Clara 76

The whole thing sort of makes me feel uncomfortable...I know for myself, if I had a 'Sponsor' I might feel obligated to them in some way-not a very healthy atmosphere in my opinion. I guess Houston's way of doing it might not feel as pressurized-sponsoring the position and not the dancer. However, to be perfectly realistic, if it's a question of the company staying afloat, that does have to take precedence. Clara 76

Did anyone else see this show tonight??? It started at 8 and went until 11-amazing!! I am still awed! Act 1 began with Grand Pas Classique danced by Bridgett Zehr and Connor Walsh, courtesy of Houston Ballet. These are 2 young people to watch!! She has gorgeous legs and feet, and with seasoning, Connor Walsh should become quite the dancer. Next was Diane and Acteon Pas De Deux, danced by Sarah Lamb-courtesy of Royal Ballet, and Gennadi Saveliev-courtesy of ABT. WOW...WOW...WOW!!! She has got legs of steel and he does things that are not possible. I kept looking for the wires because there's no way he could've done those leaps-it's not natural!!!! The Balcony Pas from Cranko's R&J was next. It was danced so sweetly and genuinely by Sonia Rodriguez and Aleksander Antonijevic from National Ballet of Canada. I really believed that she was a teenager and that they were in love. DTH was next with Kelleye A Saunders and Donald Williams doing an excerpt from St. Louis Woman: A Blues Ballet. They were, as usual, amazing. She is mesmerizing. BalletMet came next with an excerpt from Colores De Alma, danced by Olivia Clark and Jimmy Orrante. I loved it but I'll leave any other comments to others, because I am slightly biased!! Next came my new favorite couple- Agnes Oaks and Thomas Edur, courtesy of English National ballet. YOU MUST SEE THESE TWO DANCE!!!! They danced Impromptu which I would've thought was done by Balanchine it was so musical, but it was choreographed by Derek Dean. She is a gorgeous blond and he is very handsome. They must've been dancing together for awhile because their partnering was flawless. She is a fierce dancer with such attack and control and confidence. She really gets it-ballet is flight, and she personifies it. I could go on and on. After that was a jazzy contemporary piece called Coleman Hawkins Pas De Deux, danced by Chiharu Shibata and Prince Credell. It was sexy and jazzy and very Fosse, danced exquisitely by these 2 from Alonzo King's LINES Ballet. Le Corsaire Pas came after that, with Larissa Lezhnina courtesy of Dutch National Ballet, and Viacheslav Samodurov courtesy of Royal Ballet. They seemed a little nervous but danced respectably. Stanton Welch's piece Wildlife set on BalletMet was the Act 1 closer. It is a very impressive piece and I was left with my mouth agape. The energy required to dance that piece is phenomenal, and BalletMet tore up the stage! (In my opinion but again I would like to hear from others as well) Act 2 began with Prince Credell dancing Bach Solo from ROAD. He is like water baby!! Liquid, sparkling, fluidity-he reminds me of Fred Astaire, Baryshnikov, and Gregory Hines, rolled into one luscious body. Awesome. I would watch a whole evening of just him dancing...or walking...or probably even just sitting there!! Next came the second best White Swan Pas that I've ever seen, danced by Sarah Lamb and Gennadi. I swear only Natalia Makarova was better. They were perfect. DTH appeared again with Signs and Wonders danced by Kelleye and Donald. Incredible costuming and choreography. Danced to perfection again. A humorous break came next with a lighthearted piece called Call It Off, choreographed by Harrison McEldowney for BalletMet, performed by Christine Mangia and her husband Justin Gibbs. It is danced entirely downstage within 2 stationary spotlights. It begins with an obviously upset wife pacing the stage waiting for her husband to show up. When he breathlessly arrives, she says, "Where have you been??". Justin then goes into a hysterical monologue filled with every kind of excuse that a husband might give a wife, while she dances a solo in her spotlight, giving off the impression that she has heard this all before. When he is finally finished she starts in on him while he dances his solo. It had the audience rolling! The even funnier thing is that the dancers made up their own monologues. Christine and Justin are priceless in this piece. Sonia and Aleksander danced Summer from Four Seasons, choreographed by James Kudelka. It was fresh and lively and highly watchable. Great amount of energy from these 2 and a great complement to their R&J. Then Gennadi danced GOPAK. This made the audience spontaneously clap along as he danced amazing leap after amazing leap!! The next piece was Herman Schmerman choreographed by William Forsythe and danced perfectly by Bridget Breiner and Christopher Roman. Breiner was courtesy of Stuttgart and Roman from Ballet Frankfurt. Fantastic choreography, intelligent movement and definitely cutting edge. Bridget even reminds me of a shorter Sylvie. Larissa and Viacheslav danced In Light and Shadow next, in simple purple costuming. It was very nice and they seemed more at ease. The finale was the Don Q Pas danced by Agnes and Thomas and YOU MUST SEE THESE TWO DANCE!!! Or did I already say that once! Absolute perfection. They are so strong and 'on' with every movement they make. Everything has a purpose and they are so connected to the dance as well as to each other. They are at that most amazing place that so few dancers reach where they are right in the moment, utilizing the energy that's given to them and improvising and creating right there on stage under the audience's collective nose. It's like there's so much joy spilling off the stage and you feel like even if the audience got up and left, they'd stiil keep dancing they love it that much. Her balances literally were in slow motion. It seemed like she was even able to slow down the pre-recorded music at her whim. Literally the best ballerina I've seen in a long time. Truly a gift to our art. Oh yeah-he was great too. So attentive and yet, brilliant in his own right. I think I want to move to England and become and ENB groupie!!!! The show moves to Cincinnati Saturday night and I highly recommend this performance. It is worth every penny. Hope someone else can chime in here!! Clara OOPS! I just did a search on this board and it seems that yes, Agnes and Thomas have indeed been dancing together for awhile-they are husband and wife! Still WOW.

