as an "expert witness"?

Rereading (translation: "ploughing through") Anthony Powell's series Dance to the Music of Time. This has surprised me. What seemed important and revelatory in my youth now seems padded and often lifeless. The novels do give you a sense of social changes in Britain from the 20s to the 70s, but are generally stronger when dealing with the narrator's school years and entry into the adult world. Nicholas Jenkins, Powell's alter-ego, reveals little about himself, content to observe others closely and with increasing skepticism. Surely Kenneth Widmerpool, who pops up in every novel, is one of the most annoying characters in 20th-century literature, though not always as Powell seems to have intended. I'm glad I have just discovered Hilary Spurling's Invitation to the Dance -- an alphabetical glossary of characters, places, and cultural references for the entire series. One good thing about this experience: it has made me want to read the Evelyn Waugh again.

Those not familiar with the name Eric Conrad might want to check out one of the threads discussing his teaching method(s) on Ballet Talk 4 Dancers: http://dancers.invis...ad&fromsearch=1 He and his projects have quite a presence on You Tube.

Interesting, and counter to my original agreement about those who go for long legs and willowy appearance. Your pragmatic explanation makes sense, bagg.

I didn't watch the opening ceremonies but was impressed by Sarah Lyall's rather appreciative account in today's NY Times. http://www.nytimes.com/2012/07/28/sports/olympics/in-olympic-opening-ceremony-britain-asserts-its-eccentric-identity.html?_r=1&ref=world

Kathleen, I mis-read your post and thought at first that this WAS his ABT audition video. (I'm on my phone and don't seem to be able to locate the appropriate smilies -- shock !! mon Dieu! !!! and the like.) Love the video. (Thumbs up !! Applause !!)

How could I have forgotten "poetess"? Or executrix, janitress, temptress, co-redemptrix... even dominatrix. I can imagine Edith Evans bringing enormous grandeur to "I have immortal longings in me." And then there is, of course, Elizabeth Taylor, incredibly gorgeous at the other end of the spectrum. But that's another time and another playwright. (I mean, screenwriter). Janet Suzman has directed Kim Cattrall in the Shakespeare role. Has anyone seen the production? Does she have the qualities that might live up to Enobarbus's famous compliment ... ??? Clare Brennan's review in The Guardian certainly makes Suzman's interpretation, as well as the work of Cattrall and her Antony, sound interesting: http://www.guardian....leopatra-review

Clearly, we need well-performed mime that understands what the language can and cannot convey. We also need an audience willing to suspend disbelief and do a little work, watching closely and thinking. This thread began with discussion of Swan Lake mime. Here's a video, part of the Royal Ballet's valuable "Insight" series, which shows the mime of Siegfried's first conversation with Odette. The second half includes a voice-over explanation of what the mime is actually "saying." The dancers are Romany Pajdak and Erico Montes. Odette is positively chatty. After her initial reluctance, she has something she really wants to say. . I was very impressed by the forceful way she prevents Siegfried from interrupting her. Twice she raises her hands and says: "But. ..... Wait !" (As in, "let me continue.") Thanks, innopac, for introducing me to the Insight videos.

I've been enjoying re-reading this old thread (in conjunction with our current thread on the impact of "small things" in ballet). This led me to think about the language of fans, which is said to have been a big thing in upper-class social life in the 19th century. Some choreographers have used fans as props. (I'm thinking of Sonnambula.). On the whole, if I remember correctly, they haven't made much use of them in classical mime. Here's one version of what you can "mime" with fans. There are many others available online, some of them extraordinarily complicated : "KIss me" is obvious. "We are watched" is delightfully melodramatic. "Desirous of acquaintance" and "I hate you," on the other hand, are too ambiguous (or leading to double ententre). "We are friends" might, unfortunately, merely suggest that one is a clutz, while "I am engaged," might just suggest: "I'm hot and sweaty." One could draw the lesson from this that mime in ballet is too obscure and that we need to keep it to a minimum. On the other hand, one could go with dirac's earlier post about the extraordinary power of mime when well performed. Writing about Jean-Louis Barrault in Les Enfants du Paradis.:

These examples are fascinating. I identify with almost every one. The ability to perform stillness is a great skill, and one which can create a powerful effect -- just as silence in the midst of noise. Stage Right, children do notice and think about such things, thank god. I have to confess that, even as an adult, I rarely see Aurora sleeping or Juliet in her false death without wondering what the performers are thinking/feeling and how they are accomplishing the effect. Is it a natural skill, to do this well -- i.e., in a manner that holds the audience's attention? Can the skill be learned? Complete stillness breaks the man pattern of the piece. It defies our expectations, and so calls attention to itself. The same may be true of the particular bourrees that cubanmiamiboy mentions.. Does anyone see this step without wondering, at least briefly, "How do they do it?" Also, there's a marked disconnect between what the feet are doing (fast, tiny, almost invisible movements) and the placidity (tense and powerful in the case of Myrthe) of the rest of the body.

