Clara 76

That's both fantastic and weird...Am I in an alternate universe???? One where the government actually sees the value of the arts and supports it??????

Clara 76

Thank you for your valuable information. I was curious because I have read posts where people complained quite a bit about NYCB's orchestra. We are very fortunate with the CSO because they are actually quite good.

I'm not sure however, whether having them would in fact, increase ticket sales.

I am just hoping for 2 things:

1. For an end of the economy problems

&

2. For the arts as a whole to do a better job of making their case

I firmly believe that the arts need to be incorporated into our system of education here. I firmly believe that we'd have a more intelligent, more civilized, and therefore, more peaceful culture.

Clara 76

You make some good points Bart.

What is your opinion of ballet companies who have their own orchestras as opposed to those who hire the local symphony?

Clara 76

Sorry about that... I didn't know because I had to have surgery and therefore, didn't find out until we got into the theatre.

While we would all have preferred to use the CSO, it is better to be financially responsible. I am sure we will continue to use the CSO in the future. We have a long-standing relationship with them; both organizations have helped each other, and both organizations have had to face financial difficulties in years past.

BalletMet is very fortunate to have been able to meet and surpass budgets without a deficit in 26 years. In these arts-unfriendly economic times, sometimes, you've gotta do, what you've gotta do.

Clara 76

For the production: Gerard Charles, our AD who trained with The Royal Ballet School, originally staged this Cinderella in 2002 for us. The following is directly from our website:

"Featuring the physical artistry of BalletMet's dancers, lush scenery and costumes, and a soaring score, BalletMet's Cinderella is a delight for all the senses.

Along with an endearing storyline, Cinderella includes the hilarious antics of Cinderella's clueless stepfamily, moments of pure wonder, such as when Cinderella reunites with her Prince; and BalletMet Dance Academy students performing as a special clock that moves.

Debuted in 2002, the enchanting ballet was a collaboration between BalletMet Artistic Director Gerard Charles and Robert Post, the creative minds behind BalletMet's December hit production of The Nutcracker. A master of narrative flow and wedding movement to music, Mr. Charles manages to balance a classical sensibility and an eye for humor. Romance and laughter--the perfect combination!"

I believe there are 2 casts for this production. Carrie West and Jamie Dee are alternating Cinderella with Dimitri Suslov and Daryl Brandwood as the Princes.

The Stepmother is done by one of our male dancers with the 2 stepsisters played by women. My son is a part of the clock as well as one of Cinderella's Footmen.

Personal opinion: Very family-friendly and funny. The comic timing required for the stepsisters is split-second and both of the girls dancing Cinderella are idyllic. The clock choreography is quite brilliant. Costuming is appropriate- quite beautiful for the fairies, but in my opinion, Cinderella's ballgown could be more beautiful. All in all, a very enjoyable production.

I hope that answers your questions!

Clara 76

Thanks Ed- Looks funny!

Clara 76

BalletMet Columbus uses The Columbus Symphony Orchestra for all ballets performed in The Ohio Theatre.

I don't know if we have a "music fund" or not.

Clara 76

In these bleak economic times, it is smart for a company to pull from sets, costumes, and ballets already in rep and therefore, in their respective costume and prop shops.

But I agree with Leigh, I could see those over and over and never tire of them!

Clara 76

BalletMet Columbus will be performing Cinderella April 14 - 17, 2005

at The Ohio Theatre

Thursday, April 14, 7:30 p.m.

Friday, April 15, 8 p.m.

Saturday, April 16, 2 & 8 p.m.

Sunday, April 17, 2 p.m.

Tickets: $17, $27, $37, $39, $47, $57

Website: BalletMet

My son's in it!

Try posting under "Cross Talk" over there. I'm sure you'll get some responses!

Clara 76

I'm going to throw this out there:

The reason there are 5 foot positions has to do with the steps. Every ballet/jazz/ballroom step can be broken down into 5 foot positions because the body can only move forward, backward, side to side, and turn.

Break apart a tombe pas de bouree and you've got:

tombe- 5th to 4th

pas de bouree- 5th, 2nd, through 1st/5th to 4th (if you're doing pirouette after but you get the idea)

etc.

3rd position would be more of a transitional position ie. the foot might move through that position to get to somewhere else., but it's also useful for finding ecarte etc.

And yes, turn-out definitely assists with balancing and gives you a broader base from which to move off of.

The usage of 6th or parallel is more for teaching younger students- you can't find turn-out if you can't find neutral. It also helps to balance the muscles that you must use for turn-out, but you shouldn't find 6th position in any classical ballet choreography anywhere- with the exception of character dances!

Clara 76

The only time I remember people wanting to know casting in advance was when David Nixon choreographed "Dracula" on Jimmy Orrante.

I know, I know, Dracula blah, blah, blah, but....Jimmy was amazing in the role. He was Dracula, and I defy any woman who saw that production to deny that they'd have let Jimmy bite their necks anytime he wanted!!!!!!

Clara 76

What about Chan Hon Goh?

Also, Yoko Ichino...

Clara 76

I seem to recall in the cobwebs of my mind that the Puccini Foundation got a tiny bit mad at Andrew LLoyd Weber for his "Puccini-inspiration" in Phantom, and whoever did Les Miz for the same reason...