GALA OF INTERNATIONAL BALLET STARS Presented by BalletMet and ballet tech ohio Production sponsor: National City Described by The Columbus Dispatch last year as "something to cheer about," the Gala of International Ballet Stars features some of ballet's best dancers performing passages by some of its best choreographers. The star-studded program will feature: BalletMet, performing Call It Off by Harrison McEldowney; Stanton Welch's Wildlife; and La Vida Pasa from Deanna Carter's Colores de Alma, which was part of BalletMet's smash hit program at New York's Joyce Theater in May. Former BalletMet Academy student Bridget Breiner of Stuttgart Ballet and Frankfurt Ballet's Christopher Roman, who studied with the now-defunct Cleveland Ballet, in Herman Schmerman by William Forsythe. Gennadi Saveliev of American Ballet Theatre in the solo Gopak and, with Boston Ballet's Sarah Lamb (who's soon to be with Royal Ballet), a passage from Diana and Acteon and the White Swan pas de deux from Swan Lake. Agnes Oaks and Thomas Edur from English National Ballet in a Don Quixote pas de deux and Impromptu by Derek Dean. Royal Ballet principal Viacheslav Samodurov and Larissa Lezhnina, leading principal ballerina with Dutch National Ballet (also a former principal with Kirov Ballet), in the neo-classical Le Corsaire, and Light and Shade by Krzyxztof Pastor, resident choreographer of Dutch National Ballet. National Ballet of Canada's Alexander Antonijevic and Sonia Rodriguez in "Summer" from Artistic Director James Kudelka's The Four Seasons, and the Balcony pas de deux from John Cranko's Romeo & Juliet. Prince Credell, from Alonzo King's San Francisco Lines Ballet, in a solo with music by J.S. Bach and, with Chiharu Shibata, a pas de deux to Coleman Hawkins. Kellye Saunders and Donald Williams of Dance Theatre of Harlem in Alonzo King's Signs and Wonders, set to traditional African music; and True Love from Michael Smuin's St. Louis Woman: A Blues Ballet. Houston Ballet's Bridgett Zehr and Connor Walsh performing the Black Swan and Grand Pas Classique pas de deux, and Joplin, a work created for them by Houston Artistic Director and BalletMet Artistic Associate Stanton Welch set to Scott Joplin's The Entertainer. Friday, August 13, 2004, Palace Theatre Tickets: $27, $47, $62, $77 Purchase ticketsMeet the Stars! After the show, join us for a special GALA RECEPTION featuring hor d'oeuvres, a cash bar, and a chance to meet the international ballet stars in person. Tickets are $25, and space is limited. Call 614.229.4848 today to make your reservations!

