bart

I agree -- and can't think of any other ABT male principals who would fit the role. There's something about the command of the stage, the projection of physical heft (along with grace), and the ability to convey feeling with face as well as movement. Anyone else have suggestions for guest artists or company members to perform Spartacus or Crassus, Phrygia or Aegina, should the ABT take up fandeballet's suggestion?

At least that's how the Trocks play it. To great acclaim.

I was thinking of Plymouth, Salford and Sunderland. US cities of their size rarely have the chance to get regular visits from a company of the reputation of BRB. I guess the existence of government subsidies is the deciding factor in the UK. Here, the concept of "government subsidy" (at least in recent years) seems so distant and unreachable as to be truly alien. Peter Wright's Sleeping Beauty -- excellent! I noticed on the BRB website the availablity on video of a number of their full-lengths, but don't recall having seen them here, though the R&J must have been available c. 15 years ago. RE your question about American regionals (eg., Pennsylvania Ballet's proximity to NYC), I hope that others more knowledgeable than I will answer. Seems to me that cities like Philadelphia, Boston, Seattle, Phoenix, Miami, etc., -- all homes to important regional companies -- have a mixed bag of subscription series by the home companies (which also tour in what appears to be a scattered and not very consistent way), and visiting companies. Money seems to be a big problem. I wonder, for instance, if any American regionals have tried the BRB's 10-pound a ticket policy, at least for some performances, to get younger and "new" bodies into the seats.

Your topic is an intriguing one, and I'm sorry it got lost in the shuffle. I wish I knew enough to respond. But surely there are other Ballet Talkers who feel strongly about X's beautiful feet feet and Y's eloquent lower back! Here's your chance to vote your preferences.

Interesting to see the combination of pieces very familiar to me -- and others not at all. They certainly travel a lot, and the residents of those small cities are fortunate. (It really helps when distances are relatively short, as in Britain but definitely not the US.) Question: whose or which version of Sleeping Beauty?

I also liked it. But at one point there was a long shot showing the ribbons all tangled up around the pole. The next long show showed them all perfectly in order. I spent an unnecessarily extended amount of time trying to figure out how the dancers had managed that trick. Possible point: adding stuff also expands the potential for distracting the viewer.

I wish I could sit down over coffee and discuss this shared experience with so many of you. Here are just a few reactions to these posts. Maybe that helps explains (for me) the relative lack of real pathos in the main story. I appreciate the technical expertise here. I did feel that the role of the swan corps had been seriously changed from other productions I've seen, and not for the better. At the end there main purpose seems to be to clutter the stage, making it difficult for von Rothbart (whom they ignore entirely) to die his interminable death. Agree on the music. And agree VERY MUCH that I, too, learned a lot. Hooray about the missing Jester, whom I've also seen in other versions, including one by the Kirov. Your thoughts about Gillian Murphy echo Alexandra's, and have convinced me 100%. And then there's Natalia's very excellent point: On the whole, a wonderful film. Thank you PBS! However ........

Alexandra, I think I forgot how young Murphy is. I suspect you're right, that she is building towards a characterization. The planning, scaffolding, and framing are visible -- not (yet) the finished building. Should be very interesting to watch her progress.

I really enjoyed this. No comparison at all with the Llive from Lincoln Center telecast of the NYCB version. Highlights for me (before I can collect my thoughts): -- the pas de trois with Cornejo, Cornejo and Reyes, in Act One; -- Gomes commanding the stage, cape-swirling, and moving those incredible arms and hands; -- the cygnets and the corps of swans generally, when they were given something to do (not often); -- Act One generally; -- set for Act III -- the Black Swan pas de deux as a set piece independent of the plot. Disappointments: -- Siegfried's suicide: like a last-second decision to jump through a closing subway door; -- Rothbart's death, which became the main topic of the end of Act IV by virtue of the big green costume (clashing ludicrously with the swans' tutus) and the much-earlier disappearance of the protagonists -- the pas de deux to the violin solo in Act II, which can be (but was not) heart-wrenching Gilliam Murphy is a powerful dancer and not like one I've ever seen before. Talk about plastique!. I wondered whether it might not be an illusion of high definition tv. At times her sheer physical presence seemed to overwhelm Corella and everyone else, too. In some of the lifts she sailed above the rest of the cast like a mighty galleon. Some posters seem to prefer her Odette; others her Odile. I found them both impressive, but basically two different versions of the same thing. She was always working. All that work was effective, but I cannot imagine her being of interest in repose. Or inspiring tenderness or pity. --