I may be wrong...

Anyone else?

Clara 76

Wouldn't you say the same thing about paintings???

To some Monet, to others Dali...

Clara 76

carbro,

I'm sorry the link doesn't work...

It works for me from this page.

Perhaps your anti-virus or firewall program doesn't like it??

I use Norton and I am not having any warnings or anything.

The site is quite lovely, even though I don't understand a word of it!!

If you click on the bottom where it says 'Home' (It's the only English word!!), it will take you to the main page & on the bottom right, you can click on some more photo links. I found Pas De Deux photos of everyone from Lacarra/Pierre to Makarova/Nureyev.

I hope you can get to it carbro..

Here's the actual address: http://xoomer.virgilio.it/lillial2004/Sognodiballerina.htm

Clara 76

I don't know if this is the proper place to put this but I just came across an Italian website with beautiful pictures of dancers. I thought I'd post the link for others to enjoy!

Ballet Website

Clara 76

A little more sensual than standard fare, a little more intimate than most nights out, BalletMet's popular February program is the most electrifying way to celebrate Valentine's Day. Heavy on passion, this year's lineup will feature:

--Bolero- Original choreography by Ohio Ballet founder Heinz Poll. Set to Ravel's legendary score, the piece blends Indian and modern dance styles, its movements increasing in complexity as the music builds. This BalletMet company premiere will be staged by Xochitl Tejeda de Cerda, the ballerina upon whom Poll created the work.

--Blue and Orange- Two works by BalletMet Artistic Associate Stanton Welch. Both company premieres, they are part of a series that explores different emotions through the colors of chakras (i.e. the seven energy centers of the body) and feature Mr. Welch's contemporary choreography performed with classical technique.

--Imposing- A world premiere by BalletMet company dancer Daryl Brandwood that features music by Tango Nueva great Astor Piazzolla. A contemporary piece about the different aspects of relationships, it was initially created for the first Columbus Choreography Project, a competition held in May 2004 at which Mr. Brandwood was awarded one of three fellowships.

--Touch- The world premiere of a contemporary work choreographed by BalletMet company dancer Jimmy Orrante.

--Group Therapy- Harrison McEldowney's humorous take on couples and relationships that features the intricate partnering for which he is known.

February 10 - 19, 2005

Capitol Theatre

Tickets: $25.50, $37.50

Thurs., Feb. 10, 7:30 p.m.

Fri., Feb. 11, 8 p.m.

Sat., Feb. 12, 8 p.m.

Sun., Feb. 13, 2 p.m.

Thurs., Feb. 17, 7:30 p.m.

Fri., Feb. 18, 8 p.m.

Sat., Feb. 19, 8 p.m.

BalletMet

OOPS!! So Sorry...won't let it happen again.

Clara

Hi Phillip!

I am sure you won't remember me because I was quite young at the time but I am Daryl's daughter. I am going to pass along your info. to her because I'm sure she would want to know how you are doing.

I can't wait until you get PM priviledges!!! We can gossip!!!! :gossip:

I hope you enjoy this board as much as I have! It's a great way to keep up with what is happening in our universe.

Take care!

Clara 76

Yes- OSU football. No bowl games etc.

The Ohio stadium has 101,568 seats. I'd imagine that most sporting events take place in larger venues than the arts. This coupled with corporate sponsorship, widespread media coverage, tv revenue, and underwriting by corporations all contribute to keeping the price-point lower for sports events.

While I don't have the numbers like Major Mel does, the partial reason for the increase in ticket prices may be attributed to the overall increase in production costs- including theatre rentals, tickets, staff, labor, printing fees, etc.

I challenge those of you who find ticket prices too high for the arts to volunteer your services to those organizations, whether it be showing up and stuffing programs/envelopes or offering your own professional services so that the arts can fairly compete in these bleak economic times.

Come up with solutions- help the arts to compete. We really are at a disadvantage when compared to anything else. (Steps off of soapbox and stows said box :grinning: )

Clara 76

While I don't have any ballet stats, I do know someone who $2,500 for season tickets to the OSU home games. That's a whole heap of money for 6 games don't you think????????

Clara 76

I wonder if it has anything to do with the subject of another thread on BT under 'Aesthetic Issues' called Management: Why have a CEO? :shrug:

CEO Thread

The reason I bring this up is because it seems as the arts have been moving more towards a "Corporate" model, little things like ethics and morals suddenly seem to take a back seat.

I don't think they have anyone "sponsoring" dancers in Europe or anywhere else the arts are more government supported for that matter. But maybe I'm wrong.

And you're welcome, BW!

Clara 76

And perhaps that's why we are seeing the "Sponsorship" of dancer's salaries becoming more prolific, as stated on another thread...?

While arts organizations do need to be financially responsible, they need not becaome "Corporate". That is a dangerous place to be!

Clara

Oh, I agree with you Alexandra-I was purely trying to be diplomatic with regards to the situation.

I am thankful that our company doesn't do that and I think, knowing Gerard as I do, that he wouldn't even entertain the possibility.

I personally think that the money might be better spent going to Artists in the Schools programs, or some other organization that educates people about dance-classical ballet in particular, and promotes audience creation. Or perhaps to keeping ticket costs lower to encourage more people to come?

Clara