Dale, Have they mentioned the choreographer yet? Clara

That is very interesting, Mel. I believe it's important to try to understand other cultures, or at least become familiar with that which you didn't grow up with. While I cannot relate to the concept, I can understand how difficult it must be to be a dancer in Thailand. Imagine if American kids had to face that kind of obstacle... Clara

Dance Spirit Magazine has her listed as Thai. Right as usual Major! Clara

How about Nicholas Nickleby- the 8 hour ballet??? Newman Noggs-Peter Martins Smike-Nilas Martins/Jonathan Stafford Nicholas- Damian Woetzel/Jock Soto Kate- Alexandra Ansanelli/Yvonne Borree Madeleine Bray-Megan Fairchild/ Maria Kowroski/Ashley Bouder Mrs. Squeers- Darcy Kistler/Kyra Nichols Mr. Squeers-Peter Boal/Charles Askegard We'd need lots of extras so SAB would be really busy!!!! Clara

Oops! Forgot something! The fact that university students as near as 10 years ago, were surprised by Aristotle's musings may be where the key lies: Education. How difficult might it be to undertake a study of the creators of technological advancements throughout the ages?? Probably not too..... For example: Leonardo Da Vinci. Renowned artist/eccentric created drawings of machines that couldn't have been made during that period, yet with the proper materials/knowledge that we have today, have been created and are viable working mechanisms. Yes, he was a genius/crazy, depending upon who you ask, but was it the art that inspired him to look into the future and comprehend real human flight? No Icarus, he! My thought is that we need to make the arts become important in everybody's minds- not because "it improves the quality of life", but that the arts are the impetus to the advancement of civilization! The arts stimulate areas of our brains that would not become as developed without that stimuli. I submit: The arts are crucial to humanity. Anyone else??? Clara

Alexandra, As always, you bowl me over with your intelligence and depth- you give me brainache!!! Where do we draw the line between relating to an audience who thinks they know what they want, and educating that same audience about what might challenge and lift them, and ultimately make them better for the experience? The problem seems to be getting them into the theatre. Once they are there, they will rise to the standard you ask of them. But how to get them there???????? Clara

I just got my copy of "Henning Kronstam" and the only problem I can see with it is that I can't put it down!!!!! Even to indulge in my other obsession-Ballet Talk!! Ooh- gotta go read now! :yes: Clara

Dale, So you work for a company that Clear Channel owns? Did you work there before CC took over? What do you think of their tactics? I'm open to discussions about it and every topic always, but from where I stand, they're not inspiring me to champion them. I have a problem with apparent underhandedness and money-grubbing. And by the way, I am speaking out personally, not in representation of any company. I just wanted to make that known because I am not shy and withdrawn-and those who work with me have learned to just back away slowly when I am on a rant!! Clara

These controversial situations are indeed indicative of their management style. All across the country including here in Columbus, Ohio, they are attempting to take over venues, kick out the unions and the local performing arts groups, and bring in huge splashtaculars that will do nothing to increase the level of local intelligence but will sink to the lowest common denominator. Maybe now I should tell you how I really feel about ClearChannel... Oh, that's right, this is a 'G' rated board... Check out this website from the Columbia Journalism Review if you are interested to see just how much of the media market they own. Just make sure to be seated & have a bucket nearby in case your stomach can't take it! Columbia Journalism Review Clara

I thought something similar Mel!!! Clara

Thank you Mel!! And I am looking forward to our new direction, even while I am sad because it feels like an era ending. I think Kennet will bring so much to us, and I am looking forward to learning from him! Clara