I had a long interest in ballet, going back to my mother who trained as ballet dancer in NYC in the 1920s. I attended NYCB and ABT starting in 10th grade and became a subscriber on moving permanently to NYC to go to graduate school. Over the years, I balanced -- still do -- attendance at ballet, modern dance, opera, theater (with preference for the classics), and symphony. I always spent a significant percentage of my income of tickets. What got me to focus on ballet -- to become a "balletomane," as opposed to a frequent and fascinated audience member? Several things: -- a) moving to a small city, where I found I needed to attend mujltiple performances of the same program because relatively few programs are offered -- and then, learning how to observe, compare, label and remember; -- b) getting into shape and starting to take ballet classes . Doing ballet, at even an elementary level, is a remarkable ticket to observing it well. Not to mention giving me a completely new appreciation of what it is that dancers do and how miraculous it is to do it well. -- c) finding Ballet Talk a year ago. You all allow me to tap into --- and participate in -- a rich cultural and historical context of ballet all over the western world.

This is a rare chance for all of us on (in the US at least) to experience a grand ballet performance at the same time. Wherever we live. Whatever our level of ballet involvement. I hope everyone will feel the urge to post a response. The idea of that is almost as exciting as the anticipation of the telecast itself.

How very cool to see that Natalia Makarova is representing the US.

Here's a link to the Great Performances site devoted to this evening's telecast. It includes an interview with Gilliam Murphy and other interesting material. www.pbs.org/wnet/gperf/shows/swanlake/

I was intrigued by this statement. I know that there's some linguistic and other divisions in Belgium between the Flemish and Waloon portions of the country, but does this carry over into dance as well? What is is "Flanders" ballet as opposed to other kinds of ballet? Does this have to do with style, audience, dancers? Is there a "Wallonie" ballet company? What about Brussels? Is there any integrated company representing the entire country? It seems that, in the past, Belgium imported foreign companies to serve as the "national" company (Bejart, Morris). Is this an incorrect perception?

Great answers. Thanks. Seems like some of the directors of local/regional companies hear could learn about the audience development by BRB and tailing rep to audience aby NBT. Step-by-step development of a loyal ballet-going audience seems a special art, indeed.

I'd also like to hear the answer to this. About the company in general: Dutch National Ballet's version of Sleeping Beauty (Peter Wright staging, with Sofiane Sylve) is in tape in the US. And it's a stunner -- beautifully danced, staged, and costumed. I was very impressed with the style and technique of all involved. I've also seen snippets of shorter works from DNB on Classical Arts Showcase on TV, but honestly did not register the name of the choreographer. The company is definitely worth looking for.

Really interesting review. Thanks. In my part of the world, Liaisons Dangereuses would definitely NOT be matinee fare. LD is one of my favorite novels -- ditto the film versions with Jeanne Moreau, Glenn Close, and even Annette Bening. But it's such a complicated story! And all that back-and-forth letter writing. You mention, Becca_King, that Northern Ballet Theatre gave a class about the ballet before the performance. Did anyone address the question of how to distill such a complex plot, with so many characters, into a accessible story ballet? Another question about NBT. Do they still have in repertory the production of Romeo and Juliet videotaped 10 or more years ago? I remember that it was young, vital, dramatic, and quite contemporary in feel -- just like West Side Story would be if transposed to medieval Verona. Another question. NBT seems to specialize in full-length story ballets. Is that related to the nature of audience demand in the north of England? Which of them have been your favorites?

Thanks, Mel, for that information. It helps explain why so many of the new suburbs built in the 50s (in my family's case, Long Island) invested so heavily in public school performing arts programs and facilities. I'd be interested to hear some answers to your questions, carbro. What alternatives do you people have in a time of declining investment in non-essential (eg. arts) education? Do-it-yourself garage bands? Synchronized swim teams? My perspective is a little cynical, since I now live in Florida, a state which so underfunds public education that it actually gives public schools the option of giving driver's ed credit without without having to provide cars and real driving time. (On a positive note, Palm Beach County has a superb arts high school and middle school. But next year, funds are being cut, as are highly successful programs.)