It's good to see this topic being revived. Back in 2006, Herman Stevens raised a question: He gives a couple of good answers to his own question. That was 6 years ago. Since then, is anything systematic being done to "revive" Ashtonian dancing, or are we still coasting along depending on luck, the coaching of a few dances who worked with Ashton, and some current dancers naturally given to the style?

What a marvelous piece. I never saw Jackson's Cleopatra, but bits of Susman's own performance (from a British tv production, 1974) are on YouTube. Readers can compare her thoughts about the character, c. 2012, with an actual performance, c. 1974. Antony and Cleopatra is a play rarely performed in the U.S. in recent decades. Too big a cast, I imagine. The only full productions I've seen on stage was Colleen Dewhurst chewing the scenery at the NY Shakespeare Festival back in the 60s and an underpowered Helen Mirren in the 90s. One of my earliest theater memories was hearing my parents talking about Vivian Leigh's and Olivier's A&C on Broadway in the early 50s. Unfortunately I was too young to attend. I did get a chance to see a quite different Cleopatra by Leigh in Shaw's Caesar and Cleopatra -- the movie with Claude Rains, shown often on New York City tv in my youth. I am a big fan of that play. I would love to have had the chance to see a couple of unexpected Cleopatra casting choices -- Tallulah Bankhead on Broadway, Judy Dench, Frances de la Tour in the nude, (It's about Bankhead that a reviewer famously wrote: "Tallulah Bankhead barged down the Nile as Cleopatra last night -- and sank.") I enjoyed the conviction in Susman's voice when she writes: " he clearly had some fine male actors to bring them to life on his amazing stage (not boys – dump the insult of a teenage boy attempting Cleopatra or Volumnia, please)."I also loved her lament about the lack of "interiority" in even the major female characters in Shakespeare, who reserved his big soliloquies for male characters. Generally Susman is on target about the limitations in the way the the big female roles are constructed. For example: The point is valid, even though there is much in the language given to these characters that makes them memorable. I've been thinking about your final point; I'm ambivalent about "actress." I understand the motivation for calling oneself an "actor" regardless of gender, even if it requires adding the "male" or "female" for clarity in certain kinds of discussion (as when awarding prizes that distinguish between women and men). I remember quite well the old days when some portions of the press still resorted to odd, genteel-sounding labels like "aviatrix," "manageress," etc., and when no one snickered at phrases like "Diana the Huntress." On the whole, am glad that those days are gone.

Shirabyoshi, I love the term "unemployed eyes" and very much appreciate your summary of how central they are to classical Japanese art and theater. I might add cinema, especially the historical films of Kurasawa and others. Puppytreats, you raise the issue of huge auditoriums and far-off seating. In recent years I find myself choosing to sit close to the stage if I can, and even if there is only a partial view of the entire stage area. I can't prove it, but it seems to me that the failure to engage the eyes is often a symptom of a deeper slackness of connection with either the music or the choreography, and sometimes even with fellow dancers.

Just learned that DTH will be performing at the Kravis Center in West Palm Beach (FL) next April, so I hope to have the chance to become reacquainted. Nothing on their website yet about spring touring. Hoping for Agon, and also to see DePrince.

Good question, Helene. Balanchine must have had a reason for this particular casting, and that may give us an idea about what Sapphire might have looked like.I don't recall ever seeing Hayden and Mitchell dance as partners, though they were from time to time in the same works (Agon; Midsummer Night's Dream). Mitchell suggests a certain natural elegance, but he could take on the power of a panther if called for. He could dance like a hoofer (Slaughter) and a had a gift for comedy (as in, Puck). I don't associate these particular qualities with Hayden, though this may be unfair.. Mitchell did dance Othello, not the Limon, but his Desdemona was Mimi Paul. Paul could do vulnerable, which was not Hayden's strength.. For Mitchell and Hayden, I would think "romance" would be out. It was okay in those days to do an interracial Othello because that was what Shakespeare tells us to do. Agon pas de deux (Mitchella and Adams) is sensual but quirky -- not romantic. Both Mitchell and Hayden could do sensual and quirky. Also, both -- as was typical of the company in those days -- danced full-out and with a clear love of whatever they were performing. Rubies makes us think of "flash." Emeralds carries associations of under-water. Perhaps Sapphire (the blue version) suggests the firmament? Flying? Something ethereal?

Good points, Amy. I'm still interested, however, in what "sapphire" connotes to people. We can all relate to "diamond" and its emotional symbolism. But sapphire? I guess I'm thinking here more about speculation or even fantasy, not necessarily serious plans for the creation of a new work for NYCB, or reasons why not to do one. Violin Concerto, did that Harvard Theater Library exhibit give us an clear idea of what was originally planned, at least in terms of look?