Hello all, I decided to place the article here because if you aren't a Dispatch subscriber, you'll have to pay to see it. As Daryl Kamer is my mom, I am saddened by this but at the same time, I am excited for what Kennet will bring to us. Clara Dance academy names new director Thursday, May 20, 2004 Barbara Zuck THE COLUMBUS DISPATCH Kennet Oberly, a Bostonian who has danced with leading European and American dance companies, will become director of the BalletMet Dance Academy in August. An expert in the Bournonville style, Oberly, 47, will assume the position held by Daryl Kamer, who is retiring from the directorship after 26 years with the academy. "I think Kennet has a wonderful combination of attributes," said Gerard Charles, BalletMet artistic director. "He has extensive knowledge of classical training, a wonderful understanding of the process of working with children, has had tremendous experience as a dancer and has also had the opportunity to discover what he really wants to do — which is to teach student dancers. This is a wonderful match." Oberly has danced with the Stuttgart Ballet, Maurice Bejart’s Ballet of the Twentieth Century, the Tivoli Pantomine Theatre, the Houston and Boston Ballets and the Tulsa Ballet Theater. From 1982 to 1988, he was resident choreographer and ballet master of Ballet Iowa before serving as its artistic director from 1988 to 1991. He then returned to Europe to become ballet master of the Finnish National Ballet. In a prepared statement, Oberly said, "I believe in methodical training that is coordinated with the muscular growth stages of the individual student. This is where the students learn to understand that dance is, foremost, an art form that needs to be respected for its gradual building process because the real mission is to foster artists, not just technicians." The academy’s instruction has come in for occasional criticism in recent years for the curriculum — considered unorthodox in some quarters — initiated by Yoko Ichino beginning in 1995. Ichino, wife of former BalletMet artistic director David Nixon, was a Joffrey Ballet prima ballerina who brought yoga and other holistic exercise philosophies into both the academy and BalletMet dance classes. Though she was not director of the academy, she was its lead teacher. Since 2001, when she and Nixon left for England, however, her role has gradually diminished. (Nixon is director of the Northern Ballet Theatre in Leeds, England.) "Her methodology of teaching was unique, and because of its uniqueness, it is very hard to replicate without her presence," Charles said. "The more definitive you are, the more people will either agree or disagree. . . . Certainly Kennet brings a different focus to his training, which I think will enhance what is in place already." Oberly will become just the second academy director who is not also artistic director of the company. Until 2001, when Kamer was promoted from the academy’s artistic associate to director, the positions of academy director and company artistic director had been held by the same person. Kamer’s role at BalletMet can hardly be overstated. She and her husband, Jack, were co-founders of BalletMet in 1978, and she has taught at the academy since then, overseeing the education of countless aspiring dancers. "I love to teach," Kamer said. "I love to do everything I do, but I am looking to that place of having not quite so much responsibility." Charles pointed to Kamer’s contributions to BalletMet. "She has an amazing scope of children, of the art form and of what it takes to build an academy in a community like Columbus. At one time or another, every director (of the company) has turned to Daryl for advice." He forecasts a seamless transition: "The last thing Kennet said to me was ‘Please don’t let Daryl leave altogether.’ " Kamer will continue teaching at the academy.

Alexandra, I think I saw that not too long ago on Ovation-it was part of a program where they also did their 'Dying Swan', among others. It was hysterical! If I see that it's on again, I'll let everyone know. Clara

Can't we pleeeeeaaaaaase see that photo??????????? Clara :grinning:

I've only ever seen Parsons do 'Caught'- Tell me more about how Corella danced it???? Clara

Now that's a review!!!!!!!!!! Clara

Thank you Lampwick! I agree with you-she's just compelling to watch. I couldn't take my eyes off of her. I can tell that her core technique is strong-it would have to be in order for her to be able to do the things she does. She brings a certain quality to what she does. Your assessment of how she works sounds good, and I hope we will have many more years to watch her!!! Clara

I hope nobody minds but I am 'Bumping' this up after watching the Balanchine celebration on PBS the other night. I really enjoyed Maria's dancing-actually more than Nichols or Kistler which breaks my heart to say. I am concerned however, about her knees. She is SO hyperextended that I fear her career may be cut short if she isn't very careful. Anyone care to comment??? Clara

I am curious about what anyone who has seen 'Sylvia' thinks of the conductor, Gary Sheldon?? He is our main conductor and I would be interested to hear how he is doing. I think he is getting a reputation as a 'ballet' conductor... he certainly does so well for us, and he is a delightful fellow as well! B) Clara

In the fuzzy spot where my memory used to be , I seem to remember an issue of Dance Magazine within the last few years (the one where they profile new talent to watch) where there was a football player who'd been told to take ballet for strength and balance but loved it so much he quit football and is now a professional ballet dancer. Maybe you could e-mail them or try a search on their site?? Clara

Oh dear! I certainly hope they don't make those shoes in small sizes or else some stage mother will be the next in line for a pair for their "unnaturally talented offspring" whose ballet teacher won't put her on "toe"!!!!!!!! Clara

I'm so excited too- I wish I could go too but my little Ballet 1 dancers would be very mad at me because their performance is that Saturday. Have a wonderful time and let me know how it goes!!! :yes: Clara