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About miliosr

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  • Birthday 06/16/1967

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  1. miliosr

    1978 . . . and Today

    Another entry in an ongoing series . . . San Francisco Ballet repertory - summer 1977 July 14-17 Maurice Bejart Firebird John Butler Three Lew Christensen Divertissement d'Auber Michael Smuin Songs of Mahler July 21-24 Lew Christensen Stravinsky Pas de Deux Michael Smuin Medea Jerome Robbins Moves Tomm Ruud Mobile Jerome Weiss Peter and the Wolf July 28-31 Lew Christensen Il Distratto Robert Gladstein Gershwin John McFall Beethoven Quartets Michael Smuin Scherzo
  2. miliosr

    Life after Pina?

    Well, that didn't last long: https://www.nytimes.com/2018/07/13/arts/dance/adolphe-binder-tanztheater-wuppertal-pina-bausch.html?rref=collection%2Fsectioncollection%2Fdance&action=click&contentCollection=dance&region=stream&module=stream_unit&version=latest&contentPlacement=2&pgtype=sectionfront (For anyone who can't access the link, the company's advisory board dismissed Adolphe Binder as director on Friday. The board also announced the departure of the troupe's administrative director in December.)
  3. miliosr

    La Bayadere -- Los Angeles 2018

    If you don't mind me asking, what are your impressions of Colleen Neary's Los Angeles Ballet? Moderator: Please move this to another forum if need be.
  4. A portion of the company was just in Novosibirsk, Russia to perform. They took Sidi Larbi Cherkaoui's Faun, Hans van Manen's Trois Gnossiennes, Hofesh Schecter's The Art of Not Looking Back and Crystal Pite's The Seasons' Canon with them. If you knew nothing about the company, you would think it was a contemporary company from this repertory.
  5. miliosr

    Don Quixote Spring 2018

    Arlene Croce, who had very mixed feelings about ABT's reconstruction of Symphonie Concertante, had the following to say in 1983: "Symphonie Concertante was unaccountably dropped in 1952 and forgotten for thirty years." And: "Is there something the matter with trying to revive a ballet as complex as Symphonie Concertante from notation with no other memory aid and no authority on hand to settle all-important matters of style?" And: "Ballet Theatre enlisted several Balanchine associates in its preparations, and at one time or another Tanaquil LeClerq, Maria Tallchief, and Diana Adams were invited to have a look. (LeClerq, who originated the 'violin' role in a student performance, in 1945, and danced it in repertory opposite Tallchief or Adams, had never seen the ballet before -- she'd always been in it.) Even for the remarkably retentive memories of dancers, thirty years is a long time."
  6. miliosr

    ABT 2018 promotions

    I went back and found the quote Zach Catazaro made in Dance Europe in regard to seeking Marcelo Gomes' help: "For Swan Lake I had Darcy [sic] Kistler and Jared Angle coaching me, and I sought help from Marcelo Gomes for the little in-between things, to make sure, for example, that I was running as a prince should run on stage. That's not always emphasized in this company [City Ballet], because it's not often needed, so I wanted to seek help from people who are specialized in that kind of thing."
  7. miliosr

    Don Quixote Spring 2018

    It's "funny" you mention the great success Stearns had in The Moor's Pavane because the Iago part is much more of an "actor-dancer" part than a "dancer-dancer" part. Even though Stearns "is very handsome, has perfect ballet proportions, and a beautiful ballet line" (in other words, the perfect prince), perhaps the villainous parts bring something out in him. Or maybe it was the confluence of the part, the co-star (Zhurbin as The Moor) and a stager from the Limon foundation who demanded a lot from him. As Arlene Croce once wrote about the Graham company: "Under the circumstances is how things are done in the theater." Do we all remember several years ago when Stearns had to drop out of Theme and Variations? ABT had weeks to prepare someone in-house to replace Stearns. Instead, they borrowed Andrew Veyette from the company across the plaza, which delighted City Ballet fans but contributed to the crash in ABT company morale that so many dancers, past and present, have discussed.
  8. Happy birthday to Olivia de Havilland, who turns 102 today!
  9. miliosr