While browsing old Swan Lake threads in preparation for Monday's televised ABT version, I came across this interesting thread, which seems to have died a sudden and untimely death back in 2001. Despite the title, "Facial Expressions," the thread seemed to be moving into a larger discussion of characterization of the Odette and Odette roles. I was especially intrigued by Mel's references to the fact that swans are "big, powerful", which could have implications for the way Odette is portrayed. Now that we're all awaiting to chance to watch, tape, fast-word, rewind, and pause Gillian Murphy's Odette-Odile, I was wondering what other Ballet Talk people think about the way the swans have been or should be characterized. There are lots of possible questions: How would you like to see the character of Odette and/or Odile portrayed on Monday? What advice would you give to Gillian Murphy about what do do or what to avoid? Which performancers in your experience have given the best portrayals of the character of Odette and/or Odile?

Thank you, Mikhail, Natalia, and all. I've heard of claques at La Scala in the past, but did not know how powerful they are in Russia. I have so many questions and hope some of you can answer at least some. Since money seems to be central to their motivation and power, where does this money come from? Is there so much cash floating around in Russian ballet? Do individual dancers have managers or protectors who can afford to pay for the claque's approval? Why does the management of the theater permit it? Have dancers -- especially those attacked by the claque -- ever spoken out or taken action against it? How does the ordinary, regular ballet audience feel about this -- and respond to it when the claque is in action? And finally (thanks for your patience): are there any notable examples of claque-like organization and behavior in theaters outside Russia today?

Pretty perceptive for 1928 in America. Though I wonder about that word "vicious". RE: the Dance Macabre film on www.nypl.org. Thanks, Mme. Hermine. What a wonderful record, especially the brief shots of rehearsals of other dances in Bolm's Chicago studio, including a Javanese Court Dance and a Botticelli inspired I-don't-know-what. Question: what are those shoes Ruth Page is wearing in Dance Macabre? They seem to be pointe shoes, but appear very flat and odd-looking at the front of the foot as she bourees backward at one point.

I guess my concern is not so much including or excluding the negative/controversial. It's a question of balance. The Telegraph obit contained only a few sentences referring to the international, successful part of Stretton's career, focusing almost entirely on his difficulties in "Little Britain." Also, the innuendo about sexual advances seemed odd: either document it or leave it out, I'd think.

Mrs. Stahlbaum's link shows that the Telegraph has a history of this sort of negative obit-writing. It also got me thinking about a kinder, gentler obituarist -- Alden Whitman, chief obituary writer of the New York Times in the 1960s-80s, and something of a neighbor in the East End of Long Island. This led me to Google, which led me to the website of something callead the International Association of Obituarists (see, there is such a word). Their website is: www.obitpage.com

All excellent and accurate points, carbro. I especially appreciated #6, to which I'd add the opportunities to delve deeply into specialized interests, something made possible by internet and other forms of technology. Regarding dance, there's an implication that the previous generations lived in a relative golden age. Do we know for a fact that there are fewer people participating, supporting, attending, and writing-thinking about ballet today than in the past. I find that hard to believe.

The old "middlebrow" culture is looking better and better. I know that I owe my love of the arts, as well as higher levels of involvement, to lots of organizations that were eventually stigmatized as middlebrow -- organizations like Time Magazine, the Book of the Month Club, Andre Eglevsky's suburban ballet studio, a public high school that put money into orchestra, band, chorus, and theater, and even stodgy (to me) TV cultural-highlight shows like Voice of Firestone and Bell Telephone Hour. These institutions, didn't aim for the highest level of artistic or intellectual expression themselves. But they posted signposts about (a) why the arts are essential and (b) how to seek them out. David Brooks describes the middle-brow culture of the 50s and early 60s as "really high-toned popular culture. It was popular, at least where I grew up, and most people I knew shared the belief on some level that "culture is good for your character, and that a respectable person should spend time absosrbing the best that has been thought and said." Some of that still exists in many communities -- especially, I think, where ballet and dance are strong. One of the impressive aspects of the network of ballet studios and local/regional companies around the country is that they embody a residual and touching faith -- the belief that the art of ballet (and the tradition, discipline, and elegance that it embodies) is hugely important. Even people who "prefer modern" or would rather buy a ticket to Cats, Fosse or Movin' Out recognize that ballet is the foundation and prerequisite for most of these forms of dancing. There's still a vital role for ballet in the land where, as Brooks opines, people are are being told that the work of art is marginally relevant to their lives and that they should be "more interested in exploring and being true to the precious flower of their own individual selves."