Most of us, I know, love Jewels as it is. But if we WERE to add a Sapphires section, lots of real questions pop up. I have no idea what qualities are suggested (real or symbolic) by "sapphire," which means I have no idea of what tone, feeling, or style would the dancing have to convey? Speed and energy? Adagio or even langour? Wit/ Outright comedy? Gravity? Sexuality? Serenity? Sturm un drang? Other questions come to mind: Whose music? Which choreographer? Which dancers?

I know what you mean, sandik. I just checked with the Baryshnikov-Kirkland ABT performance available on YouTube. The elegance and simplicity (elements of what Parma would call "charm") get extra energy by the mirroring of the two lead dancers, and (paradoxically) the contrast with perfectly posed corps standing behind them.J Possibly that term "big impression" in my sub-title was a mistake. I've edited it to read "lasting impression." Helene's examples fall into this category, definitely. So does polyphonyfan's preference for the understated Bolshoi version of the Arabian Dance. Yesterday afternoon, at a chamber music program of including some unfamiliar (to me) early 20th century works, I was struck by the way some members of the audience chuckled with appreciation at points when there were subtle, fleeting musical surprises. Many in the audience are regulars at chamber music performances in our area. I've been wondering whether this pleasure in noticing and savouring small things is universal. Is it something that some have a predisposition for while others don't? Does it require special knowledge of the art form? If there is a disposition, I think I've had it since childhood. I recall noticing things like foot placement and small changes in epaulement long before I knew anything about ballet technique, history or terminology.

[MOD BEANING ON] This thread is evolving into an interesting discussion of aesthetics. For those who want to talk about the goverenance/financial crisis at MCB, it might be a good idea to post on our newer thread, devoted to current policy matters. Here's the link. [MOD BEANIE OFF]

MCB is still addressing the unfunded portion of the matching grant for live music. They are seeking to raise $10,000 (out of $300,000 needed to meet this season's matching grant from the Knight Foundation). I think this is the first time they've used social media to reach what I guess they hope is a new donor base. Here's the link, taken from MCB's Facebook page: http://power2give.or...jectId=815#play This reminds us that there are many musicians whose security is at stake, not only Gary Sheldon, the excellent ballet conductor imported several years ago, but the 44-plus free-lancers of Opus One Orchestra for whom MCB's performances provide quite a lot of work. (Boards with a boom-or-bust mentality, and consisting of members who are usually cushioned financially from the effects of such swings, can be quite cavalier about the costs to their workers when the company suddenly "down-sizes" ... again.) I was struck by the statement that the cost of an orchestra ranges from $10,000 to $15,000 PER PERFORMANCE. This particular $10k appeal is being presented as paying for just one performance -- the season-opener at the Arsht Center in Miami itself.

Absolutely. Lopez has on numerous occasions since her appointment talked about her devotion to the core Balanchine rep and to Balanchine training. We have linked and discussed several of these statements on other MCB threads.Villella himself was open to contemporary work to fill in the spaces around MCB's core rep. His his dancers, who have worked with him almost every day of their employment, have expressed heartfelt love for the chance to stretch themselves in new ways. Lopez herself has a record emphasizing the core rep while also working with interesting choreographers. We can hardly expert her, when creating Morphoses with Wheeldon, to incorporate large-cast Balanchine and Robbins ballets already being danced by NYCB. As to the bugaboos of "Duato" and "Forsythe" -- there are shorter works by both which might suit the company well, if that is what Lopez wants. (And if that doesn't work, the pieces will fall out of rep.) It's quite possible that Lopez raised these 2 choreographers in interviews because she knows they are are familiar (by name at least) to a large group of American dance aficionados. Liam Scarlett (who participated in the Farewell to Monica Mason program of new works at the Royal) is coming next season (Program II). A new Ratmansky piece, performed only once at a special program in Miami last year, will be ppart of Program III at all 4 venues. She has links to other young choroegraphers through Morphoses. MCB will not be starved for plausible and possibly excellent choices if they add a couple of new works in subsequent seasons, which is all that is being discussed right now. It's possible, of course, that there are those on the Board who imagine a future involving a stripped-down company doing mostly contemporary works. I see no evidence of this, nor can I imagine that such a change would bring audiences large enough to fill the large Arsht, Kravis, Broward and Naples (. Certainly the involvement of Robert Gottlieb and key Board members who have long worked with Villella suggest that this kind of re-design is not in the cards. The decision-makers on the Board -- by exposing their disagreements and saying nothing about their larger values concerning the company -- needs to re-think its public relations. What they should do now is speak to the public -- ideally, this would involve assusring donors, potential donors, subscribers, and single-ticket buyers that they DO intend to to everything possible to preserve the training, rep and aesthetic values established by their founding Artistic Director. All evidence suggests this what Lopez wants, and I can't imagine a single dancer in this company who would disagree.