    ABT 2018 promotions

    As much as I'm not in favor of importing a male principal from City Ballet, such a move would not be unprecedented. After all, Ethan Steifel jumped ship for ABT in the 1990s. (It's worked in the other direction as well -- Robert La Fosse in 1986, Charles Askegard in 1997 and Joaquin De Luz in 2003.) To the extent that ABT does approach someone from City Ballet, one intriguing prospect would be Zach Catazaro. In his recent Dance Europe interview, he mentioned how he sought out Marcelo Gomes' help for Swan Lake because there were certain things he needed help with that aren't stressed at City Ballet. Also, when asked what roles he would like to dance, Catazaro cited Kenneth MacMillan's Manon and Mayerling. I can picture Catazaro in the "bodice rippers" at ABT -- John Cranko's Onegin, MacMillan's Manon and John Neumeier's La Dame aux camellias.
  10. miliosr

    ABT 2018 Fall season

    This is what concerns me about ABT's rather scattershot stewardship of the Tudor repertory. By not keeping Tudor in constant repertory, the dancers of the present become less attuned to Tudor's method and, as a result, fewer and fewer noted Tudor interpreters develop over time. This in turn will produce fewer and fewer stagers in generations to come. John Gardner and Amanda McKerrow both worked with Tudor and can convey his intentions. But with the great Tudor interpreter Sallie Wilson's death several years ago, the number of top level Tudor stagers is growing slim. I would add that it reflects a lack of imagination.
  11. miliosr

    ABT 2018 Fall season

    Nothing by Antony Tudor unless the "classical pas" scheduled for the Family Friendly matinee is a pas from Romeo & Juliet or The Leaves Are Fading, which would seem unlikely. Dark Elegies couldn't possibly be more timely but apparently not to the management at ABT.
  12. miliosr

    ABT: Roster in Review - 2018

    This has ever been ABT's problem. By the nature of its repertory, there are only so many spots at the top at any given moment. This results in a lot of fence sitting for those company members who haven't reached the top. People either wait it out in the hope that a principal slot will open up or they depart for other (not necessarily greener) pastures. (Complicating the first problem is the secondary problem of having to eventually "ease out" star principals to create opportunities for promising soloists and corps members. To varying degrees, this happened to Carreno, Corella, Dvorovenko, Herrera, Part and Reyes.) I'm sympathetic to anyone trying to run ABT because the nature of the repertory really constrains the choices. The one thing I would fault Kevin McKenzie (and Rachel Moore) for was the attempt to keep the glory days of the late-90s to late-00s going with the use of so many guest stars in the first five years of this decade. Instead of taking the temporary hit and going through the necessary retooling, they imported all the guests, which crushed company morale without "training up" the company members to the standards necessary for performing the roles in the repertory. The company's paying the price for it now.
  13. miliosr

    ABT: Roster in Review - 2018

    When Golding was with ABT (mid-00s), things were still flush in terms of the male principals. There was really no spot for him to move into at the top. Thank you for writing this. Stearns and Whiteside are holding things together on the taller side of things given Gomes' departure, Hallberg's reduced workload, Bolle's near absence and Lendorf's chronic injuries.
  14. miliosr

    2018 Romeo & Juliet

    Former ABT soloist and current ballet master Carlos Lopez has a cute 'over the years' post on his Instagram feed showing just how much Aran Bell has grown: https://www.instagram.com/p/Bj_Q60rgDFU/?taken-by=carloslopeznewyork
  15. miliosr

    Another new RDB article

    This caught my eye (from the article): "The RDB looks much like Het Nationale Ballet in Amsterdam or The San Francisco Ballet, excellent but not artistically distinct, regional ensembles." We so often think of the Royal Danish Ballet (RDB) as being one of the Big 7 - ABT, Bolshoi, Mariinsky, Paris Opera Ballet, New York City Ballet, Royal Ballet - that we may have failed to notice the RDB moving into another peer group. And: "Choosing technique over content, foreign-trained over Danish-trained dancers, and an international standard repertory over national heritage is not visionary or a sign of particularly inspired outlook." I've often complained on this board about the "international standard repertory" and the herd mentality of the people running these companies. But one thing I will say in Nikolaj Hubbe's defense is that there only so many Bournonville surviving pieces to go around. In the absence of a choreographer trained in Bournonville's method and making new pieces derived from said method, the non-Bournonville repertory has to come from somewhere.